fresh, and with no unpleasant impreffions on the mind? In the mean time; the character of the LEARNED CRITIC Will, I doubt not, ftand as high in your opinion, as firm and unshaken by the petty cavils

of envious detractors, as it does in mine,

Adieu.

LETTER VI.

F

MY DEAR P.

Do I not flatter, myfelf, rather too much? when I suppose you have been waiting, with some degree of impatience, for the entertainment which I promised you. I will not pretend to guess what expectations you may have formed. Whatever they may be, as I have only a fecondary part to act, in fubferviency to the Mafter of the Feaft, I may be allowed to hope, that you will not be entirely difappointed.

On your first entrance into this enchanted ground, you will not fail to admire the extraordinary fagacity displayed by the LEARNED CRITIC in his development of the gradual preparation, with

...

which

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which the Poet guards the approach to his intended temple, " under the imagery "of an ancient triumph, when all the "Grecian Mufes at once, after being “forced from their high and advan

66

tageous fituation on the fummit of the "Aonian Mount, were to be led captive " into Italy."

With the fame confuminate fkill he conducts his reader through the several parts of this august structure after its erection. Virgil fays fimply, that he will rear a temple of marble.

"Et viridi in campo templum de marmore ponam.”

ΠΟ

J

Virgil, confiftently with that exquifite tafte and wonderful judgment, which fo eminently diftinguifh all his works, could do no more. He was to exhibit a temple before those, who were familiarly acquainted with its ufual form and structure, "Here therefore a minute defcription of its various parts would have been tedious and impertinent. The French Annotator takes it up as he finds it in the poem. But the cafe of the Commentator is far different

different from that of the Poet. The LEARNED CRITIC was aware of this difference, and better acquainted with his .bufinefs. He well knew that "the ima"gery in this place could not be under"ftood, without reflecting on the cuf "tomary form and difpofition of the

Pagan temples," which therefore he accurately and fcientifically describes, with all the knowledge and ability of a profeffed artift.

"The fhrine or fanctuary in the centre, “wherein the statue of the presiding god "was placed."

In medio mihi Cæfar erit.

The altar before the shrine,” on which were to be offered the facrifices to the new divinity.

Cæfofq. videre juvencos.

The doors of curious carved work, inclosing the image and ductile veils, "embellifhed by the rich embroidery of "flowers, animals, or human figures."

Purpurea intexti tollant aulæa Britanni.

Thus

Thus we have a comprehenfive view of this poetical building; of which the French Annotator feems to have had no idea; or, if he had any, not to have been aware, how intimately the plan, here given of it, was connected with the Poet's defign.

ca With this chart in his hand, the curious enquirer traces the whole progress of the Poet's imagery with ease and certainty. But this was not all. It was not enough to proceed regularly, step by step, through the several stages of this vifionary fcenery. It was evident that by these typical figns more was fignified than what was directly expreffed. The LEARNED CRITIC apprehends at once this remoter fenfe, and by an explication the most eafy and intelligible, renders it obvious to the meaneft understanding. The commoneft reader now fees that under the expreffion, folennes pompas, the Poet intimated the gradual folemn preparation of poetic pomp, in which he would proceed to the celebration of Cæfar's praife. That