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and illuftrated, in numbers, that admirably represent, and correspond to its different qualities and genius. The beginning of the second stanza, on the power which mufic exerts over the paffions, is a little flat, and by no means equal to the conclufion of that ftanza. The animating fong that Orpheus fung to the Argonauts, copied from Valerius Flaccus, for that of Apollonius is of a different nature, is the happily chosen subject of the fourth. On hearing which,

Each chief his fevenfold shield display'd,
And half unfheath'd the fhining blade;

Which effects of the fong, however lively, do not equal the force and spirit of what Dryden afcribes to the fong of his Grecian artist; for when Timotheus cries out REVENGE, raises the furies, and calls up to Alexander's view a troop of Grecian ghosts that were flain and left unburied, inglorious and forgotten, each of them waving a torch in his hand, and pointing to the hoftile temples of the Perfians, and demanding vengeance of their prince, he instantly

instantly started from his throne,

Seiz'd a flambeau with zeal to deftroy,

while Thais and the attendant princes rushed out with him, to fet fire to the city. The whole train of imagery in this stanza is alive, fublime, and animated to an unparallelled degree; the poet had fo ftrongly poffeffed himself of the action defcribed, that he places it fully before the eyes of the reader.

THE defcent of Orpheus into hell is gracefully introduced in the fourth ftanza, as it naturally flowed from the subject of the preceding one; the defcription of the infernal regions is well imagined, and the effects of the musician's lyre on the inhabitants of hell, are elegantly tranflated from the fourth Georgic of Virgil, * and happily adapted to the fubject in question. The fupplicating song at the beginning of the fixth ftanza, is highly pathetic and poetical, especially when he conjures the powers below,

* Ver. 480.

By

By the hero's armed fhades

Glittering through the gloomy glades,
By the youths that dy'd for love
Wand'ring in the myrtle grove;

These images are picturefque and

appro

priated; and these are such notes as might,

Draw iron tears down Pluto's cheek, *

And make hell grant what love did seek.

But the numbers that conclude this stanza are of fo burlesque and ridiculous a kind, and have so much the air of an Hudibrastic song at a county election, that one is amazed and concerned to find them in a serious ode, and in an ode of a writer eminently skilled, in general, in accommodating his founds to his fentiments.

Thus fong could prevail
O'er death and o'er hell,

A conquest how hard and how glorious!

Tho' fate had faft bound her

With Styx nine times round her,
Yet mufic and love were victorious,

* Milton's Il Penferofo.

One

One would imagine that John Dennis, or some hero of the Dunciad, had been here attempting to travesty this description of the restoration of Eurydice to life. It is obfervable, that this is

the very measure, Addison thought was proper to use in the comic character of Sir Trusty; by the introduction of which he has so strangely debased and degraded his opera of Rosamond.

How unhappy is he

That is ty'd to a she,

And fam'd for wit and beauty;

For of us pretty fellows,

Our wives are so jealous,

They ne'er have enough of our duty.

These numbers therefore, according to Addison's ear, conveyed a low and ludicrous idea, instead of being expreffive of triumph and exultation, the images here intended to be impreffed by Pope.

VIRGIL is again imitated throughout the

* A& I, Scene II. See alfo, Scene IV. A& I. A fong of Grideline and Trufty. A&t. III. Scene IV. I

fixth

fixth ftanza, which defcribes the behaviour of Orpheus on the second loss of Eurydice. I wish POPE had inferted that ftriking circumftance, fo ftrongly imagined, of a certain melancholy murmur, or rather difmal shriek, that was heard all around the lakes of Avernus, the moment Orpheus looked back on his wife;

Terque fragor ftagnis auditus Avernis. *

And as profopopeias are a great beauty in lyric poetry, furely he should not have omitted those natural and pathetic exclamations of Eurydice, the moment fhe was fnatched back, and which fhe uttered as she was gradually finking to the fhades, especially where she movingly takes her last adieu,

Jamque vale!

And adds, that he is now furrounded with a vaft darkness, "feror ingenti circumdata

Georgic 4, 493.

nocte,"

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