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He was now fufficiently rich; but wealth came too late to be long enjoyed: nor could it fecure him from the calamities of life; he loft (1755) his only fon; and the year after (March 26), a ftroke of the palfy brought to the grave one of the few poets to whom the grave might be without its terrors.


Of his tranflations I have only compared the first Olympick Ode with the original, and found my expectation furpaffed, both by its elegance and its exactnefs. He does not confine himself to his author's train of ftanzas for he faw that the difference of the languages required a different mode of verfification. The first strophe is eminently happy; in the fecond he has a little strayed from Pindar's meaning, who fays, if thou, my foul, wifheft to speak of games, look not in the defert fky for a planet hotter than the fun, nor shall we tell of nobler games than thofe of Olympia. He is sometimes too paraphraftical. Pindar bestows upon Hiero an epithet, which, in one word, fignifies delighting in borfes; a word which, in the tranflation, generates the fe

lines :




Hiero's royal brows, whose care
Tends the courfer's noble breed,
Pleas'd to nurfe the pregnant mare,

Pleas'd to train the youthful fteed.

Pindar fays of Pelops, that he came alone in the dark to the White Sea; and Weft,

Near the billow-beaten fide
Of the foam-befilver'd main,
Darkling, and alone, he stood:

which however is lefs exuberant than the former paffage.

A work of this kind muft, in a minute exbut amination, difcover many imperfections; Weft's verfion, so far as I have confidered it, appears to be the product of great labour and great abilities.

His Inftitution of the Garter (1742) is written with fufficient knowledge of the manners that prevailed in the age to which it is referred, and with great elegance of diction; but, for want of a process of events, neither knowledge nor elegance preserve the reader from weariness.

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His Imitations of Spenfer are very successfully performed, both with refpect to the metre, the language, and the fiction; and being engaged at once by the excellence of the fentiments, and the artifice of the copy, the mind has two amusements together. But fuch compofitions are not to be reckoned among the great atchievements of intellect, because their effect is local and temporary; they appeal not to reafon or paffion, but to memory, and pre-suppose an accidental or artificial state of mind. An Imitation of Spenfer is nothing to a reader, however acute, by whom Spenfer has never been perused. Works of this kind may deferve praise, as proofs of great industry, and great nicety of observation; but the highest praise, the praise of genius, they cannot claim. The noblest beauties of art are those of which the effect is co-extended with rational nature, or at least with the whole circle of polished life; what is less than this can be only pretty, the plaything of fashion, and the amusement of a day.


THERE is in the Adventurer a paper verfes given to one of the authors as Mr. X 2 Weft's,

Weft's, and supposed to have been written by him. It should not be concealed, however, that it is printed with Mr. Jago's name in Dodfley's Collection, and is mentioned as his in a Letter of Shenftone's. Perhaps, Weft gave it without naming the author; and Hawkesworth, receiving it from him, thought it his; for his he thought it, as he told me, and as he tells the publick.


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ILLIAM COLLINS was born at Chichester on the twenty-fifth of December, about 1720. His father was a hatter of good reputation. He was in 1733, as Dr. Warton has kindly informed me, admitted scholar of Winchester College, where he was educated by Dr. Burton. His English exercises were better than his Latin.

He first courted the notice of the publick by fome verfes to a Lady weeping, published in The Gentleman's Magazine.

In 1740, he stood first in the lift of the scholars to be received in fucceffion at New

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