But whilst he looks unmindful of a storm,
And thinks the waters wear a stable form,
What dreadful din around his ears shall rise!
What frowns confuse his picture of the skies !"

This is a well chosen comparison between the sudden rise of a storm after a perfect calm, and the change produced in the female mind, by sudden passion.

"At first the creature man was fram'd alone,
Lord of himself, and all the world his own,
For him the nymphs in green forsook the woods,
For him the nymphs in blue forsook the floods,
In vain the Satyrs rage, the Tritons rave,
They bore him heroes in the secret cave;
No care destroy'd, no sick disorder prey'd,
No bending age, his sprightly form decay'd,
No wars were known, no females heard to rage,
And poets tell us, 'twas a golden age."

The poets supposed that earth and water were inhabited by undescribed undescribable beings called

and

nymphs, nereiads, satyrs, fauns, dryads, hamadryads, tritons, sylvans, &c. Hesiod, and his imitator Parnel, supposes that Prometheus had lived some time upon earth, and from thence he takes the idea of the tritons and satyrs being jealous of man.

"When woman came, those ills the box confin'd, Burst furious out, and poison'd all the wind, From point to point, from pole to pole they flew, Spread as they went, and in their progress grew."

The sound of these lines is harmonious, but the beginning and end of the lines--spread as they went, and in their progress grew-is very tautology or repetition.

near

"The nymphs regretting, left the mortal race And altering nature wore a sickly face: New terms of folly rose, new states of care;

New plagues to suffer, and to please the fair!

The mean designs of well-dissembled love;
The sordid matches never join'd above;
Abroad the labour, and at home the noise,
(Man's double sufferings for domestic joys.)
The curse of jealousy, expense and strife,
Divorce, the public brand of shameful life,
The rival's sword;-the qualm that takes the
Fair,

Disdain for passion, passion in despair.
These and a thousand yet unnamed we find,
Ah, fear the thousand yet unnamed behind.

These two last lines make a most beautiful and judicious end to the poem, so far as it relates to the story of Prometheus.

ADAM'S MORNING HYMN.

"These are thy glorious works, Parent of

good,

Almighty--thine this universal frame!

Thus wond'rous fair, thyself how wond'rous then!

Unspeakable! Who sits above these heav'ns
To us invisible, or dimly seen

In these thy lowest works! Yet these declare Thy goodness beyond thought, and power divine."

Milton's Paradise Lost, 5th Book, 154th Verse.

Here is a poem unlike those which we have been reading. In this not only is the language melodious, and

K

different from common modes of speech, but the subject is of the grandest sublimity. The poet, Milton, represents the first of mankind in a state of perfect. innocence, pouring out the effusions of a heart grateful to Providence for all the enjoyment which his senses and his reflexion have experienced from the glorious world which surrounded him.

In this hymn there is that true piety which dreads to speak except in the most guarded terms of the inscrutable wisdom and majesty of God.

To represent the Creator and Preserver of the universe as subject to the weaknesses and passions of mankind as is too frequently done, excites in certain minds a degree of horror and of shame that cannot be easily described