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More fweet and wholesome than the pleasant hill Of Rhodope

He fays, according to cuftom, mantled with green, &c. inftead of was mantled. Methinks he should not have fingled out Rhodope, a mountain of Thrace, as an agreeable spot. The ancients are against him. Compare with Spenfér, Claudian's description of the Garden of Venus, Nupt. Hon. and Mar. 51, 60.

Hunc neque canentes audent veftire pruinæ ;
Hunc venti pulfare timent; hunc lædere nimbi.
Luxuria Venerique vacat. Pars acrior anni
Exfulat. Æterni patet indulgentia veris..
Intus rura micant, manibus quæ fubdita nullis
Perpetuum florent Zephyro contenta colona.
Lucretius, III. 18.

Sedefque quieta:

Quas neque concutiunt venti, neque nubila nimbis
Adfpergunt, neque nix acri concreta pruiná

Cana cadens violat: femperque innubilus æther
Integit, et large diffufo lumine ridet.

Which lines are an excellent tranflation of Homer, Odyff. Z. 42. See alfo Sidonius. Carm.

II. 407.

STANZ.

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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 fuddenly both would themselves unhele.

To unbele, not explained in the Gloffary, is in
Spenfer to uncover, to expofe to view. IV. v. 10.
Next did Sir Triamond unto their fight
The face of his dear Canacee unheal.

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Or as the Cyprian goddefs, newly born
Of th' Ocean's fruitful froth, did first appear:
Such feemed they, and fo their yellow hair

Crystalline humour dropped down apace.

Alluding to Venus αναδυομενη.

Amat. III. 224. and the Notes.

See Ovid, Art,

STANZ. LXXIV.

Ah! fee the virgin rofe, how sweetly the Doth first peep forth with bafhful modefty, That fairer feems, the lefs you fee her may : Lo! fee foon after, how, more bold and free, Her bared bofom fhe doth broad difplay; Lo! fee foon after, how the fades and falls away. So paffeth, &c.

Compare this with Aufonius, Idyll. XIV. 23.

Momentum

Momentum intererat, &c.

Quam longa una dies, atas tam longa rofarum,
Quas pubefcentes juncta fenecta premit.
Quam modo nafcentem rutiles confpexit Eous,

Hanc rediens fero vefpere vidit anum.—
Collige, virgo, rofas, dum flos novus, et nova pubes,
Et memor efto evum fic properare tuum.

It would be endless to collect all the poetical trifles that occur upon this fubject. I fhall confine myfelf to this Epigram in the Anthologia:

Πέμπω σοι, Ροδόκλεια, τόδε σέφῷ ἄνθεσι πλέξας,
Αυτὸς ὑφ' ἡμετέραις δρεψάμενος παλάμαις.

Εσι κρίνου, ροδεή τε κάλυξ, νοτερή τ' ἀνεμώνη,
Καὶ νάρκισσος ὑγρὸς, καὶ κυαναυγὲς ἴον.
Ταῦτα σεψάμενη λῆξον μεγάλαυχο ἔὅσα·
Ανθεῖς καὶ λήγεις, καὶ σὺ καὶ ὁ ςέφανΘ.

Of which the following (already inferted in the LUSUS POETICI: See No. XII. Page 21.) is given as a Tranflation.

Mitto tibi hæc, Rodoclea, virentia ferta virenti :
Texuit hæc folo docta ab Amore manus,

Narciffumque rofamque legens, mollemque anemonem, et
Candida cæruleis lilia cum violis.

Indue et hæc, et mitem animum. Florem effe memento, Pulrior his qui fit, forfitan et brevior.

STANZ.

STAN Z. LXXVIII.

like starry light,

Which sparkling, on the filent waves, does feem 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, ftars, 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 Acrafia in a net, is from the well-known ftory of Vulcan.

STAN Z. LXXXVI.

The enchantress Acrafia is reprefented, like Circe in Homer, as changing men into beafts. After Guyon had taken her Captive, "the Palmer," fays the poet, "ftruck the beafts with his ftaff, and they became men again."

But one above the reft in fpecial,

That had an hog been late, hight Grill by name,
Repined greatly, and did him mifcall,

That had, from hoggifh form, him brought to natural.

This is taken from a Dialogue in Plutarch, infcrib'd

Περὶ

T୪

Περὶ τὰ τὰ ἄλογα λίγῳ χρήθαι, where Gryllus, one of the companions of Ulyffes, transform'd into a hog by Circe, holds a difcourfe with Ulyffes, and refuses to be restored to his human shape.

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But living art may not leaft part express,
Nor life-refembling pencil it can paint,
All were it Zeuxis, or Praxiteles.

Praxiteles was no Painter.

CANTO I. 46.

For fhe was full of amiable grace,
And manly terrour mixed therewithall.

Claudian, Conf. Pr. et Ol. 91.

Mifcetur decori virtus, pulcherque fevero
· 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 põem are here tranflated, almoft word for word.

STANZ.

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