No mortal man his vigour can retain, Grief upon grief shall cloud this mournful day. Brother, in vain you urge me to forbear, The heroes move "He said, and went before. As when in some fair temple's sacred shrine, 66 Starting at once; with equal strokes they sweep His rivals far surpass'd, and led the course; And now they measur'd back the wat'ry space, Ulysses then with thirst of glory fir'd, With equal zeal for victory they strove, Majestic by the hero's side she stood; Her shining sandals press'd the trembling flood. The honours which from bones and sinews rise, The goddess thus: while, stretching to the land, "But far behind, the Spartan warrior lay, And Ithacus again divides the wave: The liquid space, and parts the silver tides; He rose; and turning whence the voice was heard, For as the Spartan chief, with toil subdu'd, "Upon a willow's trunk Thersites sat, His mighty arm alone the host defends, Last sun beheld him vanquish'd on the plain; Protect the hero who protects the state; Guard him amidst the dangers of the war; And when he swims let aid be never far! He said, and scorn and laughter to excite, If any should imagine that we have been rather severe this author, let it be observed in our excuse, that his upon presumptuous attack of so superior a character as that of the late Mr. Pope, has justly divested him of all title to favour read the following extract from his preface. (1) : “The language [of the Epigoniad] is simple and artless. This I take to be a beauty rather than a defect; for it gives an air of antiquity to the work, and makes the style more suitable to the subject. The quaintness of Mr. Pope's expression, in his translation of the Iliad and Odyssey, is not at all suitable either to the antiquity, or majestic gravity of his author, (2) and contributes more to make his fable appear vain and absurd, than any circumstance that seems of so little moment could easily be supposed to do.” (3) (1) This preface however, upon the whole, shows the author to be a man of more reading and taste than his poem speaks him; and had he published that discourse without the Epigoniad, and committed the latter to the flames, his reputation would have sustained no loss on that account. (2) ["Perhaps it is to a want of poetical sensibility that we may chiefly impute the inferior degree of interest excited by the Epigoniad, to that which its merits in other respects might excite. Perhaps it suffers also from its author having the Homeric imitation constantly in view, in which, however, he must be allowed, I think, to have been very successful,,—so successful, that a person ignorant of Greek will, I believe, better conceive what Homer is in the original by perusing the Epigoniad than by reading over the excellent translation of Pope."-HENRY MACKENZIE, Life of Home. "If you meet with a metaphorical expression in Homer you meet with a rarity indeed. Pope is no where more figurative in his own pieces than in his translation of Homer. The Iliad and the Odyssey, in his hands, have no more of the air of antiquity than if he had himself invented them. Their simplicity is overwhelmed with a profusion of fine things, which, however they may strike the eye at first sight, make no amends for the greater beauties which they conceal. The venerable Grecian is as much the worse for his acquisitions of this kind, as a statue of Phydias or Praxiteles would be for the painter's brush."-CowPER.] (3) ["In the second edition of this poem, this passage was properly omitted. David Hume, in a letter to Adam Smith, dated April 12, 1759, gives the following account of its reception in London. The Epigoniad, I hope, will do, but it is somewhat up-hill work. You will see in the Critical Review a letter upon that poem, and I desire you to employ your conjectures in finding out the author.' This letter was written by Hume himself to recommend the poem to the public, 'as one of the ornaments of our language.' The success was not answerable to his expectations. Too antique to please He must be a tasteless critic, indeed, who could remain unmoved, after perusing so dogmatical a sentence, pronounced by such a poet, upon SUCH A GENIUS! V.-HOME'S TRAGEDY OF DOUGLAS. (1) [From the Monthly Review, 1757. "Douglas, a Tragedy; as it is acted at the Theatre Royal in Covent-Garden, 8vo."] WHEN the town, by a tedious succession of indifferent performances, has been long confined to censure, it will naturally wish for an opportunity of praise; and, like a losing gamester, vainly expect every last throw must retrieve the former. In this disposition, a performance with but the slightest share of merit is welcomed with no small share of applause: its prettinesses exalt us into rapture; and the production is compared, not with our idea of excellence, but of the exploded trash it succeeds. Add to this, that the least qualified to judge are ever foremost to obtrude their opinions: ignorance exclaims with excess of admiration ; the unlettered reader, and too modern for the scholar, it was neglected by both, read by few, and soon forgotten by all.”—Anderson, British Poets, vol. xi., p. xii.] 66 66 (1) [John Home was born at Leith in 1722, and died at Edinburgh in 1808, in his eighty-sixth year. Besides this tragedy, he wrote Agis," the Siege of Aquileia," the "Fatal Discovery," "Alonzo," and "Alfred;" and also a "History of the Rebellion of 1745." Having passed some time as a volunteer in a royal corps raised to repel the attack of the Chevalier, he was, in 1746, presented to the church and parish of Athelstanesford, in East Lothian, vacant by the death of Robert Blair, author of "The Grave." In 1756, he came up to London, and offered this tragedy to Garrick, but the English Roscius pronounced it totally unfit for the stage. The friends of the author being of a different opinion, the play was produced at Edinburgh, in December 1756, and met with a brilliant reception. In the following February, it was brought out at Covent Garden Theatre; Garrick still persisting in not performing it at Drury-lane.] |