timent of Jonson implies ridicule, which was wholly foreign from the breast of the Roman poet,

I wander not to seek for more
In greatest storm I sit on shore,
And laugh at those that toil in vain
To get what must be lost again.”

In the 28th line of the first note in p. 183, after quoting from Mr. Good's remark, we shall be pleased to have it in our power to add a little to his stock of multifarious infor mation :

Statius has, therefore, compared to the sage himself this secure and elevated cliff, on which, Lucretius and Cowper represent him as seated:

Stat sublimis apex, ventosque imbresque serenus
Despicit,

Theb. ii. 35.

Firm stands its brow sublime, and winds and showers
Despises, fearless.

It is highly probable that from this passage of Statius, Golde smith derived his beautiful and parallel simile; which, in reality, is little more than a free translation:

As some tall cliff that lifts its awful form,

Swells from the vale, and midway leaves the storm,
Though round its head the rolling clouds are spread,
Eternal sun-shine settles on its head.'

Deserted Village.

Goldsmith undoubtedly borrowed the simile in question from a passage in Claudian: let the reader compare the Latin and English. We present it to him without the aid of italics:

ut altus Olympi

Vertex, qui spatio ventos hiemesque relinquit,
Perpetuum nullâ temeratus nube serenum,
Celsior exsurgit pluviis, auditque ruentes

Sub pedibus nimbos, et rauca tonitrua calcat.'

De Cons. Mall. Theod. Cons. 206.

To Mr. Good's substantive Unsuccess,' we must unite an adjective of equal beauty, 1. 19,

unanxious' quiet for the mind.”

and why

We are aware that we are liable to the retort, should not Mr. Good coin words if he pleases?' Forsooth, we cannot answer it. We have not room to quote many of

Mr. Good's notes, which obviously put us in mind of Bish's Lucky Lottery Office, or Packwood's Razor Strops, i. e. they begin with something out of the way which excites our curiosity, and when we have followed the track through some lines we discover the evident puff with indignant vexation. We have an example at hand. Upon two verses in p. 185, there are five quarto columns of notes; the five columns, we allow, staggered us: but a reviewers' duty is superior to his disgust. We began then with Young-but alas! we ended with Roscoe! yes, with Roscoe! Oh what a falling off was there! The quotations are as follows:

To save the reader further trouble on this head, we inform him once for all, that the general character of the notes partakes of a similar intermixture of chaotic learning. Even the Swedish dog- Latin of Linnæus is introduced as an imitation of the picture of a country life by Lucretius. The imitation begins thus prettily, 'O Lappo, qui in ultimo angulo mundi sic bene lates contentus et innocens. Linnæus speaks of Lapland, and Lapland gives the opportunity of mentioning those who have written on it in English and French.

A principal fault which we find with Mr. Good, is the affected closeness of his translation, which occasionally, under the false idea of terse compression, leads him into arrant nonsense. We defy dipus to have made out the following enigma, or the baffled writer of this article must exclaim, Davus sum, non dipus.' P. 227...

for far beyond the ken

Lies the prime base impalpable of things,
As this eludes all vision, so alike

Its motion too elude. E'en oft the sight

No motion marks where still the moving scene -
Springs obvious, by the distance sole concealed.'

However nonsensical the passage is as it stands, yet the illustration is certainly done in the spirit of the original :

Præterea, magnæ legiones quom loca cursu
Camporum complent, belli simulacra cientes

Fulgur. ubi ad cœlum se tollit, totaque circum
Ære renidescit tellus; subterque, virâm vi,
Excitur pedibus sonitus, clamoreque montes
Içtei rejectant voces ad sidera mundi ;

Et circum volitant equites, mediosque repente
Transmittunt,valido quatientes impete, campos:
Et tamen est quidam focus altis montibus, unde
Stare videntur, et in campis consistere fulgur."

Thus, too, when warlike squadrons crowd the field,
Horrent in arms, with horses scarce restrain'd,
Shaking the solid glebe, while the bright pomp
Flames through the skies, and gilds the glowing earth,
While groans the ground beneath their mighty tread,
And hills, aud heavens re-echo to their shouts-
View'd from afar, the splendid scene that spreads
Seems void of motion, to the fields affixt.'

As Lucretius has loosely copied his thought from Homer, so has Virgil very closely followed Lucretius. Among the moderns, Camoens has not been an unsuccessful imitator.

Mas ja cos escadrões da gente armada,
Os Eborenses campos vão qualhodos
Lustra co sol arnes, a lança, a espada
Vam rinchando os cavallos jaczados
A canora trombeta embandeirada
Os coraçoes a paz acostumados;
Vay as fulgentes armos incitando
Pellas concavidades retumbando.'

Between the 350th and 370th lines we meet the well-known verses of Lucretius on the cow bereft of her calf. The sweet simplicity, the unaffected beauty of them drew tears into our eyes when we were children; and in a passage of such difficulty, we congratulate Mr. Good on his execution, although we by no means approve

si queat usquam

Conspicere amissum fetum.

If, perchance, she still
May trace her idol!

And still less can we suffer our fair countrywomen to be imposed upon by the following translation.

'Neu simili penetrare putes primordia formà
In nareis hominum, quom tetra cadavera torrent,
Et quom scena croco Cilici perfusa recens est,
Araque Panchæos exhalat propter odores.' V. 414.

Nor deem those atoms like, from putrid scenes
That spring malignant, and th' essential sweets
Breath'd from Cilician saffron, or the blaze
Of fragrant altars fed from orient groves."

The learned reader will immediately see the absurdity of the translation; and ladies in the mean time, as not understanding those atoms which spring malignant from putrid scenes,' or blazes fed from orient groves,' will take our word for it.

The note is still farther from the purpose. We are told that it was the custom to strew Cilician saffron, in conjunction with several other odoriferous flowers, over the stages of their public theatres.' The passage alludes to the sprinkling saffron and rose water through tubes secretly convered through the theatre, which added to the delight and freshness of an Italian audience. But we find Mr, G, frequently erroneous in the customs and history of the ancients; we might add, the metre; where quoting from Avitus, whose description,' sayeth Mr, Good, is possessed of equal beauty' with that of Virgil, he prints

• Præfert terribilis metuendum forma decorem,"

We now proceed to quote from v. 624 of the original, with Mr. Good's translation, which is tolerably faithful; although the largificâ stipe ditantes,' is flatly rendered 'loading the path with presents.'

* JU

Ergo, quom primum, magnas invecta per urbeis,
Munificat tacitâ mortaleis muta salute:

Ære atque argento sternunt iter omne viarum,
Largificâ stipe ditantes; ninguuntque rosarum
Floribus, umbrantes Matrem, comitumque catervam,
Heic armata manus, Curetas nomine Græcei
Quos memorant Phrygios, inter se sorte catervis
Ludunt, in numerumque exsultant, sanguine ficței:
Terrificas capitum quatientes numine cristas,
Dictæos referunt Curetas, quei Jovis illum
Vagitum in Cretâ quondam obcultasse feruntur;
Quom puerei circum puerum pernice choreâ,
Armatei, in numerum pulsarent æribus æra,
Ne Saturnus eum malis mandaret adeptus,
Eternumque daret matri sub pectore volnus.
Propterea, magnam armatei Matrem comitantur ;
Aut, quia significant divam prædicere, ut armis,
Ac virtute, velint patriam defendere terram;
Præsidioque parert, decorique, parentibus esse,"

Thus moves the pompous idol through the streets,
Scattering mute blessings, while the throngs devout
Strew in return their silver and their brass,
Loading the paths with presents, and o'ershade
The heavenly form, and all th' attendant train
With dulcet sprays of roses, pluckt profuse.
A band select before them, by the Greeks
Curetes call'd, from Phrygian parents sprung,
Sport with fantastic chains, the measur'd dance
Weaving enfuriate, charm'd with human blood
And madly shaking their tremendous crests.
These picture, haply, the Dictaæan train,
Alike Curetes term'd, as fame reports,

Who drown'd the infant cries of Jove in Crete,
When round the boy divine, in arms they danc'd,
Boys still themselves, and beat to measur'd sounds
Their clashing shields, lest Saturn the shrill shriek
Should trace, and Rhea shed eternal tears.
Thus these the matron-goddess, now precede:
Or else, perchance, they paint how every breast
Should burn with patriot fire, and every arm
Prove the firm guardian of a parent's years,

The following three lines would have been improved by the very flatness of which we lately complained:

Thus into life th' insensate dunghill rears
The race of worms, when once the mingling show'r
Wakes the warm ferment through the putrid mass."

There is no such bombast in Lucretius's description of a dunghill.

Quippe videre licet, vivos existere vermeis
Stercore de tetro, putorem quom sibi nacta est,
Intempestivis ex imbribus humida, tellus."-

Upon the subject of this dunghill there are eleven quarto pages of notes: and a moderately quick reader would dabble in the muck at least half an hour. After we have sufficiently dirtied ourselves, and endeavoured to pluck a mushroom or two for our pains, we are dismissed with the following sceptical notions on dung:

This theory of spontaneous vitality has been, however, expressly` controverted by Redi, the father of experimental entomology, as well as by Trembley and Bonnet. But the general force of the argumen advanced by the Roman bard does not depend upon its truth or falsehood. The fact remains the same, though, the mode of account ing for it be different. It is equally true that