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May we not also add, as an example of the Enantiolis, 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, flocks, 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 sway 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,Tıt'rus, and thy beechen bow'r have sung f.

Fundit humo facilem victum jufliffima tellus.
Şi non ingentem foribus domus alta fuperbis
Mane falutantum totis vomit ædibus undain; ..
Nec varios inhiant pulchra testudine poftes,
Illusasque auro vestes, Ephyresaque æra;
Alba neque Affyrio fucatur lana veneno,
Nec cafia liquidi corrumpitur usus olivi:
At secura quies, & nescia fallere vita,
Dives opum variarum ; at latis otia fundis,
Speluncæ, vivique lacus; at frigida tempe,
Mugitufque bovum, mollesque sub arbore fomni .

Non absunt Virgil. Georgic. lib. ii, ver. 458. of Hæc super 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 forentem ignobilis oti:
Carmina qui lufi pastorum ; audaxque juventa,
Tiryre, te patulæ cecini sub tegmine fagi.

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

How finely are the sweets of dissolute plea, fure, 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 strong gusts of raging passion rise, -Till the dire tempest 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 {moothness, in the following verses ; 2.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,


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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 Itudy to “ find reasons to determine qur 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 " Just and oppression. When she is tired with “ this scene, then fhew 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 hiin in his “ most retired privacies ; let her follow him to o the mount, and hear his devotions and suppli« cations to his God. Carry her to his table, to

... Solbero, 5 view + Pope's Satires of Horace imitated, fat. i. Įine 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 him to the tribunal, cc 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, far so they know not what they do! --- When natural « 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 « 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 f.”..

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.

Now from the height of heav'n the fan declin’d,
And in a milder blaze of glories thin'd,
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, v-The muse, and harmless siren of the wood,

. A nightingale, of Sutrlock'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 sounds: the pleasing strain

Her ear receiv'd, she warbles' o'er again; to 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 resolv'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 made, 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 sound; 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 paus’d. The nightingale renews her art,.. And warbles o'er her lesson 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 so complicate and sweet, And now his vocal instrument prepares For bolder music, and fublimer airs.

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