Here Morpheus is distinctly described as acting under Somnus, and assuming different appearances as the occasion required. However this may be, there is a mistake in the punctuation of a passage quoted to show the youth of Somnus, of some importance, as it affects part of the proof adduced in support of the distinction, and entirely destroys the parallelism of the passage. After charging Addison with having fallen into "an error from which his own reference to Statius ought to have secured him," the writer of the note thus quotes the lines alluded to. "Crimine quo merui, juvenis placidissime Divum, Somne, tuis ?" We have always read the passage thus: "Crimine quo merui juvenis, placidissime Divum," &c. By this punctuation juvenis acquires a very peculiar force, and the spirit of the passage is greatly improved. "What have I done, that I, though still young, at that season of life when cares are least likely to obstruct repose, am denied the gifts of sleep?" The beauties of this exquisite little poem are fresh in the memory of every classical reader, and we agree with the remark in the Illustrations, that Mr. Hodgson " has, if possible, added to the calm repose and sweetness of the original description.” "Now every field, and every herd is thine, And seeming slumbers bend the mountain pine; Hush'd is the tempest's howl, the torrent's roar, And the smooth wave lies pillow'd on the shore." P. 408. It is thus we should wish to express our feelings on viewing the tranquillity and softness of one of Claude's night-pieces. The least interesting division of the volume is the last, entitled "Satirical and Humorous." A part, at least, of the pleasure which we derive from humour, arises from the unexpected manner in which incongruous thoughts are combined by some apparent similarity. It follows that our pleasure is lessened in proportion to our surprise, and that which appears good on the first reading, loses something of its beauty at every succeeding perusal. Besides, the subjects which afforded matter of ridicule to the ancients are not altogether such as now strike us in the same light; and in general every age has its own objects of entertainment, its peculiar cast of humour, which will not be readily exchanged for any other. But this is a point on which we touch with considerable SELECT REVIEWS. tenderness for the feelings and opinions of others. We may, ever, venture to observe, that true wit has no more connexion with howextravagant images, than the comedy of Terence, of Fontenelle, and occasionally of Molière, has with plays of character, in which simple avarice or extravagance are drawn, instead of the covetous, or the extravagant man; or with Spanish plots, which deceive a man through his senses, not through his passions and affections. The emotion of pleasure must be retained, as well as excited; the gratified feeling must be as inseparable from the idea which gave rise to it, when it is familiar, as when it was new. Notwithstanding what we have said on this point, we will still venture to quote one specimen of this part of the work, in which a favourite subject of all epigrammatists is well displayed. AGATHIAS, 67. iii. 56. On a Lawyer. M. "A plaintiff thus explained his cause To counsel learned in the laws : My bondmaid lately ran away, Then hemm'd, and said, 'your case is clear. 939 P. 451. We are not much dissatisfied with the following observations prefixed to some "extracts from the Grecian drama." "Notwithstanding the success with which Potter's faithful and animated translations of the great fathers of the Grecian drama have deservedly been attended, it has always appeared to me that the true spirit of their poetry might be more nearly attained, by adopting the sonorous and majestic couplet, which Dryden wished to introduce on the English stage, in imitation of Corneille and Racine; and which, however un suitable to the purpose of representing violent and sudden emotions, is peculiarly well adapted as the vehicle both of declamatory passion, and of pathetic sweetness." The extracts which follow are from the most touching and tender scenes of the Greek tragedy; the thoughts such as are most in unison with those domestic feelings which come home to every heart, and the classical allusions so natural and intelligible as not to be displeasing even to the English reader who seeks only for beauty of poetry, and has no additional source of gratification in meeting with a spirited version of his favourite passages; yet we should say that the attempt had decidedly failed, if the truth of the doctrine depended on the detached specimens before us. We must, however, make two exceptions; the first in favour of the translation of a chorus in the Alcestis of Euripides, the other the address of a daughter to her father, conjuring him to spare her life; and both of singular beauty. ADDRESS OF THE CHORUS TO ALCESTIS. M. "Daughter of Pelias! peaceful sleep In Pluto's mansions cold and deep, Where the bright sun can enter never! And may the gloomy monarch know, No spirit half so lovely ever, Or in harmonious notes shall sing, "O! could the power of verse recall And dark Cocytus' spectred wave! O could it bid thy spirit stray And break the darkness of the grave! SELECT REVIEWS, "Most lov'd, most honour'd shade, farewell! "Nor thou, afflicted husband, mourn And which we all are doom'd to try: "But she who nobly died, to save Blest guardian of the wandering stranger, hail!'-P. 243. FROM THE IPHIGENIA IN AULIS OF EURIPIDES. "Had I the voice of Orpheus, that my song To pour the plaint of sorrow as I ought, 6 "I was the first on whom you fondly smiled, And straining to your bosom, called, My child?' Canst thou forget how on thy neck I hung, And lisp'd, My father!' with an infant tongue! How 'midst the interchange of holy bliss, The child's caresses, and the parent's kiss, 'And shall I see my daughter,' wouldst thou Blooming in charms among the fair and gay say, Of some illustrious youth the worthy bride, The beauty of his palace and the pride?" ? 'Perhaps,' I answer'd with a playful air, And dares my father hope admittance there, -But thou remember'st not how then I smiled- O slay me not! respect a mother's throes, O, what a dreadful thought it is to die! Is real bliss to what we fear of death.'" P. 264. Frequent use has been made of the stores of French literature lately opened to us. We suspect that Mr. Bland has a great predilection for the French wits. He seems to be familiar with the productions of Du Fresnoy, and Baraton, and Chardon, and Moncrif, and does not hesitate to avail himself of the miscellaneous nature of the illustrations, by introducing them in an English dress, as often as any similitude of thought or subject allows. Two valuable recent publications have contributed whatever was wanting to make us thoroughly acquainted with the taste in writing and conversation which prevailed among the Parisian beaux esprits of the last century. The anonymous treatise De la Littérature Française pendant le 18me Siècle, describes the result of their hours of seriousness and study; and Baron Grimm's more desultory work has supplied all that remained to be learned respecting their movements in private life, when no part was to be acted, no VOL. III. New Series. 36 |