been regulated. His first production, Universal Beauty, has a noble display of fancy in many parts. It is not improbable that Pope, to whom he submitted it, gave him some assistance, and he certainly repaid his instructor by adopting his manner, yet he has avoided Pope's monotony, and would have done this with more effect, if we did not perceive a mechanical lengthening of certain lines, rather than a natural variety of movement. On the other hand, the sublimity of the subject, by which he was inspired, and which he hoped to communicate, sometimes betrays him into a species of turgid declamation. Harmony appears to be consulted, and epithets multiplied, to please the ear at the expense of meaning. The three books of Tasso have already been noticed, and the reader of the present collection may have an opportunity of comparing them with Hoole's translation. The Man of Law's Tale, from Chaucer, will incline every reader to wish that he had contributed more to Ogle's translation. Of all his original poems, the most correct are the four fables, first published in Moore's collection. They are perhaps too long for fables, but as moral tales we have few that exceed them in poetical spirit, and sprightly turns of thought. The Fox Chase and his lesser pieces, if we except some of the songs composed for his dramas, will add but inconsiderably to his fame. wise; Πάντα δὲ ἀυτῷ ἐγένετο· καὶ χωρὶς ἀυτῇ ἐγένετο ἐδὲ ἕν, ὃ | When from Jove's head in perfect sapience born, γέγονεν. Εν αυτῷ ζωὴ ὴν, καὶ ἡ ζωὴ ἤν το φως των ἀνθρώπων. BOOK I. The author introduces his work with a general survey of the whole, in nature of the plan or argument; and then commences a-new with a demonstration, a priori, of the being and attributes of God. Thence proceeds to creation, in which he endeavours at an opinion of the manner, as near as possible he may; as also of the nature and difference of the substances of spirit and matter; the economy of the universe; the astronomic system, physics, anatomy, and most branches of natural philosophy; in which the technical terms are as few, and the whole explained and made as easy and obvious as possible. The connection, dependence, use, and beauty, of the whole. Man considered; the nature of his being; the manner of his attaining knowledge; the analysis of the mind, faculties, affections, and passions; how they consist in each individual, and in the species. The nature of freedom; that it is not in the will; what it is, and wherein it consists, demonstrated. Of vice, misery, virtue, and happiness; their nature and final tendency. The whole being wrought into one natural and connected scheme, the author rises whence he began, and ends with a poetical rhapsody in the contemplation of the beauty of the whole. VOL. XVIL Of Heaven you rose the first empyreal morn, As erst descend | Το mortals thy immortal charms display, And in our lake thy heavenly form survey! 11 Or rather thou, whom ancient prophet styles Venus Urania! born the babe of smiles, When from the deep thy bright emergence sprung, And Nature on thy form divinely hung; Whose steps, by Loves and Graces kiss'd, advance, And laughing Hours lead on the sprightly dance; While Time, within eternal durance bound, Harmonious moves on golden hinges round-Such, goddess! as when Silence wondering gaz'd, And even thyself beheld thyself amaz'd; Such haply by that Côon artist known, Seated apparent queen on Fancy's throne; Ver. 1. Tritonia.] Minerva, the goddess of wisdom, is fabled to have sprung from the head of Jupiter; and, coming down on Earth, to have viewed her own perfections in the lake Triton in Africa, from whence she was called Tritonia. She is here addressed as the idea of the self-existent author of all things, as first containing in itself the beauty of all created things; and, after, surveying that beauty by reflection from the things so created. Ver. 9. Venus Urania.] This Venus, whom the ancients styled Urania, or heavenly, is addressed as representing nature, or the creation, rising out of chaos in the perfection of beauty. Ver. 18. Coon artist.] Apelles, born in the island Cos or Côos. z From thence thy shape his happy canvass bless'd, And colours dipt in Heaven thy heavenly form confess'd21 Such, goddess! through this virgin foliage shine; Let kindling beauties glow through every line, And every eye confess the work divine. O say, while yet, nor time, nor place was found, And space immense in its own depth was drown'd; If nothing was, or something yet was not, Or though to be, e'erwhile was unbegot; If caus'd, then how?-if causeless, why effect? (No hand to form, nor model to direct) Why ever made?—so soon?—or why so late? What chance, what will, what freedom, or what fate? 30 Matter, and spirit, fire, air, ocean, earth; 38 Wisdom, or chance?-necessity, or love? 50 But chance, you'll say-I ask you, chance of what, 70 Throughout the universal system range, New form old systems, and new systems change; Through nature traffic on, from pole to pole, And stamp new worlds on thy dilated soul; (By time unlimited, unbound by space) Sure demonstration of thy heavenly race, Deriv'd from that, which is deriv'd from none, Which ever is--but of Himself alone! [in vain, O could'st thou search-nor may'st thou search Haply some glimpse, some dawning to obtain, Some taste divine of thy eternal spring, • Above those Heliconian bards to singHow He who inaccessible remains, Yet omnipresent through all nature reigns; Ver. 48....... from everlasting night.] Such supposed as originally so, and being eternal. Ver. 53. from matter mov'd.] One of the atheistical unaccountable evasions, is to account for the order of nature by matter and motion. Whose age blooms ever in eternal youth, 80 His substance, beauty, and essential truth, Repletion, never to be more, nor less! This fulness in himself, past utterance bless'd, 109 120 130 All-teeming wedlock! on the genial hour, Space furnish'd out one boundless nuptial bow'r; Ten thousand thousand worlds, profusely gay, The pomp of bridal ornament displayHow modified, here needless to be told; Whether terrene, or of ethereous mould; Gross, porous, firm, opaque, condense, or rare; Or argent, with celestial tempering clear; Pellucid, to imbibe the streaming light; Or dun, but with reflected radiance bright; Or dazzling shrine, or of corporeal leaven, Terrestrial, that unfold an earthly Heaven Unspeakable! their landscape hill, and dale, The lowly sweetness of the flowery vale, The mount elate that rises in delight, The flying lawns that wanton from the sight, The florid theatres, romantic scenes, The steepy mountains, and luxuriant plains, 138 Delicious regions! plants, woods, waters, glades, Grots, arbours, flowrets, downs, and rural shades, The brooks that sportive wind the echoing hills, The pearly founts, smooth lakes, and murmuring Myriads of Edens! blissful, blissful seats! [rillsArcadian groves, sweet Tempe's blest retreats, Ver. 115. A deeper charm.] Attraction or gravitation. Delightful Ennas, and Hesperian isles, 150 And round, and round throughout, Elysium smiles- 161 And catch contagion from th' exulting breast; Or so-or yet beyond compare-as wide 170 As sudden, Nature with her burden heaves; By gloss, trope, type abstruse, or emblem niceIdeal, how untoward to convey, 181 'Or reach conception by the dark assay. All perfect, yet alike not perfect found, 190 With differing virtues, differing glories crown'd; An incompounded radiant form they claim, 200 Nor spirit all-nor yet corporeal frame; While order knits, and beautifies by change; 210 From those array'd in Heaven's resplendent robes, To the brute essence on terrestrial globes; 219 Nor such inelegant, nor less demand Systems, which, view'd throughout the circuit wide, Or skim the wat'ry or ethereal way: For now, with vivid action, nature swarms, 240 Or azure tribes that o'er the damson bloom, 250 Their sweets, the blossoms plants and flowers be- As the great Mover wrap'd each wheeling sphere Urania! Nature! from thy heights descend, 270 Ver. 265. Say, why this globe.] The advantage of the Earth's situation- Ver. 271. Or here.] of its motions- |