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STANZ. XXXIX. XL.

These are plainly imitated from the latter end of the firft, and beginning of the fecond book of the Æneid; particularly,

"Drawing to him the eyes of all around, From lofty fiege began these words aloud to found." Conticûere omnes intentique ora tenebant :

Inde toro Pater Eneas fic orfus ab alto:

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Virgil, Æn. III. v. 716.

Sic Pater Eneas intentis omnibus unus,
Fata renarrabat Divom, curfufque docebat:
Conticuit tandem, factoque hic fine quievit.

Qu. Divom curfus? vel Divorum Teucrorum? feu
Curfus quos a divis ducebatur?

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Et jam nox humida calo

Præcipitat, fuadéntque cadentia fidera fomnos.

CANTO III. 10.

Horace, Lib. I. Epift. XVI. 42.

Falfus honor juvat, et mendax infamia terret,
Quem,nifi mendofum et mendacem?

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"His legs are pillars of marble, set upon fockets of fine gold." Solöm. Song, c. v. ver. 19.

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Αι πρώται θεα τοξα, κι αμφ' ώμοισι Φαρέρας
Ποδοκος εφορησαν ασυλώίοι δε Φινωμοι

Δεξιτερος και γυμνος αει περεφαινεῖο μαζος.

CALLIM.

"Their places only fignify d."Quære, is there not the fame expreffion fomewhere in Dryden? in his fables, I think; the ftory of Palamon and Arcite.

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STANZ. XXXVIII.

Shakespear has an expreffion, or rather a thought, fomething not unlike this:

"By Heav'ns, methinks it were an eafy leap, To pluck bright honour from the pale-fac'd moon.”

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- Ο δ' εννέα μήνας έφοιλα

Παικαλα τὲ κρημνες τε καὶ εκ ανέπαυσε διωκίον.

CALLIM.

CANTO V. 27.

Acrafia is plainly borrowed from Circe; and her

power and influence are the fame.

Virg. Æn. VII. 1.

Hinc exaudiri gemitus iræque leonum

Vincla recufantum, et ferâ fub nocte rudentum :
Setigerique fues, atque in præfepibus urfi

Savire, ac formæ magnorum ululare luporum:
Quos hominum ex facie dea fæva potentibus herbis
Induerat Circe in vultus ac terga ferarum.

Which is only imitated from the Odyffey, Lib. K.

212.

Αμφὶ δέ μιν λύκοι ἦσαν ὀρέσεροι ἡ δὲ λέοντες,
Τὰς αὐτὴ κατέθελξεν, ἐπεὶ κακὰ φάρμακ ̓ ἔδωκεν,

v. 239.

Οι δὲ συῶν μὲν ἔχον κεφαλὰς, φωνήν τε, δέμας τε,
Καὶ τρίχας· ἀνὰρ νῖς ἦν ἔμπεδος, ὡς τοπάρος περ.

Horace plainly gives us his opinion of Circé; that all this allegory meant no more than the effects of pleasure and debauchery: and true it is, men who wallow in fcenes of that fort are little better. than the beafts whom the Poets defcribe.

Circes pocula nofti;

Que fi cum fociis ftultus cupidufque bibisset,
Sub dominâ meretrice fuiffet turpis et excors:
Vixiffet canis immundus, vel amica luto fus.

Hor. Lib. I. Ep. II. 23.

I had not read the twelfth Canto, when I ob served of Acrafia, that it was the story of Circé:

There

There the whole matter is plain. In the feventieth ftanza of that canto, there is delightful music, as in Circé's bower.

Dives inacceffos ubi Solis filia lucos

Affiduo refonat cantu, &c.

Virg. Æn. VII. 11.

Odyff. K. 222.

Κίρκης δ ̓ ἔνδον ἄκκον αειδέσης ἐπὶ καλῇ, &c.

And the transforming of the beafts into men by the Palmer's wand, Stánz. 76. is taken from the Odyffey, as above.

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This manner of upbraiding is very common in Homer. Hector upbraids Paris twice in the fame

way. I. L. III. 39. VI. 325. Æneas fpeaks thus to Pandarus, Lib. V. 170. Sarpedon to Hẹctor, V. 470.-And in Virgil, Æn. V. 389. Aceftes farcaftically reproaches Entellus :

Heroum quondam fortiffimè, fruftrà,

Tantáne tam patiens nullo certamine tolli
Dona fines? ubi nunc nobis Deus ille, magifter
Nequicquam memoratus Eryx? ubi fama per omnem
Trinacriam, et fpolia illa tuis pendentia tectis?

The defcription of Paris in Horace is a little like the cafe of Cymockles.

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