Conf. Joh. Joach. Mölleri de Versu inopinato in Prosa. Lips. 1688. 4.

VI. Butler on Æsch. Choëph. 343 sqq. Ei yag in' 'Inly, x. T. λ. has forgotten to quote the obvious passages, Ŏd. 1. 236, and V. 306.

VII. Blomf. Not. on Esch. Agam. 93, 94. (The passage is as follows, 91-95. ἄλλη δ' ἄλλοθεν οὐρανομηκὴς Λαμπὰς ἀνίσχει, Φαρμασσομένη χρίματος αγνοῦ Μαλακαῖς ἀδόλοισι παρηγορίαις, Πελάνω μυχόθεν Βασιλείῳ.) « Quidnam sunt unguenti άδολοι Taphyopias nemo explicare potuit." Does not ragnyopias signify παρήγοριαι παρηγορίαις persuasions," "incentives," or, to use Shakspeare's word, "appliances?" The description altogether reminds us of one in Southey's Curse of Kehama, Canto xvii. especially the epithet oúpavoμnxns, which seems more literally applicable to the festal lamp of Báli than to the illuminations (procul omen abesto) at Argos.

VIII.-1. (Translation.)

Aspice, qua parvus cultu viret angulus, et se
Pandit ad apricum florea terra diem.
Hic humiles violæ fragranti flore renident,
Mistaque cum rubris lilia cana rosis.
Hic procul assiduo populi semota tumultu
Floribus halantem cepit Eliza locum.
Hic animo tranquilla, suæque simillima sedi,
Accolit intactas, purior ipsa, rosas.

2

Ne magna desint gaudia gloriæ;
Diuque raucis navita fluctibus'
Jactatus, absentemque præsens
Jamjam animo patriam revisens ;
Frustra: maligno nam propius pede
Morbus propinquat, cordaque fortia
Jam morte languescunt; nec unquam,
Præcipiente animam sepulcro,
Charam licebit visere conjugem,
Fumumque nota prospicere e casa,
Qua duxit annos, atque misto
Traxit opus juvenile ludo.

Etona.

3

Εμπεσεν ὠκεανῷ ποταμῷ βαθυδινήεντι
Ηέλιος, κατὰ δ ̓ ὑψηλῶν ὄρεος κορυφάων
ἔκφυγεν ἀκάματον σέλας, ἀκτάων τε προπάσεων.
πυκνῷ δὲ νυκτὸς ζόφῳ ἀστέρες, ἤΰθ' ὁμίχλη,
κεκρύφαται, μήνη δὲ περὶ νεφέεσσιν εσται
οὐρανὸν εἰσανιοῦσα, καὶ ἐν νέμεσι σκιεροῖσιν
ἑσπέριος μεταπαυόμενον Νότος ὤρνυτ' αὐτὴν,
καὶ τότε μὲν ψιθυρίζει ἐν ὑλῇ, ἄλλοτε δ ̓ αὖτε
παύεται, ἄλλοτε δ ̓ ἐκ πάμπαν πέσε, καὶ γὰρ ἐρεμνὴ
ἐκκατέβησε Σιωπὴ ἀπ' αἰγλήεντος Ολύμπου,
τῷ δ' Υπνὸς ἕπεται πόλεων ἀπὸ Κιμμεριάων,
ἱμερόεις, γλυκερός, μαλακόπτερος, ᾧ ῥά τε πάντων
στήθεα δέδμηται, ὅσσα τρέφει εὐρεῖα χθών.
οἴαι δ ̓ αὖ φωνῇ μινυριζόμεναι στονοέσση
νυκτερίδες φίλον ἐς νυκτὸς κνέφας ἐξανιεῖσιν,
οἴτε πανημέριοι μυχῷ ἄντρου θεσπεσίοιο
πτώσσουσιν, θωκοῖσιν ἀγαλλόμεναι σκιεροῖσιν
ἄλλ ̓ ὅταν ἠέλιος τε δύῃ, καὶ ἐπὶ κνέφας ἔλθῃ,
καὶ τότ ̓ ἄρ ̓ ἐξανιεῖσιν ἐπὶ σκιόεσσαν ἄρουραν
δεινὸς δ' ἐξ ἀγροῦ στόνος ἤϊε τετριγυιῶν.

νὺξ δ ̓ ἤδη τελέθει, παύσαντο δὲ ἔργ ̓ ἀνθρώπων.

ἢ τις οὐταμένος δηΐων ὑπὸ θυμοραΐστεων,
ἢ σκοπὸς, ὃς φοβερὸν θαρσῶν δήϊα σκοπιάζῃ·
οἱ δ ̓ ἄλλοι κλισίησι καθεύδουσιν, ποτὶ δέ σφιν
ἥδεα κάκχει πάντα, λύων μελεδήματ', ὄνειρος.
Elone.

1. Stewart's Philos. Essays, p. 593, 3vo. “A French poet of our own times, in alluding to the wonders of creative power, has attempted, by means of a very singular personification, to rise higher than the sacred historian." (Alluding to the opening of the book of Genesis.) "With what success, I leave the reader to judge:

L'Imagination, féconde, enchanteresse,

Qui fait mieux que garder et que se souvenir,
Retrace le passé, devance l'avenir,

Refait tout ce qui fut, fait tout ce qui doit être,
Dit à l'un d'exister, à l'autre de renaître;

Et comme à l'Eternel, quand sa voix l'appela,
L'être encore au néant lui répond: Me voilà."

We know not if it be worth remarking, that this curious passage bears marks of being adumbrated from Job xxxviii. 35. "Canst thou send lightnings, that they may go, and say unto thee, Here we are?"-Truly may it be said, that there is no bathos so great, as the descent from the sublime to its counterfeit.

2. A writer in the Retrospective Review, No. iv. p. 351, art. Fletcher's Purple Island, notices "the singular skill with which the poet has availed himself of a very mean image, and which he has indeed elevated into something like dignity." The passage is as follows:

Like as when waters, wall'd with brazen wreath,

Are sing'd with crackling flames, their common foe;

The angry seas 'gin foam and hotly breathe,

Then swell, rise, rave, and still more furious grow;
Nor can be held; but forc'd with fires below,
Tossing their waves, break out, and all o'erflow.

The Reviewer has omitted to notice the original from which these lines are borrowed: it may amuse some readers, as affording an instance of the very different manner in which the selfsame ideas may be expressed-otherwise the imitation is far too insignificant for notice.

Magno veluti quum flamma sonore
Virgea suggeritur costis undantis aheni,
Exsultantque æstu latices; furit intus aquaï
Fumidus, atque altè spumis exuberat amnis:

Nec jam se capit unda; volat vapor ater ad auras.
Virg. Æn. vii.

3. Οὐ γὰρ οἱ κακοπραγοῦντες δικαιότερον ἀφειδοῖεν ἂν τοῦ βίου, οἷς ἐλπὶς οὐκ ἔστ ̓ ἀγαθοῦ, ἀλλ ̓ οἷς ἡ ἐναντία μεταβολὴ ἐν τῷ ζῆν ἔτι κινδυνεύεται, καὶ ἐν οἷς μάλιστα μεγάλα τὰ διαφέροντα, ἤν τι πταίσωσιν. ἀλγεινοτέρα γὰρ ἀνδρί γε φρόνημα ἔχοντι ἡ ἔν τῳ μετὰ τοῦ μαλακιστ θῆναι κάκωσις, ἢ ὁ μετὰ ῥώμης καὶ κοινῆς ἐλπίδος ἅμα γιγνόμενος ἀναίσθητος θάνατος. Thuc. ii. 43, ad fin.

Somewhat akin to this is the sentiment contained in the following passage of Lord Byron's Mazeppa-a passage which, to us, bears a striking resemblance to the youn of an ancient Grecian poet.

"Strange to say, the sons of pleasure,
They who have revell'd beyond measure
In beauty, wassail, wine, and treasure,
Die calm, or calmer oft than he
Whose heritage was misery:

For he who hath in turn run through

All that was beautiful and new,

Hath nought to hope, and nought to leave;

And, save the future, (which is view'd

Not quite as men are base or good,

But as their nerves may be endued),

With nought perhaps to grieve:

The wretch still hopes his woes must end,
And Death, whom he should deem his friend,
Appears, to his distemper'd eyes,

Arrived to rob him of his prize,
The tree of his new Paradise.
To-morrow would have given him all,
Repaid his pangs, repair'd his fall;
To-morrow would have been the first
Of days no more deplored or curst,
But bright, and long, and beckoning years,
Seen dazzling through the mist of tears,
Guerdon of many a painful hour;
To-morrow would have given him power
To rule, to shine, to smite, to save-
And must it dawn upon his grave ?"

1. 736.

4

Bloinf. Not. on Agam, 101. Perhaps the expression. åμúver may defend the reading άπληστον.

Thucyd. i. 32. and 37. What Alcinous says of the Phæacians might not inaptly be quoted here:

A

Οἰκέομεν δ ̓ ἀπάνευθε, πολυκλύστῳ ἐνὶ πόντῳ,

ἔσχατοι, οὐδέ τις ἄμμι βροτῶν ἐπιμίσγεται ἄλλος. Od. vi. 204. Homer (Od. vi. 503.) says of Ajax, when escaped from a shipwreck :

ὑπερφίαλον ἔπος ἔκβαλε, καὶ μέγ ̓ ἀάσθη,

φῆ δ ̓ ἀέκητι θεῶν φυγέειν μέγα λάιτμα θαλάσσης.

Hence Milton may have borrowed the boast of his fallen angels, (Paradise Lost, i.)

Both glorying to have scaped the Stygian flood

By their own might

Not by the sufferance of supernal power.

The passage of St. Ambrose, cited Cl. Jl. xl. p. 349. 1.7, seems rather imitated from Hor. Lib. i. Sat. iv. 11. of Lucilius-Cum flueret lutulentus, erat quod tollere velles.

In the Public Library at Vienna is the original of the celebrated Tabula Peutingeriana. It is a map of the Roman Empire, or rather of the ancient world, beginning from the Pillars of Hercules, and extending to India as far as Alexander the Great penetrated. Upon it are marked the roads, and it may thence be considered as having been intended for an Itinerarium, or travelling map. From a Latin epigram, which is