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Through the pierc'd limbs: his body black with
Unlike that Hector, who return'd from toils
Of him who made the fainting Greeks retire,
I wept to see the visionary man,
And whilst my trance continu'd thus began.
Deforms the manly honors of thy face?
(3) The spectre, gnawing from his inmost
This warning in these mournful words express'd. Warning.
Troy now coinmands to thee her future state,
(1) " Hurling," to be expreffed by throwing out the arm, with the action of hurling.
(2) "Olight of Trojans," &c. to be expreffed by opening the arms with the action of welcoming.
(3) "The Spectre," &c. these two lines, and the ghost's fpeech, are to be fpoken in a deep and hollow voice, slowly and folemnly, with Little rifing or falling, and a torpid inertia of action.
(1) He said, and brought, from forth the sacred choir,
The gods, and relicks of th' immortal fire.
Trepidation Now peals of shouts came thund'ring from afar,
I mount the terrace; thence the town survey,
In smoky flames, and catches on his friends.
New clamours, and new clangors now arise,
With relics loaded, to my doors he fled,
What hope, O Pantheus? Whither can we run,
(2) "He faid, and," &c. Here the voice refumes its usual keyi (1) Troy is no more," Such ihort periods, comprehending much in a few words, may often receive additional force by a paufe (not exceeding the length of a femicolon) between the nominative and the verb, or between the verb and what is governed by it, which, otherwife, is contrary to rule.
The fatal day, th' appointed hour is come,
Some block the narrow streets, some scour the
The bold they kill; th' unwary they surprise; Who fights meets death, and death finds him who flies.
Ths scene of Humphrey Gubbin's introduction to his romantic Cousin. [Tend. Husb.]
HUMPHREY, AUNT, and COUSIN BIDDY.
Humph. AUNT, your saarvant
vant aunt.-Is-that-ha,-aunt ?
Aunt. Yes cousin Humphrey, that is your Information Cousin Bridget. Well, I'll leave you together. with Sat[Ex. Aunt. They sit.]
Humph. Aunt does as she'd be done by, cousin Bridget, does not she, cousin? [A long pause looking hard at her.] What, are you a Londoner, and not give a gentleman a civil answer, when he asks you a civil question?-Look ye, d'ye see, Indiff'rence cousin, the old volks resolving to marry us, I thought it would be proper to see how I lik' d you. For I don't love to buy a pig in a poke, as we say in th' country, he, he, he. [Laughs.]
Biddy. Sir, your person and address bring to Stif affecmy mind the whole story of Valentine and Orson. What, would they give me for a lover, a Titanian, a son of the earth? Pray, answer me a ques-. tion or two.
Humph. Ey, ey, as many as you please, cou- Indiff rence sin Bridget, an they be not too hard.
Biddy. What wood were you taken in ? how
Question. long have you been caught?
Humph. Caught !
Biddy. Where were your haunts?
Biddy. Are not clothes very uneasy to you
Biddy. Are you not a great admirer of roots, Affectation and raw flesh ?-Let me look upon your nails, I hope you won't wound me with them.
Humph. Whew! [Whistles] Hoity, toity! What have we got? Is she betwattled? Or is she gone o' one-side.
Biddy. Can'st thou deny, that thou wert averfion. suckled by a wolf, or at least by a female satyr? Thou hast not been so barbarous, I hope, since thou cam❜st among men, as to hunt thy nurse.
Humph. Hunt my nurse! Ey, ey, 'tis so, she's out of her head, poor thing as sure as a gun. [Draws away.] Poor cousin Bridget! How enquiry. long have you been in this condition?
Biddy. Condition! What dost thou mean by condition, monster?
Humph. How came you upon the high ropes? Was you never in love with any body before me? Biddy. I never hated any thing so heartily averfion. before thee.
Humph. For the matter of that cousin, were not a folly to talk to a mad-woman there's no hatred lost, I assure you. But do you hate me in earnest ?
Biddy. Dost think any human being can look upon thee with other eyes, than those of hatred?
Humph. There is no knowing what a woman loves or hates, by her words. But an you were in your senses cousin, and hated me in earnest, I should be main contented, look you. For, may I Indiffrence be well horse-whipt, if I love one bone in your Boafting. skin, cousin; and there is a fine woman I am told, who has a month's mind to ma.
Biddy. When I think of such a consort as Averfion. thee, the wild boar shall defile the cleanly ermine, or the tyger be wedded to the kid.
Humph. An I marry you, cousin, the polecat shall catter-waul with the civit.
Biddy. To imagine such a conjunction, was Romantic as unnatural as it would have been to describe affectation. Statira in love with a chimney sweeper, or Oroondates with a nymph of Billingsgate; to paint, in romance, the silver streams running up to their sources in the sides of the mountains; to describe the birds on the leafy boughs uttering the hoarse sound of roaring bears, to represent knights errent murdering distressed ladies, whom their profession obliges them to relieve; or ladies yielding to the suit of their enamoured knights before they have sighed out half the due time at their feet.
Humph. If this poor gentlewoman be not out of herself, may I be hang'd like a dog.
From Mr. Pope's TEMPLE OF FAME. (1)
A Troop came next, who crowns and armour
And proud defiance, in their looks they bore.
"For thee," (they cry'd)" amidst alarms and Cringing strife,
We sail'd in tempests down the stream of life;
(1) The pupil, if he has not read the TEMPLE OF FAME, muft be informed of the plot of the poem, viz. The author represents numbers of the purfuers of fame, as repairing, in crowds, to the temple of that goddefs, in queft of her approbation, who are differently received by her, according to their respective inerits, &c.
(2) "Those ills,""&c. The meaning of this line (which is not too obvious) is, "Our being guilty of fuch extravagancies, fhews. how eager we are to obtain a name."