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Flush in her cheeks, and sparkle in her eyes. - Cæli miserere tui, circumspice utramque,
She longs, she burns to clasp him in her arms, Fumat uterque polus
And looks and sighs, and kindles at his charms.
Now all undrest upon the banks he stood,

Famat uterque polus—comes up to correptaqué And clapt his sides, and leapt into the flood :

regia cæli. Besides, it is Ovid's custom to preHis lovely limbs the silver waves divide,

pare the reader for a following story, by giving His limbs appear more lovely through the tide ;

some intimations of it in a foregoing one, which As lilies shut within a crystal case,

was more particularly necessary to be done before Receive a glossy lustre from the glass.

he led us into so strange a story as this he is now “ He's mine, be's all my own," the Naiad cries;

upon. And flings off all, and after bim she flies,

P. 545. col. 1. 1. 34. For in the portal, &c.] We And now she fastens on him as he swims,

have here the picture of the universe drawn in little. And holds him close, and wraps about his limbs. -Balænarumque prementem The more the boy resisted, and was coy,

Ageona suis immania terga lacertis.
The more she claspt, and kist the struggling boy.
So when the wriggling snake is snatch'd on high

Ægeon makes a diverting figure in it.
In eagle's claws, and hisses in the sky,

-Facies non omnibus una, Around the foe his twirling tail he fings,

Nec diversa tamen: qualem decet esse sororum. And twists her legs, and writhes about her wings. The thought is very pretty, of giving Doris and

The restless boy still obstinately strove To free himself, and still refus'd her love.

her daughters such a difference in their looks at Amidst his limbs she kept her limbs intwin'd,

is natural to different persons, and yet such a likes And “Why, coy youth,' she cries, “why thus un

ness as showed their affinity. kind ?

Terra viros, urbesque gerit, sylvasque, ferasque, Oh may the gods thus keep us ever join'd!

Fluminaque, et nymphas, et cætera numina ruris. Oh may we never, never part again !" So pray'd the nymph, nor did she pray in vain : The less important figures are well huddled to. For now she finds him, as his linbs she prest,

ther in the promiscuous description at the end, Grow nearer still, and nearer to her breast; which very well represents what the painters call Till, piercing each the other's flesh, they run a groupe. Together, and incorporate in one :

-Circum caput omne micantes Last in one face are both their faces join'd,

Deposuit radios; propiusque accedere jussit. As when the stock and grafted twig combin'd Shoot up the same, and wear a common rind : P. 545. col. 2. I. 21. And flung the blaze, &c.] It Both bodies in a single body mix,

gives us a great image of Phæbus, that the youth A single body with a double sex.

was forced to look on him at a distance, and not able The boy, thus lost in woman, now survey'd

to approach him until he had laid aside the circle The river's guilty stream, and thus he pray'd, of rays that cast such a glory about his head. (fle pray'd, but wonder'd at his softer tone,

And indeed we may every where observe in Orid, Surpris'd to hear a voice but half his own :)

that he never fails of a due loftiness in bis ideas, You parent gods, whose heavenly names 1 bear, though he wants it in his words. And this I think Hear your hermaphrodite, and grant my prayer; infinitely better than to have sublime expressions Oh grant, that whomsoe'er these streams contain, and mean thoughts, which is generally the true If man he enter'd, he may rise again

character of Claudian and Statius. But this is not Supple, unsinew'd, and but half a man!"

considered by then who run down Ovid in the The heavenly parents answer'd from on ligh gross, for a low middle way of writing. What can Their two-shap'd son, the double votary;

be more simple and unadorned, than his descripe Then gave a secret virtue to the flood,

tion of Enceladus in the fifth book? And ting'd its source to make his wishes good.

Nititur ille quidem, pugnatque resurgere sæpe,
Dextra sed Ausonio manus est subjecta Peloro,

Læva, Pachyne, tibi, Lilibæo crura premuntur,
N O T E S

Degravat Ætna caput, sub quâ resupinus arenas ON SOME OF THE FOREGOING STORIES IN Ejectat, fiammamque fero vomit ore Typhæus. OVID'S METAMORPHOSES.

But the image we have here is truly great and ON THE STORY OF PHAETON.

sublime, of a giant vomiting out a tempest of fire,

and beaving up all Sicily, with the body of an Tae story of Phaeton is told with a greater air island upon his breast, and a vast promontory on of majesty and grandeur than any other in all either arm. Ovid. It is indeed the inost important subject he There are few books that have had worse comtreats of, except the Deluge; and I cannot but be- mentators on them than Ovid's Metamorphoses. lieve that this is the confagration be hints at in Those of the graver sort have been wbully the first book;

taken up in the mythologies; and think they have Es se quoque in fatis reminiscitur affore tempus, appeared very judicious, if they have shown us Quo mare, quo tellus, correptaque regia coeli

out of an old author that Ovid is mistaken in a Ardeat, et mundi moles operosa laboret;

pedigree, or has turned such a person into a wolf

that ought to have been made a tiger. Others (though the learned apply those verses to the fu. have employed themselves on what never entered ture burning of the world) for it fully answers that into the poet's thoughts, in adapting a dull moral description, if the

to every story, and making the persons of bis poems VOL. 1X.

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to be only nicknames for such virtues or vices; , scription of the chariot, give these rerses a great particularly the pious commentator, Alexander sweetness and majesty: Ross, has dired deeper into our author's design than any of the rest; for he discovers in him the

Aureus axis erat, temo aureus, aurea sammæ greatest inysteries of the christian religion, and

Curvatura rotæ; radiorum argenteus ordo. finds almost in every page some typical representation of the world, the flesh and the devil. But

P. 546. col. 1. I. 54. Drive them not on directly, if these writers have gone too deep, others have been &c.] Several have endeavoured to vindicate Ovid wholly employed in the surface: most of them against the old uvjection, that he mistakes the anserving only to help out a school-boy in the con nual for the diurnal motion of the Sun, The dau. struing part; or if they go out of their way, it is phin's notes tellus that Ovid knew very well the Sun only to mark out the gnoine of the author, as they did not pass through all the signs he names in one call them, which are generally the heaviest pieces day, but that he makes Phæbus mention them only of a poet, distinguished from the rest by Italian to frighten Phaeton from the undertaking. But characters. The best of Ovid's expositors is he though this may answer for what Phæbus says in that wrote for the dauphin's use, who has very his first speech, it cannot form what is said in well shown the meaning of the author, bat seldom this, where he is actually giving directions for his reflects on his beauties or imperfections; for in journey, and plainly most places he rather acts the geographer than Sectus in obliquum est lato curvamine limes, the critic, and instead of pointing out the fineness Zonaruinque trium contentos fine, polumque of a description, only tells you in what part of the Effugit australem, junctamque aquilonibus Arcton, world the place is situated. I shall therefore only consider Ovid under the character of a poet, and describes the motion throngh all the zodiac. e ndeavour to show him impartially, without the P. 546. col. 1. 1. last. And not my charior, &c.). Iisual prejudice of a translator: which I am the Ovid's verse is, Consiliis non curribus utere nosmo re willing to do, because I believe such a com- tris. This way of joining two such different ideas ment would give the reader a truer taste of poetry as chariot and counsel to the same verb is 'mightily

han a comment on any other poet would do; for, used by Ovid; but is a very low kind of wit, in reflecting on the ancient poets, men think they and has always in it a mixture of nun, because the may venture to praise all they meet with in some, verb must be taken in a different sense when it is and scarce any thing in others; but Ovid is con- joined with one of the things, from what it has in fest to bave a mixture of both kinds, to bare conjunction with the other. Thus' in the end of something of the best and worst poets, and by this story he tells you that Jupiter flutig a thunconsequence to be the fairest subject for criticisin. derbolt át Phaetoime Pariterque, animâque, ro

P. 545. col. 2. 1. 34. My son, says he,&c.) Phe- tisque expulit aurigam, where he makes a forced bus's speech is very nobly ushered in, with the Ter- piece of Latin (animâ expelit aurigam) that he que quaterque concutiens illustre caput--and well inay couple the soul and the wheels to the satne represents the danger and difficulty of the under- verb. taking; but that which is its peculiar beauty, and P. 546. col. 2 1. 25. The yonth was in a maze, makes it truly Ovid's, is the representing them &c.] It is impossible for a man to be drawo in a just as a father would to his young son;

greater confusion than Phaeton is; but the antithea, Per tamen adversi gradieris cornua Tauri,

sis of light and darkness a little fåttens the descripHæmoniosque arcus, violentique ora Leonis, tion. Suntque oculis tenebræ per tantum lumen Savaque circuitu curvantein brachia lovgo obortæ.

1.1 Scorpion, atque aliter curvautem brachia Can

Ibid. 1. 28. Then the Seven Stars, &c.] I wop-i1 der none of Ovid's commentators have taken no

tice of the oversight be bas committed in this for one while he scares bim with bugbears in the verse, where he makes the Triones grow warm way,

before there was ever such a sign in the Heavens Vasti quoque rector Olympi,

for he tells us in this very book, that Jupiler ! Qui fera terribili jaculatur fulmina dextrâ,"

turved Calisto into this constellation, after he had Non agat bos currus; et quid Jove inajus habe- repaired the ruins that Phaeton bad made in the mus?

world. Deprecor hoc unum, quod vero nomine pena,

P. 547. col. 1. I. 15. Athos and Tmolus, &c.] Non honor est. Pænam, Phacten, pro inunere

Orid has here, after the way of the old poets, givea poscis.

us a catalogue of the mountains and rivers which

were burnt. But, that I might not tire the English And in other places perfectly tattles like a father, reader, I have left out some of them that make na which by the way makes the length of the speech figure in the description, and inverted the order of, very natnral, and concludes with all the fundness the rest according as the smoothness of my verse and concern of a tender parent.

required. - Patrio pater esse metu probor; aspiee valtus

ibid. 1. 4. 'Twas then, they say, the swarthy Ecce meos: utinan que oculos in pectore posses

Moor, &c.) This is the only metamorphosis is all Inserere, et patrias intus depreydere curas! &c.

this long story, which, contrary to custom, is in

serted in the middle of it. The critics may dea, P. 546. col.1.1.29. A golden axle, &c.] Ovid has termine whether what follows it be not too great more turns and repetitions in his words than any au excursiop in hin who proposes it as his whole of the Latin poets, which are always wonderfully design to let us know the changes of things. I dare easy and natural in bit. The repetition of au- say that, if Ovid had not religiously obseryed the reus, and the transition to argenteus, in the de- reports of the ancient mythologists, we should

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have seen Phaeton turned into some creature or

ON THE STORIES IN THE THIRD'BOOK. other that hates the light of the Sun, or perbaps into an eagle, that still takes pleasure to gaze

FABLE I..** on it.

P. 547. col. 1.1.61. The frighted Nile, &c.] Ovid There is so great a variety in the arguments has made a great many pleasant images towards of the Metamorphoses, that he wbo would treat of the latter end of this story. His verses on the them rightly, ought to be a master of all styles, Nile,

and every different way of writing. Qvid indeed Nilus in extremum fugit perterritus orbem,

shows himsett most in a familiar story, where the Orculuitque caput, quod adhuc latet: ostia septem chief grace is to be easy and natural; but wants Pulverulenta vacant, septem sine flumine valles,

neither strength of thought nor expression, when

he endeavours after it, in the more sublime and are as noble as Virgil could have written; but then manly subjects of his poem. In the present fable, he ought not to have mentioned the channel of the serpent is terribly described, and his behaviour the sea afterwards,

very well imagined; the actions of both parties in -Mare contrabitur, siccæque est campus arenæ, represents them, more strong and masculine than

the encounter are natural; and the language that because the thought is too near the other. The what we usually, meet with in this poet: if there image of the Cyclades is a very pretty one;

be any faults in the narration, they are these, per- : Quos altum texerat æquor,

haps, wbich follow:

P. 554.col. 1.1. 24. Spire above spire, &c.] Ovid, Existunt montes, et sparsas Cycladas augent.

to make his serpent more terrible, and to raise the But to tell us that the swans grew warm in Cäys- character of his champion, bas given too great a ter,

loose to his imagination, and exceeded all the

bounds of probability. He tells us, that when he Medio volucres caluere (äystro,

raised up but half his body, he overlooked a tall. and that the dolphins durst not leap,

forest of oaks, and that his whole body was as

large as that of the serpent in the skies. None but Nec se super æquora curvi

a madman would have attacked such a monster Tollere consuetas audent delphines in auras,

as this is described to be; nor can we have any is intolerably trivial on so great a subject as the notion of a mortal's standing against him. Virgil

is not ashamed of making Æneas fly and tremble burning of the world. P. 547. col. 2. 1, 13. The Earth at length, &c. gives us the description of Polyphemus, in the

at the sight of a far less formidable foe, where he We bave here a speech of the Earth, which will third book; he knew very well that a monster was doubtless seem very unnaturalto an English reader. It is I believe the boldest prosopopæia of any in the

not a proper enemy for bis hero to encounter; but old poets; or, if it were never so natural, I can

we should certainly have seen Cadmus hewing

down the Cyclops, had he fallen in Ovid's way: pot but think she speaks too much in any reason

or if Statius's little Tydeus had been thrown on for oue in her condition.

Sicily, it is probable he would not have spared one ON EUROPA'S RAPE,

of the whole brotherhood. P. 553. col. 1. 1. 34. The dignity of empire, &c.]

-Phonicas, sive illi tela parabant, This story is prettily told, and very well brought

Sive fugam, sive ipse timor prohibebat utrumque, in by those two serious lines,

Occupation Non bene conveniunt, nec in usâ sede morantur, Ibid. l. 31. In vain the Tyrians, &c.] The Majestas et Amor. Sceptri gravitate relictâ, &c." poet could not keep up his narration all along, in without which the whole fable would have appeared the grandeur and magnificence of an heroic style:

he has here sunk into the fatness of prose, where very propliane. P. 553. col. 2. I. 9. The frighted nymph looks, he tells us the behaviour of the Tyrians at the sight

of the serpent:
&c.] This consternation and behaviour of Europa
- Elusam designat imagive tauri

-Tegimen direpta leoni
Europen: verum taurum, freta vera pùtares. Pellis erat; telum splendenti lancea ferro,
Ipsa videbatur terras spectare relictas,

Et jaculum; teloque animus præstantior omni; Et comites clamare suos, tactumque vereri

and in a few lines after lets drop the majesty of his Assilientis aquæ, timidasque reducere plantas,

verse, for the sake of one of his little turns. How is better described in Arachne's picture in the does he languish in that which seems a laboured, sixth book, than it is here; and in the beginning line! "Tristia sanguineâ lambentem vulnera lin. of Tatius's Clitophon and Leucippe, than in either grâ.” And what pains does he take to express the place. It is indeed usual among the Latin poets serpent's breaking the force of the stroke, by (who had more art and reflection than the Gre, shrinking back from it! cian) to take hold of all opportunities to describe Sed leve vulnus erat, quia se retrahebat ab ictu, the picture of any place or action, which they ge- Læsaque colla dabat retrò, plagamque sedere nerally do better than they could the place or ac- cedendo arcebat, nec longius ire sinebat. tion itself; because in the description of a picture you have a double subject before you, either to P. 554. col. 2. 1. 42. And fings the future, &c.) describe the picture itself, or what is represented the description of the men rising out of the ground in it.

is as beautiful a passage as any in Ovid. It strikes

FABLE II.

the imagination very strongly; we see their mo- cellent stroke of this dature out of Mr. Monta. tion in the first part of it, and their multitude in gue's' poem to the king; where he tells us, how the Messis virorum at last.

the king of France would have been celebrated by P.554. col. 2. 1. 47. The breathing barvest, &c.] his subjects, if he had ever gained such an honourMessis clypeata virorum. The beauty in these able wound as king Williain's at the fight of the words would have been greater, had only Messis Boyne: virorum been expressed without clypeata; for the His bleeding arm had furnisb’d all their rooms, reader's mind would have been delighted with

And run for ever purple iu the looms. two such different ideas compounded together, but can scarce attend to such a complete image as is made out of all three.

P.555. col. 1. 1. 1. Here Cadmus reign'd.) This is This way of mixing two different ideas together in one image, as it is a great surprise to the reader, which is all vaturally told. The goddess and her

a pretty soleme transition to the story of Actxon, is a great beauty in poetry, if there be sufficient maids undressing her, are described with divertground for it in the nature of the thing that is described, The Latin poets are very full of it, espe- and griefs, are passionately represented, but it is

ing circumstances. Actæon's flight, confusion, cially the worst of them; for the inore correct use it bứt sparingly, as indeed the nature of things pity the whole narration should be so carelessly

closed

up. will seldom afford a just occasion for it. When any thing we describe has accidentally in it some

Ut abesse queruntur, quality that seems repugnant to its nature, or is Nec capere oblatæ segnem spectacula prædæ. very extraordinary and uncommon in things of Vellet abesse quidem, sed adest, velletque videre, that species, such a compounded image as we are Non etiam sentire, canum fera facta suorum. now speaking of is made, by turning this quality

P. 555. col. 2. I. 32. A generous pack, &c.] I have into an epithet of what we describe. Thus Clau. dian, having got a hollow ball of crystal with wa

not here troubled myself to call over Actæon's ter in the midst of it for his subject, takes the ad pack of dogs in rhyme: Spot and Whitefoot make vantage of considering the crystal as hard, stony,

but a mean figure in heroic verse; and the Greek precious water, and the water as soft, fluid, im- He closes up his own catalogue with a kind of a

names Ovid uses would sound a great deal worse. perfect crystal; and thus sports off above a dozen epigrams, in setting his words and ideas at va- jest on it: “ Quosque referre mora esth_which, riance among one another. He has a great many other serious parts of this story. Vle) 29**;?!

by the way, is too light and fall of humour for the beauties of this nature in him; but be gives himself up so inuch to this way of writing, that a man

This way of inserting catalogues of proper names may easily know where to meet with them when in their poems, the Latins took from the Greeks; he sees his subject, and often strains so hard for but have made them more pleasing that those they them that he many times makes his descriptions imitate, by adapting so many delightful characters bombastic and unnatural. What work would he

to their persons names; in which part Ovid's cohave made with Virgil's golden bough, had he piousness of invention, and great insight into ma been to describe it? We should certainly have seen

ture, has given him the precedence to all the posts the yellow bark, golden sprouts, radiant leaves, that ever came before or after him. The shoothblooming metal, branching gold, and all the quar

ness of our English verse is too much lost by the rels that could have been raised between words repetition of proper names, which is otherwise of such different natures: when we see Virgil very natural, and absolutely necessary in some contented with his Auri frondentis; and what is cases; as before a battle, to raise in our minds m the same, though much finer expressed-- Fron answerable expectation of the events and a lively deseit virga netallo This composition of differ- idea of the numbers that are engaged. »iFory had ent ideas is aften met with in a whole sentence,

Homer or Virgil only told us in two or three times where circumstances are happily reconciled that

before their fights, that there were forty thousand

of each side, our imagination could not possibly seem wholly foreign to each other; and is often found among the Latin poets (for the Greeks have been so affected, as when we seu every leader wanted art for it), in their descriptions of pictures, singled out, and every regimeut in a manner thavn

1111 ech *** images, dreams, apparitions, metamorpboses, op before our eyes and the like; where they bring together two such

FABLE NI.

1:1 thwarting ideas, by making one part of their de- P.556. col. 1. 1. 14. How Semele, &c.] This is noe scriptions relate to the representation, and the other of Ovid's finished stories. The transition to it is to the thing that is represented. Of this pature is proper and unforced : Japo, in her two speeches, that verse, which, perhaps, is the wittiest in Virgil; acts incomparably well the parts of a resenting "Attollens humero famamque et fata nepotum," goddess and a tattling nurse: Jupiter makes a very Æn. viii, where he describes Æneas carrying on majestic figure with his thunder and lightning, but bis shoulders the reputation and fortones of his it is still such a one as shows who drew it; for who posterity; wbich though very odd and surprising, does not plainly discover Ovid's hand in the is plainly made out, when we consider how these Quà tamen usque potest, vires sibi demere tentat. disagreeing ideas are reconciled, and his posterity's fame and fate made portable by being engraven Nec, quo centimarum dejicerat igne Typhicas" on the shield. Thus, when Ovid tells us that Pal- Nunc, armatur en: nimium feritatis in illotine las tore in pieces Arachne's work, where she had

Est aliud levius fulmen, eui dextra Cyclopam, • embroidered all the rapes that the gods had Sævitiæ flammæque minus, minus addidit iræet committed, he says-Rupit cælestia crimina. I

Tela secunda vocant Superi. t': pria i shall conclude this tedious reflexion with an ex.

i Afterwards earl of Halifax.

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P. 556. col. 1. 1. 44. 'Tis well, says she, &c.], fit for epigram, and little copies of verses: one Virgil bas made a Beroë of one of his goddesses in would wonder therefore how so sublime a genius as the fifth Æneid; but if we compare the speech she Milton could sometimes fall into it, in such a work there makes with that of her namesake in this as an epic poem. But we must attribute it to his story, we may find the genius of each poet disco- humouring the vicious taste of the age he lived in, vering itself in the language of the nurse: Virgil's and the false judgment of our unlearned English Iris could not have spoken more majestically in readers in general, who have few of them a relish her own sbape; but Juno is so much altered from of the more masculine and noble beauties of herself in Ovid, that the goddess is quite lost in poetry, the old woman.

FABLE VI. FABLE V. P.557.col. 1. 1. 44. She can't begin, &c.] If play-ject of this story, but has notoriously fallen into a

Ovid seems particularly pleased with the subing on words be excusable in any poem, it is in this, fault he is often taxed with, of not knowing when where Echo is a speaker; but it is so mean a kind he has said enough, by his endeavouring to excel. of wit, tbat, if it deserves excuse, it can claim no

How has he turned and twisted that one thought more. Mr. Locke, in his Essay on Human Understand of Narcissus's being the person beloved, and the

lover too? ing, has given us the best account of wit in short that can any where be met with. “ Wit,” says Cunctaque miratur quibus est mirabilis ipse. he," lies in the assemblage of ideas, and putting _Qui probat, ipse probatur. those together with quickness and variety, where Dumque petit petitur, pariterque incendit et ardet. in can be found any resemblance or congruity, Atque oculos idem, qui decipit, incitat error. thereby to make up pleasant pictures and agree Perque oculos perit ipse suosable visions in the fancy.” Thus does true wit, Urur ainore mei, iammas moveoque feroque, &c. as this incomparable author observes, generally consist in the likeness of ideas, and is more or less But we cannot meet with a better instance of the wit, as this likeness in ideas is more surprising extravagance and wantonness of Ovid's fancy, than and unexpected. But as true wit is uothing else in that particular circamstance at the end of the but a similitude in ideas, so is false wit the simili- story, of Narcissus's gazing on his face after death fude in words, whether it lies in the likeness of in the Stygian waters. The design was very bold, letters only, as in anagram and acrostic; or of of making a boy fall in love with himself here on syllables, as in doggrel rhymes; or whole words, Earth; but to torture him with the same passion as puns, echoes, and the like. Beside these two after death, and not to let his ghost rest in quiet, kinds of false and true wit, there is another of a was intolerably cruel and uncharitable. middle nature, that has something of both in it P. 557. col. 2. 1. 10. But whilst within, &c.] when in two ideas that have some resemblance "Domque sitim sedare cupit, sitis altera crevit. 5 with each other, and are both expressed by the We have here a touch of that mixed wit I have besame word, we make use of the ambiguity of the fore spoken of; but I think the measure of pun in word to speak that of one idea included under it, it outweighs the true wit; for if we express the o which is proper to the other. Thus, for example, thought in other words the turn is almost lost.

most languages have hit on the word, which This passage of Narcissus probably gave Milton properly signifies tire, to express love by (and the hint of applving it to Eve, though I think her

therefore we may be sure there is some resem- surprise, at the sight of her own face in the water, blance in the ideas mankind bave of thein;) from far more just and natural than this of Nareissus. i hence the witty poets of all languages, when they She was a raw unexperienced being, just created,

once have called love a fire, consider it no longer and therefore might easily be subject to the delu. has the passion, but speak of it under the notion of sion; but Narcissus had been in the world sixteen va real fire; and, as the turn of wit requires, make years, was brother and son to the water-nymphs, the same word in the same sentence stand for and therefore to be snpposed conversant with ceither of the ideas that is annexed to it. When fountains long before this fatal mistake.

Ovid's Apollo falls in love, he burns with a new Ibid. I. 40. You trees, says be, &c.] Orid is fame; when the sea-nymphs languish with this very justly celebrated for the passionate speeches passion, they kindle in the water; the Greek epi- of his poem. They have generally abundance of grammatist fell in love with one that Aung a nature in them, but I leave it to better judgments snowbait at him, and therefore takes occasion to consider whether they are not often too witty to admire how fire could be thus concealed in snow. and too tedious. The poet never cares for smoIn short, whenever the poet feels any thing in thering a good thought that comes in his way, and this love that resembles something in'fir, he never thinks he can draw tears enough from his carries on this agreement into a kind of allegory; reader: by which means our grief is either diverted but if, as in the preceding instances, he finds any or spent before we come to his conclusion; for we circumstance in bis love contrary to the nature of cannot at the same time be delighted with the wit fire, he calls bis love a fire, and by joining this of the poet, and concerned for the person that circumstance to it surprises his reader with a speaks it; and a great critic has admirably well seeming contradiction. I should not have dwelt observed, Lamentationes debent esse breves et so long on this instanee, had it not been so fre. concisa, nam lacryma subitò excrescit, et difquent in Ovid, who is the greatest admirer of this ticile est auditorem vel lectorem in summo animi mixt wit of all the ancients, as our Cowley is affectu diu tenere. Would any one in Nareitsus's anong the moderns. Homer, Virgil, Horace, and condition have cried oat - Inopem me copia the greatest poets, scorned it; as indeed it is only fecit? Or can any thing be more unnatural than

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