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So when the Nightingale to rest removes,
The Thrush may chant to the forsaken groves,
But charm'd to filence, listens while she sings,
And all th' aërial audience clap their wings.



REMARKS. VER. 13. So when the Nightingale] Warton observes that the Nightingale does not fing till the other birds are at rest. This is a mistake: the Nightingale sings by day as well as at night; but there is an obscurity, if not an inaccuracy, in the passage. The expressions, “ to rest removes" and " forsaken groves," give an idea of evening, in which case there would be certainly an error in making the Thrush “ chant to the forsaken groves" after the Nightingale. As to the Thrush being charmed to filence at any time by the Nightingale, and the * aërial audience” applauding, it is allowable as a fonciful allufion, perhaps, though the circumftance is contrary to nature and fa&t.

IMITATIONS. improbably thought to have been the firkt originally. In the beginnings of the other three Pastorals, he imitates expressly those which now stand first * of the three chief Poets in this kind, Spenser, Virgil, Theocritus.

A Shepherd's Boy (he seeks no better name)
Beneath the shade a spreading beach displays, ---

Thyrfis, the Music of that murm’ring Spring, are manifestly imitations of

“-A Shepherd's Boy (no better do him call)"
“---Tityre, tu patulæ recubans sub tegmine fagi.”

« –Αδύ τι το ψιθύρισμα και α πίτυς, αιπόλε, τηνα.'' Pope. VER. 9. And carrying, &c.]

Happy is he that from the world retires,
And carries with him what the world admires.

Waller. Maid's Tragedy altered. * The learned and accurate Heyne, after much investigation, is of opinion, that the following is the order in which the Eclogues of Virgil were written : what is now usually called the second was firft; the third, second; the fifth, third; the first, fourth: the ninth, fifth ; the fixth, as it was called, to be the fixth ftill ;

Soon as the flocks fhook off the nightly dews, Two Swains, whom Love kept wakeful, and the Muse, Pour'd o'er the whit’ning vale their fleecy care, Fresh as the morn, and as the season fair : The dawn now blushing on the mountain's fide, Thus Daphnis spoke, and Strephon thus reply'd.



Hear how the birds, on ev'ry blooming spray, With joyous music wake the dawning day! Why fit we mute, when early linnets fing, When warbling Philomel falutes the spring?



REMARKS. Ver. 16. And all th' aërial audience, &C..] Pope was not perhaps aware of it, but the circumstance of “ audience" and “ clapping” gives an air of burlesque to this passage. It is true, birds clap their wings, but the image and the expressions here, come too near artificial life, from which they should be as remote as possible.

VER. 17, &c.] The Scene of this Pastoral a Valley, the Time the Morning. It stood originally thus,

Daphnis and. Strephon to the shades retir’d,
Both warm’d by love, and by the Muse inspir’d,
Fresh as the morn, and as the season fair,
In Aow'ry vales they fed their fleecy care ;
And while Aurora gilds the mountain's fide,
Thus Daphnis spoke, and Strephon thus reply'd.

WARTON. IMITATIONS. the fourth, seventh; the eightà, still the eighth ; the seventh, the ninth; the tenth and last, as it was called, still the tenth. Vol. I. 205.

The collection of passages imitated from the Classics, marked in the margin with the letter P. was made by the accurate and learned Mr. Bowyer the Printer.




Why fit we sad, when Phosphor shines so clear,
And lavish Nature paints the purple year?



Sing then, and Damon shall attend the strain,
While yon' flow oxen turn the furrow'd plain.
Here the bright crocus and blue vi'let glow,
Here western winds on breathing roses blow.
I'll take yon' lamb, that near the fountain plays,
And from the brink his dancing shade surveys.



And I this bowl, where wanton ivy twines, And swelling clusters bend the curling vines:

RENARKS. Vrk. 33. Hiery earn trims, Sr.] The flow oven, the bright crocus, and the blue riolet, are images of Spring, the feason of this Pferal: the introduction of roles at the same time is not fe appropriate

IMITATIONS. Prez: Pr. Tartus obieren this verse is from Sela's Mus The world ist und " are, bet there is

in the parle year."

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Four figures rising from the work appear,
The various seasons of the rolling year ;
And what is that, which binds the radiant sky,
Where twelve fair figns in beauteous order lie?



Then sing by turns, by turns the Mufes fing, Now hawthorns blossom, now the daisies spring, Now leaves the trees, and flow’rs adorn the ground; Begin, the vales shall ev'ry note rebound.

VARIATIONS. VER. 36. And clusters lurk beneath the curling vines. Pope.

This line was probably rejected from its resembling too nearly Dryden. The “Grapes in clufers lurk beneath the vines." Dryden's Translation of Virgil's Eclogues.


Ver. 38. The various seasons, &c.] The subject of these Pastorals engraven on the bowl is not without its propriety.

WARBURTON. My friend Mr. William Collins, author of the Persian Eclogues and Odes, assured me that Thomson informed him, that he took the first hint and idea of writing his Seasons, from the titles of Pope's four Pastorals. So that these Pastorals have not had only the merit of setting a pattern for correct and musical versification; but have given rise to some of the truest poetry in our language.



Ver. 35, 36.
“ Lenta quibus torno facili superaddita vitis,

Diffufos edera veftit pallente corymbos." Virg. Pope. The Shepherd's helication at the name of the Zodiac imitates that in Virgil,

“ Et quis fuit alter, Defcripfit radio totum qui gentibus orbem ?” Pope.


STREPEON. Inspire me, Phæbus, in my Delia's praise, 45 With Waller's itrains, or Granviile's moving lays ! A miik-white Buil ihail at vour aitars itand, That threats a aght, and purns the riling fand.

DIPEVIS. O Love! for Sylvia let me gain the prize, And make my tongue victorious as her eyes: 50 No lambs or theep for victims I'll imfart, Thy victim, Love, shall be the shepherd's heart.

VER. 49. Originally thus in the MS.

Pan, let my numbers equal Strepton's lays,
Of Parian itone thy ftatue will I raise ;
But if I conquer and augment my fold,
Thy Parian tatue ihall be chang'i to goid. WARBURTOV

REMARKS. VER. 41. fing by turns,] Amaban verses, and the cuitom of vying in extempore verfes, by turns, was derived from the old Sicilian fhepherds, and fpread over all Italy; and is, as Mr. Spence observes, exactly like the practice of the Improvisatori at present in Italy. They are surprizingly ready in their answers, and go on, očiave for octare, and speech for speech alternately, for a contiderable time. At Florence they have even had Improvito Comedies. It is remarkable that the celebrated Triffino, Leopardi da Vinci, Bramante, and the charming dramatic poet Metaitafio, were all Improvisatori. WARTON.

Ver. 46. Granville--] George Granville, afterwards Lord Lansdown, known for his Poems, most of which he compos'd very young, and propos'd Waller as his model.

Pope. IMITATIONS. VER. 41. Then fing by turns,] Literally from Virgil, “ Alternis dicetis, amant alterna Camoenae :

Et nunc omnis ager, nunc omnis parturit arbos,

Nunc frondent sylvae, nunc formofiffimus annus." Pope. VER. 47. A milk-white Bull.] Virg.–“ Pascite taurum, Qui cornu petat, et pedibus jam (pargat arenam.” Pope.


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