possum? Sed sit nihil sancti, non fides, non religio, non pietas: audeantur infanda, si non perniciem nobis cum scelere afferunt. Unus aggressurus es Hannibalem? quid illa turba tot liberorum servorumque? quid in unum intenti omnium oculi? quid tot dextræ? torpescentne in amentiâ illâ? It is needless to observe that in some parts the resemblance consists in like combinations of words, rather than in their being similarly applied. The expression quicquid Deorum tends strongly to do away the old reading of quisquis Deorum, in the ode; which, notwithstanding, is supported by the authority of several MSS. and early impressions. After all, there is one process of reasoning, which I am aware of, by which it might be made to appear that the imitation was casual. AMPHIBOLOGUS. The beautiful and accomplished Henrietta de Coligny was painted sitting on a car moving on the clouds. The following inscription was placed under the picture: Quæ Dea sublimi rapitur per inania cultu? An Juno? an Pallas? num Venus ipsa venit? Lord Shaftesbury, it is said, assisted Locke in his treatise on Toleration. The proof is, that after the death of the former, the outline of that work was found in his handwriting. -palmaque nobilis Terrarum dominos evehit ad Deos. HOR. l. I. o.1. Hianti constructioni medetur Bentleius: palmaque nobilis terrarum dominos evehere ad Deos. Eleganter Græce. An Latine ?. Corrupta lectio sic restituenda videtur: palmaque nobilis, terrarum dominos que vehit ad Deos. In codice MS. fuerit: Q vehit; unde exsculptum evehit. Effinxit quondam, blandum meditata laborem, Ambrosiæ succos occultâ temperat arte, -D. The Poet Pellegrin with some difficulty obtained a livelihood from his clerical and his poetical exertions. In the morning he said mass to obtain a dinner in the afternoon he wrote for the stage to earn his supper-Hence the following neat character of Le matin catholique, et le soir idolâtre, him: Il dîna de l'autel, et soupa du théâtre. In looking over Klimius's Subterranean Travels, which present occasionally curious aralogies with those of our own Gulliver, I could not help being struck with two or three passages, which the magnus mirandusque exul of Elba would, perhaps, read with interest. "A Clementiâ et popularitate ad severitatem delabitur. Tandem, cum animadverteret rempublicam sture nequire nisi sub moderatore illustri prosapiâ orto, et cujus natales populo venerationem imprimere solent, seipsum sponte abdicans, insignia principatus transtulit in principem, cui jure nativitatis debebantur. Ita cum antiquâ domo regnatrice pax rediit; et procellæ istæ, quibus diu vexata fuerat respublica, detumuerunt." 1741. p. 84. ed. In another part of the volume, a tyrannical chieftain says, " Requiescere non possem, antequam optimum principem è medio sustulissem. Hinc in carcerem conjectus, a judicibus quorum maximam partem corruperam, capite damnatus fuit. Exsecutio tamen clam in custodiâ, ne turbis ansam daret, facta est." Who is not reminded of the Duc d' Enghien, and the Bois de Vincennes ? 1 omit commenting upon the smaller passages. " Cura imperii, me absente, commissa fuit imperatrici, jam uterum ferenti ;" p.331. and the principem (filium sc.) successorem mihi designare gestiens, comitia indixi, Quamitas unà cum devictarum gentium præcipuis ad solennem pueri inaugurationem invitans." p. 350. prototypifying the Dutch, Rhenish, and Italian deputations; with his reflections on his fall" Vix exemplum tanti casûs occurrit, nisi fortè in Nabuchodonosore qui è maximo terræ monarchâ in feram sylvis inerrantem transformatus fuit. Eadem ego fortune ludibria expertus sum: extorquentur mihi paucis horæ momentis duo magna imperia cum viginti ferè Regnis, quorum solæ umbræ ac vanæ imagines supererant-comites me nuper tenebant gloria, spes, salus, victoria; jam verò cura, miseriæ, ægritudo, lacryma, lamentatio. Denique quasi solstitialis herba paulisper fui: repentè exorsus sum, repentè occidi. I cannot, it seems, go on with the Dolor, indignatio, solicitudo, ira, desperatio tot in animo fluctus ciebant, ut modo -crudum per costas exigere ensem, &c. F. R. S. Syllabus of Horace's Metres. In the greatest part of the different editions which Horace has undergone, we are presented with a filthy ode on a filthy subject, written, it should seem, by some ancient scholar for the purpose of representing at a glance every distinct metre which that poet has used. I know not whether to abominate the author's taste more, for his predilection for the subject, or his choice of the method of answering the end. Of the ode, as a composition, the less is said the better. Suffice it to say, that this Writerin-all-kinds-of-verse and Dr. Bentley appear, so far as this matter is concerned, to have acquitted themselves very differently indeed. In the one, the method of answering the intended purpose is as unmeaning and irrational, as in the other it is sensible and proper. The instances in point given by Bentley are (with the exception of one) taken from Archilochus, Alcæus and Sappho,-the very authors and contrivers of the metres after which Horace's Odes are respectively modelled. I subjoin the list. METRA HORATIANA ARCHILOCHI, ALCEI et SAPPHUS Πότνια θυμόν. Sapp. ̓Αχνυμένη σκυτάλη. Arch. Νῦν δ ̓ ἁβρῶς ἐρόεσσαν. Alc. Φαινόμενον κακὸν οἰκάδ ̓ ἄγεσθαι. Arch. Εσπερε πάντα φέρων, ὅσα φαίνολις ἐσκέδασ ̓ αὐώς. Sapp. Εκ με λάσας ἀλγέων. Alc. Τίς σας παρήειρε φρένας; Arch. Λαῖφος δὲ πᾶν ἄδηλον ἤδη. Alc. Χαίροισα νύμφα, χαιρέτω δ ̓ ὁ γάμβρος. Sapp. Τωδ ̓ ἀρ' ἀλώπηξ κερδαλή συνήντετο. Arch. Μηδὲν ἄλλο φυτεύσῃς πρότερον δένδρεον ἀμπέλω. Alc. I Οὐκ ἔτος ὦ γυναῖκες. Aristop. Δεῦτε νῦν ἁβραὶ Χάριτες καλλίκομοί τε Μοΐσαι. Sapp. I do not recollect the occurrence of these words in Aristophanes. Probably Dr. Bentley placed them together so as to answer the purpose required, having in his eye Ecclesiaz. 245. Οὐκ ἐτὸς ἄρ ̓, ὦ μέλ ̓, ἦσθαι δεινὴ καὶ σοφή. Και σε στρατηγὸν αἱ γυναῖκες αὐτόθεν Αἱρούμεθ'. If so, the accentuation of ἔτος must be changed. It is evident that he has taken a liberty, something like this, with the last quotation but one; as the one following is merely the same transposed. Εμὲ δείλαν, ἐμὲ πασᾶν κακατάτων [πεδέχοισαν]. Alc. On the Metre of HORACE, Book iii. Ode 12. V.L. I once ventured to propose, as having something new in it at least, a metrical arrangement of an Ode of Horace, the twelfth of the third book. This was to consider the whole ode as made up of four stanzas, drawn up after this form : Miserarum est, nec amori dare ludum, animari metuentes patruæ ver bera linguæ. I had, at the time, some doubts on the subject, and soon became persuaded that this method of appointing the metre could not stand. The break at the close of no less than three out of four of the third lines in each stanza was, by itself, sufficient to condemn it. What, at first sight, gave a semblance of reasonableness to the form in which I drew the ode up, was the circumstance of my being deceived (but in company with many others) as to the quantity of the final E in the word Bellerophonte. I had taught myself to understand that the Greek Beλλego óvτns, when Latinized, became Bellerophon,-always. This, however, Bentley shows not to have been the case; although it were to be wished that the testimony of authority more respectable and decisive could have been appealed to in the present case. The writers cited by him are Seneca (the philosopher) and the fabulist Hyginus. Both these have the form Bellerophontes. Proceeding to determine the quantity of the questionable syllable, "Jam autem (says he) notissimum est Græca ejusmodi nomina ablativos E longo sæpe producere; ut Juvenalis xiii. 98. si non eget Anticyrâ nec Archigene: quid enim." The arrangement, as it stands in Gesner, is evidently wrong; as appears from the following passage quoted by Dr. Bentley from Hephaestion : "Απειρος μὲν ὧν τις φήσειεν ἂν αὐτὸ ἐξ ὁμοίων εἶναι, ἐξ ̓Ιωνικῆς ἀπ' ἐλάσσονος συζυγίας καταμετρούμενον· ἡμεῖς δὲ, ἐπεὶ ΚΑΤΑ ΔΕΚΑ ὁρῶμεν αὐτὸ συζυγίας γεγραμμένον, κατὰ σχέσιν αὐτὸ γεγράφθαι φαμέν. Your readers may measure out the three remaining stanzas of which the ode is composed, and in the exact arrangement as prescribed by Dr. Bentley, by taking the first as a pattern, which I here give from the face of Bentley's edition. Miserarum est, nec amori dare ludum, neque dulci It were to be wished, Mr. Editor, that, on a future occasion, you would favor your readers with a reprint of all that Bentley has said on the subject. It may be considered as a separate dissertation; as it furnishes us with a view of every thing that is known of this species of metre.-Any person, possesed of ability and leisure for such an undertaking, would do well to furnish your Journal with a judicious extract of every thing in Bentley's notes on Horace that comes under the denomination of general matter. S. S. ARISTENETUS emendatus, EURIPIDES illustratus ; duco de viro, nubo de muliere. Aristænet. Epist. p. 82. edit. Pauw. Toσourov píλos, öσov špā tis ἐναντίον.] Rectus erit senarius, si scripseris; φίλος τοσοῦτον, ὅσον ópa TIS évavτíov. Propertius, Quantum oculis, animo tam procul ibit amor. τηλοῦ φίλοι ναίοντες οὐκ εἰσὶν φίλοι. Ρro ἐρᾷ legendum ὁρᾶ quis non videt? MERCER.- Sine dubio legendum óga: Versu senario non indigemus. PAUW.-Immò potiùs lege Torσov To φίλος, ὅσσον ἐρᾷ τις ἐναντίον, ut sit pars hexametri. κόμαι Euripid. Phoeniss. 227. edit. Porson. Toad aɣárμao, xguroτεύκτοις.] Confer Hecub. 564. μαστούς τ ̓ ἔδειξε, στέρνα θ', ὡς ἀγάλ ματος Κάλλιστα. Chæren. Tragic. apud Athenæum. xóμas dè xnрoxewτes, is άyáλuaтos. Long. Pastoral. p. 50. edit. Moll. κηροχρῶτες, ἀγάλματος. καὶ αὐτῷ αἱ τρεῖς ἐφίστανται νύμφαι, μεγάλαι γυναῖκες καὶ καλαὶ, ἡμίγυμνοι καὶ ἀνυπόδετοι, τὰς κόμας λελυμέναι, καὶ τοῖς ἀγάλμασιν ὅμοιαι. In tironum gratiam citanda sunt duo apud Martialem Epigrammata, e quibus quasi ex intuitu discant verbum duco (ubi de nuptiis agitur) de viro, de muliere verò nubo propriè usurpari. Nubere vis Prisco, non miror, Paulla: sapisti. Epigr. ix. 6. Epigr. x. 8. Nubere Paulla cupit nobis, ego ducere Paullam Nubere uxori idem est quod Anglicè dicunt To be a hen-pecked husband; ut patet ex ejusdem auctoris Epigr. viii. 12. Uxorem quare locupletem ducere nolim, N. A. |