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of a captious husband, she is obliged to warmly expressive than coldly correct. fupprefs the workings of her compar- To be affecting it aims at being simple, fion, and to reject their prayer with but we must warn the fair author, that seeming fcorn. Repulfed in their re- fimplicity confifts not in low exprefturn to virtue, and pierced by their fions, or childish prattle; and that cor• friend's severity, they return to town, rectness and warmth of expression, for and their former course of life, till which latter she seems often to mistake worn out with cold, hunger, watching, animmoderate and injudicious use of fuand disease, they expire in each others perlatives, are strictly compatible. A arms, in wretchedness that none will letter of Miss Weller's tempted us to alleviate, and misery that none will believe, that, instead of a lady, one pity. Happy only in their mutual af- of the half male, half female creatures, fection, and that being ignorant of the who measure lace and ribband befate of their parents they never felt hind a haberdasher's counter, the pangs of parricide. To this is the writer. Her playfulness is vulgar, tacked, not interwoven with it, the and her archness coarse. Mrs. BranHistory of Emma Harvey and Lucy ville's regard for an extorted promise, Weller, who fall in love and are mar- when the had it in her power to rescue ried, as is usual with young ladies in her once loved friends from infamy novels. The former indeed meets with and ruin, was a childish fcruple: what fome crosses; for she is forced by her duty she owed to the commands of her parents to marry Mr. Branville, who husband we will not take upon us to proves to be the uncle of her lover, and decide. Theexclamation " My ftars!" this, when the old gentleman, by a silly is certainly not a polite one, and even exit, has removed all other obstacles, Mother H. for the name of a procuress, forbids all thoughts of their union. we think in the fame predicament. To untie this knot, the hackneyed and That it is a first performance, we are inartificial expedient of the lover's convinced, from the many aukward having been changed at nurse is em- modes of expression, and the many ployed; he proves to be the son and grammatical improprieties, of which heir of Sir Charles Richmond: and we have selected the following: -" Are every thing concludes as the novel you both the eldej? of the family? --The reader will readily conceive.

grafs walks are already began mowing. In examining the production of a --Whom it is iinpoffible fe could ever female pen, as the work before us avow- passionately love with an excess of affece edly is, we desire to lay aside all aspe- tion-final sequel - Peggy !--Patty! rity, and all petulance of criticism; my dear-dcar filters, I am thy brother · and as we wilh not to quench the smok. --fort of fenter.ces. I shall be made ing flax, and think we can discover in to marry himn.". To warn the young, it tome scintillations of genius, which the unprotected, inexperienced part ftudy and experience may blow into of the female world against the fatal flame, we have bestowed upon it a effects of a too easy belief is an intenmore patient perusal, and a more mi- tion deserving praise and encouragenute abridgement than the work itself ment, to which we heartily with all may seem to merit.. Truth, however, possible success. If the author should and our duty to the public, oblige us be again induced to take up her pen, to remark, that the materials which as the evil babit of writing is of all compose it are neither rare nor pre- evil habits the inost inveterate, we beg cious. A country curate and his fa- leave to advise her to make herself mily, a profligate lord, a bawd, and a mistress of the irregular verbs, of which led captain, are characters, in which she has not conjugated one properly little novelty can be expected. Nor in the present work; to diftinguish the is the texture superior to the materials. active verbs fet and lay, from the neuter The style profesies to be affecting rather verbs fit and lie; and to arcid repeatkhan pompous; the sentiments rathering the same thing in different letters.

ART,

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ART. X. Q. Horatii Flacci Epiftola ad Pifomes, de Arte Portica. The Art of Poetry: An Epifle to the Pifes. Translated from Horace; with Notebo By George Colxian.. 4to. 75. 6d. Cadell. FEW of the remains of antiquity

We have often had occasion to admire have been more frequently translated the nice taste and clallic knowledge of than Horace's Art of Poetry.' It has our modern Terence; but he never beappeared in every modern language, fore gave us so splendid an opportunity and exercised the genius and abilities of praising his judgement and acumen. of the learned in every country. Many His sentiments are these: “ The oriand various have been the sentiments ginal epifle consists of four hundred and of the commentators, concerning its leventy-fix lines; and it appears, from design, and the structure of its parts. the above numerical analysis, that not It seems, however, to have been the half of those lines, only two hundred prevailing opinion, that Horace, in this and fix verses [from v. 89 to 295) are epistle, intended to lay down several employed on the subject of the Roman rules for poetical composition, with- stage. The first of the three parts above out any determinate plan, until Dr. delineated (from v. I to 89] certainly Hurd, the present Bishop of Worcester, contains general rules and reflections published a new edition of it, accom- on poetry, but surely with no particular panied with a commentary and notes, reference to the drama. As to the fein which he endeavoured to prove, cond part, the critick, I think, might

1. That the Art of Poetry at fairly have extended the poet's considelarge was not the peculiar subject of ration of the drama to the 365th line, this piece, but that it was a system and seventy lines farther than he has carried not a collection, and that it was written it: but the last hundred and eleven solely and simply to criticize the Ro- lines of the epistle fo little allude MAN DRAMA: 'and that to this end drama, that the only passage in which every single precept of it ultimately a mention of the stage has been supposed refers.

to be implied, [ludufque repertus, &c.] II. The false opinions, with respect is, by the learned and ingenious critick to this poem, have arisen from a mis- himself, particularly diftinguished with conception, not only of the SUBJECT a very different interpretation. Nor but also from an inattention to the can this portion of the epistle be confiMETHOD of it.

dered, by the impartial and intelligent The Bishop then attempts to prove reader, as a mere exhortation “ to corthat the subject is singly, the state of rectness in writing; taken up partly in the Roman Drama, and that a regular removing the causes that prevented it; plan is adopted in the prosecution of and partly in directing to the use of this subject. He then distinguishes such means, as might serve to promote the epifle into three parts.

it." Correctness is indeed here, as in 1. From verse i to v. 89. Some many other parts of Horace's Satires general rules and reflexions preparatory and Epistles, occasionally inculcated; to the main subject of the epiftle. but surely the main scope of this ani

II. From v. 89 to v. 295. Re- mated conclusion is to deter those who gulations for the Roman stage, parti- are not bleft with genius from attempt. cularly rules for tragedy.

ing the walks of poetry.” III. From v. 295 to the end. Ex- Mr. Colman then informs us, that he hortations to correctness in writing, agrees with the Bishop, as to the unity especially of the dramatic kind. of subject, of beauty, of method observed

Such is the summary of the learned, in this work, but that he cannot agree and, indeed, elegant Hurd, bred and that the main intention was the regunurtured in the refined school of War- lation of the Roman ftage. burton. From his laws Mr. Colman His idea is as follows: He imagines, very ingeniously appeals, in his letter that one of the Pisos had written, or to the Mr. Wartons, prefixed to this meditated, a poetical work, probably translation.

a tragedy, which piece or intention

did not meet with the approbation of amination of the original of Horace, : Horace. In order to dissuade the and fubmit to you the translation, with. youth from publication, the poet with the notes that accompany it, I cannot á very characteristic and courtly de- help observing, that the system, which licacy, dedicates this epistle to the I have here laid down, is not so entirely father and the two sons.

new as it may perhaps at first appear Horace, continues the translator, 'be- to the reader, or as I myself originally gins with general reflections, addressed supposed it. No critick indeed has, to his three friends, and with preliminary to my knowledge, directly confidered rales.calculted for poets of every denomi- the whole Epiftle in the same light that nation. After this view of poetry, on I have now taken it; but yet particular the canvass of Aristotle, but after his passages, feem so strongly to enforce own manner, he gives the rules and such an interpretation, that the editors, history of the drama, adverting prin- translators, and commentators, have been cipally to tragedy, and its constituent occasionally driven to explanations of appendages. In this part of the Epiftle, a similar tendency; of which the notes, he writes entirely to the two young annexed will exhibit several striking men, and points out the dificulties instances.” and excellencies of the Dramatic art. Such is Mr. Colman's opinion of The poet having exhausted this part of this celebrated epistle, and it is entirely his subject, suddenly drops a second, original, if we except the notion of the or dismisses at once no less than two of uniformity and regularity, which Hurd the three perfons, to whom he originally first promulgated. addrested this Epiftle--and earnestly The manner in which our translator conjures the ELDER Piso, O Major points out the particular paffages in Juvenam, to reflect on the danger of which he differs from the Bihop des precipitate publication, and to avoid ferves high commendation. It is lithe ridicule which pursues bad poetry. beral, and worthy of the gentleman From v. 366, therefore, to the end of and the scholar. It may, indeed, serve the poem, almost a fourth part of the as a model to all literary disputants, whole, the plural number is discarded, who commonly mingle more acidity and the fingular is invariably retained. than sweetness with their remarks. The arguments are equally personal, The translation is next to be confi. thewing what constitutes a good poet, dered, and, on the whole, it is emi: and describing an infatuated scribbler. nently successful. Eafe and strength

To conclude (says. Mr. Colman) are correctly blended, and the curiosa, If I have not contemplated my system, felicitas, which Petronius very acutely till I am become blind to its imperfec- remarked in the writings of Horace, tions, this view of the Epistle not only may be traced in several passages of this preserves to it all that unity of subject, version. It is not so close as metaand elegance of method, so much in- phrase, nor so free as paraphrase; while fifted on by the excellent critick, to in exactness and poetical merit it far whom I have so often referred; but by excels any former attempt. adding to bis judicious general abstract Many parts of this Epistle, particu, the familiarities of personal address, folarly thole respecting the fute, the strongly marked by the writer, not a music of the ancients, and the formaline appears idle or misplaced: while tion of the lambic verse, Mr. Colman the order and disposition of the Epittle has not only faithfully translated, but to the Pisos appears as evident and un- even put into an elegant English dress, embarrassed, as that of the Epistle to although every author has ranked them Auguftus; in which laft, the actual among thofe descriptions which no ftate of the Roman Drama seems to modern language can express. have been more manifestly, the object Many of the lines of the original, of Horace's attention, than in the work likewise, which are derived from pronow under consideration.

verbial expreffions, Mr. Colman has ren“Before I leave you to the further ex- dered with equal ability and happiness. Loxd. Mac. July 1783.

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'The

The notes are partly original and The following passage possesses so partly selected. Many of the opinions much elegant eale, that we can venture of former commentators are controvert- to attert, that it will please every reader ed, many of their mistakes are corrected, of talte and discernment: and several obscurities are explained. So that this collection

" As the fly kawker, who a fale prepares, be considered may

Collects a croud of bidders for his wares, as a very useful, as well as ornamental

The poet, warm in land, and rich in cash, appendage to the translation, and merits Allembles flatterers, brib'd to praise his tratha the attentive perufal of every scholar. But if he keeps a table, drinks good wine, Upon the whole, we think this ver

And gives his hearers handsomely to dine ;

It he'll stand bail, and 'tangled debtors draw Sion, and the notes which accompany Forth from the dirty cobwebs of the law; it, a real acquisition to the literary Much shall I praite his luck, his fenfe commenda world, and at the same time, that this li he discern the flatterer from the friend. work will add a fresh laurel to the classic Is there a man to whom you've given ought?

Or mean to give ? let no such man be brought wreathe that has so long adorned the To hear your verses! for at ev'ry line, brow of the English Terence.

Bursting with joy, he'll cry, 'Good! rare ! divine! We cannot dismiss this work, with- The blood will leave his check; his eyes will out giving our readers an opportunity with tears

, and soon the friendly dew diftill: of judging for themselves of the merit He'll leap with extacy, with rapture bound; of this Translation.

Clap with both hands; with both feet beat the The first pallage which we shall select grourd. will be the defence of poetry:

As muminers

at a funeral hir'd to weep,

More coil of woe than real mourners keep, “ The barb'rous natives of the shaggy wood More mov'd appears the laughter in his llceve, From horrible reparts, aad iets of blood, Than thote us ho truly praite, or imile, or grieve, ORPHEUS, a prieit, and heav'niy teacher, Kings have been said to ply repeated bowls, brought,

Urge deep caroulais, to unlock the souls And all the charities of nature taught:

One, whole loyalty they wilh'd to prove, Whence he was said tierce tigers 10 wilay, And know, ił false, or worthy of their love: Aidling the favage lion from liis prey.

You then, to writing verle if you're inclin'd, Within the hollow of AMPHION's chill Beware the Spaniel with the iox's mind!" Sinch pow'rs of found were lodg'u, 10 (seet a spell!

One passage more, and we hare done. That stones were said to move, and at his call, Charnı'd to his purpose, form'd ise Theban wall. often been admired in the original, that

The description of the ages bas fo “ The love of moral wisdom to infuse These were thelabours of THE ANCIENTMu9x,

we cannot withhold the translation of To mark the limits, where the barriers stood it, and the note on the passage, from "wist private int'rest, and the publick good;

our readers To raise a pale, and firmly to maintain The bound that sever'd acred froin profane; “ Man's several ages with attention view, To thew the ills promiscuous love thould dread, His flying years, and changing nature too. And teach the laws of the conrubial bed;

“ The boy who now his words can freely found, Mankind dispers'd, to focial towns to draw; And with a steadier footstep prints the ground, And on the sacred tablet grave the law;'

Places in playfellows his chief delight, Thus fame and honour crown'u the poci's line; Quarrels, makes hands, and cares not wrong of His work immortal, and himielf divine !

right: “ Next lotty HOMER, and TYRT ÆUS Sway'd by each fav’rite bauble's Mort-liv'd pow'r, trung

In smiles, in tears, all humours ev'ry hour. Their epic harps, and songs of glory fung;

“ Tlie beardless youth, at length from tutor free, Sounding a charge, and calling to the war Loves horses, hounds, the field, and liberty: The fouls that travely feel, and nobly dare. Pliant as wax to vice his casy soul,

“ In verse the oracies their lenie mike known, Marbie to wholesome counsel and controut; In verse the road and rule of life is thewn; Improvident of good, of wealth profufe; Vere to the poet royal favour brings,

High; fond, yet ñckle; generous yet loose. And leads the Maies to the throne of Kings; To graver studies, new pursuits inclin'd, Verle rou, ihe varied scene and sports prepares, Manhood, with growing years, brings change of Brings rest to toi!, and balm to ail our cares.

mind : DEEM TY E N WITH REV'RENCE OF THE Sceksriches, friends; with thirst of honour glows; GIORIOUS FIRE,

And all the meannels of ambition knows; BREAT!I'D BY THE MUSI, TH MISTRESS Prudent, and wary, on each deed intent, OF THE LYRE!

Fearful to act, and afterwards repent. BLUSH NOT TO OWN 2 POW'R, HER “ Evil in various shapes old age furrounds;

Riches his aim, in riches he abounds; Nor THINK Aro 1.1.0, LORD OF SONG, Yet what he fear'd to gain, he dreads to lose; SKAMI?" And what he dought aw useful, Sarcs not use.

CLORIOUS FLAME:

LILY

DA MODO

INFANTIE

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Timid and cold in all he undertakes,

seenâ induci possit, quòd ipfas rerum His hand from doubt, as well as weakness,

voces reddere neque dum sciat, neque fhakes; Hope makes him tedious, fond of dull delay;

valeat. Nihil de moribus item hujus Dup'd by to-morrow, though he dies to day; ætatis, quam, fi latinè licet, DECREPIIll-humoured, querulous; yet loud in praise TATEM vocabimus, QUÆ ÆTAS QUOOf all the mighty deeds of former days:

RESPONDET: When he was young, good heavens, what glorious times!

de JUVENTUTE autem & ADOLFSCEN, Unlike the present age, that teems with crimes! TIA simul pertractat, quòd et studiis, et

" Thus years advancing many comforts bring, naturâ, & voluntate, parum, aut nihil And, Aying, bear off many on their wing: inter fe differant. Aristoteles etiam in Contound not youth with age, nor age with libris ad Theode tem omisit & PUERI

youth, But mark their several characters with truth!” TIAM, & merito: cum minime apad Man's feveral ages, &c.]

pueros, vel de pueris fit orator habitu

rus orationem. Ille enim ad hoc ex Etatis cujufque, &c. Jason Denores takes notice of the particular stress, ætate personarum differentiam adhibet, that Horace lays on the due discrimina- uti debeat oratione, id est, eorum mo

ut inftituat oratorem, quomodo moratâ tion of the several ages, by the fo- ribus, apud quos, & de quibus loquitur, lemnity with which he introduces the

accommodatà. mention of them: the same critick subjoins a note also, which I shall trans- common for the writers of that time,

appears from hence, that it was cribe, as it serves to illustrate a popular paffage in the As you Like It of Shakes as well as Shakespear's Jaques, to divide

the life of man into SEVEN AGES, viz. inspeare.

fancy, childhood, puberty, youth, man“ All the world's a ftage

hood, old age, and decrepitude; 'which And all the men and women merely players; last (says Denores) in some fort answers They have their exits and their entrances, And one man in his time plays inany parts:

to infancy,' or, as Shakespeare exHis acts being SEVEN ACES. At first the infant, presses it, 18 SECOND CHILDISH NESS. Mewling and puking in the nurse's arms:

“ Before Shakespeare's tiine, says And then, the whining school-boy with his satchel, Warburton, feven acts was no unusual And shining morning-tace, creeping like fnail Unwillingly to school. And then, the lover;

division of a play, so that there is a Sighing like furnace with a woeful ballad a greater beauty than appears at firkt Made to his mistress' eye-brow. Then, a soldier; sight in this - image.' Mr. Steevens, Full of strange oaths, and bearded like the pard,

however, informs us that the plays' Jealous in honour, sudden and quick in quarrel; Seeking the bubble reputation,

of that early period were not diEven in the cannon's mouth. And then, the justice vided into acts at all. It is most proIn fair round belly, with good capon bin’d, bable, therefore, that Shakespeare unly With eyes fevere, and beard of formal cut,

copied the moral philosophy (the soFull of wife saws and modern intances, And so he plays his par. The sixth age shifts

craticæ chartz) of his own day; adapt. Into the lean and Dipper'd pantaloon,

ing it, like Aristotle and Horace, to With Ipectacles on nose, and pouch on side; his own purpose; and, I think, with His youthful hore well fav’d, a world too wide For his shrunk thank; and his big manly voice,

more felicity than either of his illurTurning again toward childish treble, pipes,

trious predecessors, by contriving to And whistles in his found. Luft scene of all, introduce, and discriminate, every one That ends this strange eventful hiftory,

of the SEVEN AGES. This he has efIs fecond childishnels, and were oblivion, Sans teeth, sans eyes, sans taite, fans every thing.

fected by alīgning STATION and CHA

RACTER to some of the stages, which “Animadverti 4 PLERISQU E hominis to Aristotle and Horace appeared too ætatem IN SEPTEM

Esse similar to be distinguished from each PARTES, INFANTIAM, PUERITIAM, other. Thus PUBERTY, YOUTH, ADOLESCENTIAM, JUVENTUTEM, MANHOOD, and OLD AGE, become VIRILITATEM, SENECTUTEM, & ut under Shakespear's hand, the Lover, ab illis dicitur, DECREPITATEM. In the SOLDIER, the JUSTICE, and the hac verò parte nihil de INFANTIÆ. lean and flipper'd PANTALOON; while moribus Horatius, cum nihil ea ætas the natural qualities of the INFANT, præter vagitum habeat proprium, the Boy, and the Dutard, afford sufideòque infantis persona minimé in ficient materials for poetical defcription.

" 262.

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