One knows not which most to applaud, the lively imagery, the pathetic, or the artful decency, inserting the following passage in the speech of Atys, which is very dramatic, full of spirit, and sudden changes of passion: Egone a meâ remota hæc ferar in nemora domo? Abero foro, palestrâ, stadio, gymnasiis? Miser, ah miser, querendum est etiam atque etiam anime, The whole poem being of a strain rather superior to the ge nerality of Roman poesy, and being also so much above the tender and elegant genius of Catullus, whose name it bears, inclines me to think it a translation from some Grecian writer; and perhaps, if the reader will peruse the whole, it will give him the truest notion of an old dithyrambic, of any poem antiquity has left us. The text is in some places much corrupted; but enough remains pure and intelligible, to place it at the head of Latin poetry, how strangely soever it has been neglected. It ought to be observed, that the seventh, eighth, and with which this transaction is delicately hinted at in these most excellent lines; which are the genuine voice of nature and passion, and place the object intended to be impressed on the reader full in his sight. She next reminds Abelard of the solemnity of her taking the veil, from verse one hundred and six, to one hundred and eighteen, which are highly beautiful, particularly these circumstances attending the rite As with cold lips I kiss'd the sacred veil, The shrines all trembled, and the lamps grew pale! These two circumstances are fancied with equal force and propriety; and this supposed prognostic of the uneasiness she would undergo in the monastic life, is very affecting. But her pas sion intruded itself even in the midst of this awful ninth lines of this quotation, bear a wonderful resemblance to a fine passage in the book of Job, ch. xxix. ver. 6. & seq. I shall only add, that this is the only complete poem of the kind. 1 awful act of devotion, the strength of which she represents by this particular, * Yet then, to those dread altars as I drew, Here she gives her fondness leave to expatiate into many amorous ideas : + Still on that breast enamour'd let me lie, And then follows a line exquisitely passionate, and worthy the sensibility of Sappho or of Eloisa: Give all thou canst!-and let me dream the rest. Suddenly she here checks the torrent of this amorous transport Ah, no-instruct me other joys to prize,t X 4 She * V. 115. + V. 121. V. 125. She puts him in mind of his being the father and founder of the monastery, and entreats him to visit his flock on that account. This topic is taken from the Letters: From the false world in early youth they fled,* "Nihil hic super alienum ædificâsti fundamentum; totum quod hic est, tua creatio est. Solitudo hæc feris tantum, sive latronibus vacans, nullam hominum habitationem noverat, nullam domum habuerat. In ipsis cubilibus ferarum, in ipsis latibulis latronum, ubi nec nominari deus solet, divinum erexisti tabernaculum, et spiritûs sancti proprium dedicâsti templum. Nihil ad hoc, ædificandum ex regum vel principum opibus intulisti, cum plurima posses & maxima, ut quicquid fieret, tibi soli posset ascribi." Which last sentence is finely improved by POPE; being at once heightened with pathos and poetic imagery; and containing an oblique satire on benefactions raised by avarice, or extorted by fear. * Ver. 131. + Epist. i. Heloiss. p. 46. No No weeping orphan saw his father's stores* 1 No part of this poem, or indeed of any of POPE's productions, is so truly poetical, and contains such strong painting, as the passage to which we are now arrived; the description of the convent, where POPE's religion certainly aided his fancy. It is impossible to read it, without. being struck with a pensive pleasure, and a sacred awe, at the solemnity of the scene; so picturesque are the epithets. In these lone walls, (their days eternal bound,)† All the circumstances that can amuse and sooth the mind of a solitary, are next enumerated in this expressive manner: and the reader that shall be * Ver. 135. † Yer. 141. |