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with perfume-bottles. (Pl. lix.) offers, in two compartments, the whimsical design of a man falling from an ass, and another man running towards him.-(P. Ix.), from a vase in the Royal Museum at Naples, represents three fine female figures; one holds a box, containing probably some offerings for a divinity; another caresses a little winged genius or Love; near the third is a swan, the emblem of domestic virtues. Although this picture does not present any determined object, it is highly interesting from its details, the elegance of its composition, and fine execution.

We trust that our slight indication of the principal subjects, exhibited in each Plate of Mr. Millingen's splendid volume, may prove acceptable to many readers; but they must consult the work itself if desirous of examining his learned illustrations, which fully evince an intimate acquaintance with classical antiquity, and consummate skill in a most interesting branch of archæology.

NUGE.

No. VIII. [Continued from No. LV.]

collecting toys

And trifles for choice matters, worth a sponge;
As children gath'ring pebbles on the shore.

Paradise Regained, iv. 325.

IN No. LV. of this Journal, p. 30, 1. 10, read,

Impigra præcipiti celerabat Luna meatu,

Atra quidem, at radiis circum illustrata supernis.

The verses "Ad Chrysidem," p. 172, ought to have concluded as follows:

ἀλλὰ σύγ ̓ ὃν σέβομεν τῷδ ̓ ἤματι, παῖ Κυθερείας,

θελξινόου διδαχὴ πειθοῦς, λυτὴρ ὀδυνάων,
πάσης ἀνθρώποις πρόδρομος ἀγλαΐης
σοὶ μὲν παρθενικὴ πᾶσ ̓ εὔχεται ἤματι τῷδε,
σοὶ δ ̓ αὖ παρθενικῆς ἤθεος ποθέων
κέκλυθι δὴ καὶ ἐμεῖο, κόρῃ δὲ σὺ θυμὸν ἰήνῃς,
ὡς ἰλάσῃ, τάλανος δ ̓ ἀντεράσῃ Λυκίδου.

Hom. Odyss. iv. 169, Speech of Menelaus to Telemachus. Ω πόποι, ή μάλα δὴ φίλου ἀνέρος υἱὸς ἐμὸν δῶ ἵκεθ ̓, ὃς εἵνεκ ̓ ἐμεῖο πολεῖς ἐμόγησεν ἀέθλους καί μιν ἔφην ἐλθόντα φιλήσεμεν ἔξοχον ἄλλων ̓Αργείων, εἰ νῶϊν ὑπεὶς ἅλα νόστον ἔδωκε νηυσὶ θοῇσι γενέσθαι Ολύμπιος εὐρυόπα Ζεύς καί κέν οἱ "Αργεϊ νάσσα πόλιν, καὶ δώματ' ἔτευξα, ἐξ ̓Ιθάκης ἀγαγὼν σὺν κτήμασι καὶ τέκεϊ ᾧ, καὶ πᾶσιν λαοῖσι, μίαν πόλιν ἐξαλαπάξας αἳ περιναιετάουσιν, ἀνάσσονται δ ̓ ἐμοὶ αὐτῷ· καί κε θάμ ̓ ἐνθάδ' ἐόντες ἐμιογόμεθ ̓ οὐδέ κεν ἡμέας ἄλλο διέκρινεν φιλέοντε τε τερπομένω τε,

πρίν γ' ὅτε δὴ θανάτοιο μέλαν νέφος αμφεκάλυψεν.

Such a proposal carries with it an appearance of absurdity to modern ideas; yet a similar one is made by the Sultan to the Prince of the Black Islands in the Arabian Nights, and accepted. (Night xxvii.)

Grecisms and Latinisms in English writers.

[Continued from Nos. XLVIII. and LIII.]

Gifford's Massinger, vol. i, p. 190. (Unnatural Combat, Act iv, sc. 1.)

Or twine mine arms about her softer neck

i. e. her soft neck: our old poets frequently adopt, and indeed with singular good taste, the comparative for the positive. He quotes the following as instances:

When I shall sit circled within your arms,
How shall I cast a blemish on your honor,
And appear only like some falser stone
Placed in a ring of gold, which grows a jewel
But from the seat which holds it !

I beseech you

Old Poem.

To tell me what the nature of my fault is
That hath incensed you; sure 'tis one of weakness
And not of malice, which your gentler temper,

On my submission, I hope, will pardon.

Unnatural Combat, as above.

Judge not my readier will by the event.

Virgin Martyr.

This usage (which Mr. Gifford has not exactly defined corre

sponds with that of the Greeks (Matthiæ § 457. 3.) and the Romans; especially in some particular words, as veregos, ocior, &c.

The double negative likewise occurs frequently in our elder writers:

And he hoped they did not think the Silent Woman, The Fox, and the Alchymist, outdone by no man. Sir J. Suckling's Session of the Poels. He had not a word to say for himself, nor knew not in the world what to allege in his own excuse.

So Massinger:

Old Translation of Gusman d'Alfarache.

in the blossom of my youth,

When my first fire knew no adulterate incense,
Nor 1 no way to flatter but my foudness.

The same idiom occurs in our established translation of the
Bible.

The late accomplished translator of Ariosto has copied this ancient idiom:

Death,

Nor yet discomfort, never enter here.

Rose's Orlando, Canto v. It appears to be one of those modes of expression, which having been originally in common use, have now become vulgarisms; such is the usage of "as" for the pronoun_" that," which is to be found in Locke and other writers, (Essay on Human Understanding, Vol. i. p. 94, ed. 1817, note: "These words of your Lordship's contain nothing as I see in them against me." So Osborne: "Under that general term were comprehended not only those brain-sick fools as did oppose the discipline and ceremonies of the church," &c.), and many other phrases, as well as modes of spelling and pronunciation, inflections, &c. which are now confined to the common people, or to particular districts.

Extract from "Luther's Table Talk," in the Tenth Number of the Retrospective, p. 298. "He shed the blood of many innocent Christians that confessed the Gospel, those he plagued and tormented with strange instruments;" i. e. others, Toùs dè, in Latin, illos.

"It

In the dedication to Bishop Taylor's Ductor Dubitantium, a remarkable number of Grecisms and Latinisms occur. was impossible to live-but as slaves live, that is, such who are civilly dead, and persons condemn'd to metals (mines)." “But

now our joys are mere and unmixt." "I was willing to negotiate (negotiari) and to labour." "You will best govern by the arguments and compulsory of conscience, and this alone is the greatest (ev Touto μéyiσtov) firmament of obedience." Vol. iv. of Gifford's Massinger, p. 304, note, Mr. Gifford observes on Shakespeare's expression,

- my way of life

Is fall'n into the sere, the yellow leaf--

"The fact is, that these ingenious writers" (Mr. Gifford's stipites, fungi, &c.) "have mistaken the phrase, which is neither more nor less than a simple periphrasis for life." He cites examples of this periphrasis from the old dramatists:

So much nobler

Shall be your way of justice.

Massinger's Thierry and Theodoret.

Thus ready for the way of death or life,
I wait the sharpest blow.

So the Greek tragedians :

τρισσαί μ' ἀναγκάζουσι συμφορᾶς ὁδοὶ,
Ιόλαε, τοὺς σοὺς μὴ παρώσασθαι ξένους.

Pericles.

Eurip. Heraclid. 237.

οὗτοι πέφυκα μάντις, ὥστε, μὴ κλύων,
ἐξιστορῆσαι σῶν ὁδὸν βουλευμάτων.

Ib. p. 318.

1 pray you, take me with you;

Id. Hecub. 743.

i. e. " let me understand you." Thus ouμregipépes in the latter Greek writers. Polyb. ii. 10. ὧν χωρὶς οὐχ οἷον τε ἦν συμπερ ιενεχθῆναι δεόντως οὔτε τοῖς νῦν λεγομένοις, οὔτε τοῖς μετὰ ταῦτα intnoquévois úß' hμwv: “absque quibus non licet intelligere," &c. In a late poet we have:

No voice from some sublimer world hath ever

To sage or poet these responses given :

i. e. hæc responsa, a response on this subject-a solution of certain difficulties which had been previously spoken of. Another modern poet has not scrupled to imitate the classical anacoluthon :

Has Hope, like the bird in the story,
That flitted from tree to tree
With the talisman's glittering glory,
Has Hope been that bird to thee?

The following lines, by Joannes Charga, an Italian poet,

VOL. XXVIII.

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appear to us singularly expressive of the feelings natural to a person in the situation of the writer.

Senex resipiscit.

Hei mihi misero, hei mihi!
Tempus quam cito præterit!
Homo quam cito deficit !
Et mors quam cito criminum
Pœnas exigit omnes!
Magnam qui bene fecerint
Mercedem referunt: ego
Annis jam gravis, et gravis
Culpa, en distrahor omnium
Per tormenta malorum.
Nox cæcis tenebris premit
Morbo languida lumina :
Menti et sensibus incubat
Quidquid est iniserum et grave:
Vivum es, Charga, cadaver.
Vivum: nam patula vigent
Aures; sed tuba, in ultimum
Quæ te judicium vocat,
Quali, proh pietas, sono
Metus duplicat omnes !
Ergo tam miser et nocens
Ad quem confugiam, nisi
Ad te, Rex meus, et Pater?
O Rex, O Pater, O Deus,
Tu mei miserere.
O et perfugium et salus
Humani generis, pie

O Jesu, precor, ah precor
Illa luce novissima

Tu mei miserere.

Tu quem sanguine, quem cruce

Eternis redimis malis,

Pro tua pietate me

Æternis recrea bonis,

Et mei miserere.'

These lines have much of the pathos of Herrick's beautiful

"Litany:"

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