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May we not also add, as an example of the Enantiofis, the lines with which VIRGIl concludes his Georgics, in which he paints in such different colours AUGUSTUS and himself?

Thus have I sung of tillage, focks, and trees,
And last describ'd the labours of the bees :
While CÆSAR, ardent in his glorious course,
Is thund'ring at Euphrates' trembling source.
He o'er the willing world his fway extends,
And, more than mortal, to the skies ascends ;
While I at Naples spend my easy time,
Unknown to glory, and beguild in rhime:
I who in paft'rals play'd ; and, bold and young,
Thee,Tır’RUS, and thy beechen bow'r have sung f.


Fundit humo facilem victum juftiffima tellus.
şi non ingentem foribus domus ala fuperbis
Mane falutantum totis vomit ædibus undain;
Nec varios inhiant pulchra testudine postes,
Illusasque auro veftes, Ephyreïaque æra;
Alba neque Affyrio fucatur lana veneno,
Nec cafia liquidi corrumpitur usus olivi:
At fecura quies, & nescia fallere vita,
Dives opum variarum ; at laris otia fundis,
Speluncæ, vivique lacus; at frigida tempe,
Mugitusque bovum, mollesque fub arbore fomni

Non absunt Virgil. Georgic. lib. ii. ver. 458. + Hæc fuper arvorum cultu pecorumque cânebam

Et super arboribus : Cæsar dum magnus ad altum
Fulminat Euphraten bello, victorque volentes
Per populos dat jura, viamque affectat Olympo.
Illo Virgilium me tempore dulcis alebat
Parthenope, ftudiis florentem ignobilis otî:
Carmina qui lufi pastorum ; audaxque juventa,
Tityre, te patulæ cecini sub tegmine fagi.

VIRGIL. Georgic. lib. iv. ver. 559.

How finely are the sweets of dissolute pleasure, and the wretched consequences that foon fucceed upon it, represented in the following lines of Mr PRIOR?

On pleasure's flowing brink we idly stray,
Masters as yet of our returning way;
Seeing no danger, we disarm our mind,
And give our conduct to the waves and wind :
Then in the flow'ry mead, or verdant shade,
To wanton dalliance negligently laid,
We weave the chaplet, or we crown the bowl,
And smiling see the nearer waters roll;
Till the {trong gusts of raging passion rise,

Till the dire tempeft mingles earth and skies; * And, swift into the boundless ocean borne,

Our foolish confidence too late we mourn:
Round our devoted heads the billows beat,
And from our troubled view the less'ned lands re-

treat *

Mr Pope has most beautifully contrasted the noisy rattling of numbers, and their soft and easy fmoothness, in the following verses ; What, like Sir RICHARD, rumbling, rough and fierce With arms, and George, and Brunswick crowd the verse, Rend with tremendous found your ears afunder, With gun, drum, trumpet, blunderbuss, and thunder? Or nobly wild, with BUDGELL's fire and force, Paint angels trembling round his falling horse?Then all your muse's softer art display, Let CAROLINA smooth the tuneful lay,


* PRIOR'S Solomon, book ii.


Lull with AMELIA's liquid name the nine,
And sweetly flow thro' all the royal line t,

With what masterly touches has the late Bishop SHERLOCK contrasted the characters of our blessed LORD, and the Eastern Impostor MAHOMET?

" But with respect to this instance, I persuade “ myself it can be no very distracting study to “ find reasons to deterinine our choice. Go to “ your natural religion : lay before her Maho

Met and his disciples arrayed in armour and *in blood, riding in triumph over the spoils of " thousands and tens of thousands, who fell by « his victorious sword. Shew her the cities « which he set in flames, the countries which he

ravaged and destroyed, and the miserable dis. “ tress of all the inhabitants of the earth. When * she has viewed him in this fcene, carry her * into his retirements ; shew her the prophet's “ chamber, his concubines and wives; let her “ see his adultery, and hear him alledge revela“ tion and his divine commission to justify his “ luft and oppression. When the is tired with “ this scene, then shew her the blessed JESUS, “ humble and meek, doing good to all the souls “ of men, patiently instructing both the igno“ rant and perverse. Let her see himn in his “ most retired privacies ; let her follow him to “ the mount, and hear his devotions and suppli“ cations to his God. Carry her to his table, to

< view + Pope's Satires of Horace imitated, fat. i. line 23. vol. iv. page 57

“ view his poor fare, and hear his heavenly dis« course. Let her fee him injured, but not pro« voked: let her attend hiin to the tribunal, c and consider the patience with which he en« dured the scoffs and reproaches of his enemies, “ Lead her to his cross, and let her view him in si the agonies of death, and hear his last

prayer for his perfecutors; Father, forgive them, fax they know not what they do! --- When natura!

religion has viewed both, ask, Which is the “ Prophet of God? But her answer we have al; ready had, when she saw part of this scenę (s through the eyes of the centurion who attended “at the cross: by him she spoke, and said, Truly ". This man was the Son of God t."

I will venture to mingle with the examples of the Enantiosis, a translation of Strada's descrip, tion of the Contest between the Musician and Night, ingale

, since I am certain that the poem is re. markable for its variations.

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Now from the height of heav'n the fan declin'd,

And in a milder blaze of glories fhind, . When on the Tiber's verdant banks awhile - Alutanift relaxing from his toil,

Sat down beneath an oak, that o'er his head 2: From the hot beams a bow'ry shelter spread,

And wak'd to melody his vocal strings;
The æther all around with the loud music rings.

A feather'd native of the neighbourhood,
The mure, and harmless firen of the wood,

A nightingale,

Sutelock's Discourses, vol. i. page 271.

A nightingale, foon hears him, and draws nigh (The branching foliage screen’d her from the eye) And deep imbibes the founds: the pleasing strain

Her ear receiv'd, the warbles o'er again; 6. And, as his fingers play'd, each rising note Return'd in echos from her lab'ring throat.

His rival the musician quickly heard, And strait refolv'd to give th'ambitious bird Full trial of her skill. He first explor'd The latent energy of ev'ry chord, And fix'd the num'rous strings exactly right, Then, as a prelude to the future fight, His fingers with a sov'reign impulse sweep The sounding lyre: diversify'd and deep The strains arise : again the strains are play'd By the melodious tenant of the shade, And with a like variety and strength She trills her raptures to an equal length, The earnest of her pow'rs. The artist's stroke, Soon with a seeming negligence awoke His harp, that gave an undistinguish'd found; Then one by one th' elastic strings rebound; And now o'er all the chords his fingers fly; The strains in close succession mount the sky. He pausid. The nightingale renews her art, And warbles o'er her leffon part by part: Now with a careless freedom tunes her throat, And dwells upon the long-extended note; And now with artful modulation plays Her voice, and trills and quavers o'er her lays :

The man admir'd to hear a bird repeat A tune at once fo complicate and sweet, And now his vocal instrument prepares For bolder music, and fublimer airs.


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