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More sweet and wholesome than the pleasant hill Of Rhodope

He says, according to custom, mantled with green, &c. instead of was mantled. Methinks he should not have singled out Rhodope, a mountain of Thrace, as an agreeable spot. The ancients are against him. Compare with Spensér, Claudian's description of the Garden of Venus, Nupt. Hon. and Mar.

51,

60.
Hunc neque canentes audent vestire pruina ;
Hunc venti pulfare timent; hunc lædere nimbi.
Luxuriæ Venerique vacat. Pars acrior anni
Exsulat. Æterni patet indulgentia veris.. -
Intus rura micant, manibus quæ subdita nullis

Perpetuum florent Zephyro contenta colona.
Lucretius, III. 18.

Sedefque quiete :
Quas neque concutiunt venti, neque nubila nimbis
Adfpergunt, neque ni& acri concreta pruinâ
Cana cadens violat: semperque innubilus æther
Integit, et large diffuso lumine ridet.

Which lines are an excellent translation of Homer, Odyff, Z. 42. See also Sidonius. Carm.

II. 407.

S 'TA Nz.

ST AN Z. LXIV.

Sometimes the one would lift the other quite
Above the waters, and then down again
Her plonge, as over-maistered by might,
Where both a while would covered remain;
Then suddenly both would themselves unhele.

To unbele, not explained in the Glossary, is in
Spenfer to uncover, to expose to view. IV. v. 10.

Next did Sir Triamond unto their fight
The face of his dear Canacee unheal.

S T A N Z. LXV.

Or as the Cyprian goddess, newiy born
Of th' Ocean's fruitful froth, did first appear:
Such seemed they, and so their yellow hair

Crystalline humour dropped down apace.
Alluding to Venus αναδυομενη. . See Ovid, Art.
Amat. III. 224. and the Notes.

S T A N 2. LXXIV.

1

Ah! see the virgin rose, how sweetly the
Doth first peep forth with bashful modesty,
That fairer seems, the less you see her may :
Lo! fee foon after, how, more bold and free,

Her bared bosom she doth broad display;
Lo! fee foon after, how she fades and falls away,

So passeth, &c.
Compare this with Ausonius, Idyll. XIV. 23.

Momentum

Momentum intererat, &c.
Quam longa una dies, atas tam longa rofarum,

Quas pubescentes juncta senecta premit.
Quam modo nafcentem rutilms conspexit Eous,

Hanc rediens sero vejpere vidit anun.-Collige, virgo, rofas, dum flos novus, et nova pubes,

Et memor esto evum fic properare tuum. It would be endless to collect all the poetical trifles that occur upon this subject. I shall confine myself to this Epigram in the Anthologia : Πέμπω σοι, Ροδόκλεια, τόδε σέφα άνθεσε ωλέξας,

'Αυτός υφ' ημέδέραις δρεψάμεν@- σαλάμαις. *Εςι κρίνον, ροδεή τε κάλυξ, νοτερή τ' ανεμώνη,

Και νάρκισσα» υγρος, και κυαναυγές τον. Ταύτα Γεψαμενη ληξον μεγάλαυχG- έκσα" "

'Ανθείς και λήγεις, και συ και ο ΓέφανG.

Of which the following (already inserted in the Lusus POETICI: See No. XII. Page 21.) is given as a Translation.

Mitto tibi hæc, Rodoclea, virentia ferta virenti :

Texuit hæc folo doEta ab Amore manus, Narcisumque rofamque legens, mollemque anemonem, et

Candida cæruleis lilia cum violis. Indue et hæc, et mitem animum. Florem esse memento,

Pulrior his qui fit, forsitan et:brevior.

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like starry light, Which sparkling, on the filent waves, does seem

more bright. Horace : Lib. II. Od. v. 19.

Ut

pura nocturno renidet

Luna mari. “Silent waves.Unde nocturne. Silence denotes nighttime or midnight in the Latin Poets, when applied to the world, moon, stars, fea, &c. Though perhaps by filent waves he means quiet; not violently moved.

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The account how Guyon and the Palmer took Acrasia in a net, is from the well-known story of Vulcan.

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the poet,

The enchantress Acrasia is represented, like Circe in Homer, as changing men into beasts. After Guyon had taken her Captive, “the Palmer,” says

“ struck the beasts with his staff, and they became men again.” But one above the rest in special, That had an hog been late, hight Grill by name,

Repined greatly, and did bim miscall, That had, from hoggish forin, him brought to natural. This is taken from a Dialogue in Plutarch, inscrib'd

Περί

Περί τε τα άλογα λόγω χρήθαι, where Gryllus, one
of the companions of Ulyfles, transform'd into a
hog by Circe, holds a discourse with Ulysses, and
refuses to be restored to his human shape.

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But living art may not least part express,
Nor life-resembling pencil it can paint,

All were it Zeuxis, or Praxiteles.
Praxiteles was no Painter.

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CANTO 1. 46.
For she was full of amiable grace,

And manly terrour mixed therewithall.
Claudian, Conf. Pr. et Ol. 91.

Mifcetur decori virtus, pulcherque severo,

· Armatur terrore pudor..
Statius, in his way, calls it horror decorus.

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All that follows, from this Stanza to the end of the Canto, is copied from Virgil's Ciris,-if it be his: and manylines in that poem áre here translated, almost word for word.

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STAN Z.

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