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On Prague's proud arch the fires of ruin glow,
His blood dy'd waters murm’ring far below;
The storm prevails, the rampart yields a way,
Bursts the wild cry of horror and dismay !
Hark! as the mouldering piles with thunder fall,
A thousand shrieks for hopeless mercy call !
Earth shook,-red meteors flashed along the sky,

And conscious nature shudder'd at the cry!
• Oh! righteous Heav'n! 'ere freedom found a grave,
Why slept the sword, omnipotent to save ?
Where was thine arm, O! Vengeance ! where thy rod
That smote the foes of Zion and of God,
That crush'd proud Ammon, when his iron car
Was yok'd in wrath, and thunder'd from afar?
Where was the storm that slumber'd till the host
Of blood-stain's Pharaoh left their trembling coast,
Then bade the deep in wild coinmotion flow,

And heav'd an ocean on their march below?"
From this pathetic allusion to modern politics, the poet
passes by an easy transition to another, equally interesting:
The picture of the Negroe, hunting on his native plains,

• With fires proportion'd to his native sky,

Strength in his arm and lightning in his eye; is finely contrasted with the fetter'd and degraded slave. This subject, though almost exhausted, seems to have presented itself to the poet's mind in new and glowing colours.

The concluding lines on this topic introduce a simile which, we think, is entirely original, and beautiful:

The widow'd Indian, when her Lord expires,
Mounts the dread pile, and braves the funeral fires !
So falls the heart at thraldom's bitter sigh!

So Virtue dies, the Spouse of Liberty !
The second part of the poem is shorter than the first, but
still more pleasing. The allusion to the solitude of Adam,
before the creation of his helpmate, is very poetical; and the an-
ticipation of the lover, while musing on the future happiness
which lie is to enjoy in the society of

• The kind, fair friend, by Nature mark'd his own,' is a pleasing picture of domestic life. The writer's versifica. tion and manner in that passage, particularly, remind us of the simplicity of Goldsmith, although this young * Bard seems not to have made that writer his model. Much, however, as we might commend the beginning of the second part, we think that the author has violated the climax which he seems

* We understand that Mr. Campbell is not above twenty years old.

REY. AUG. 1799.

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to have intended, in pursuing the reflections as they succeed each other according to their importance. The scenes of domestic life ought to have been ali thrown into one place; and thence he should have proceeded to the political topics introduced in

his poem.

The last of Mr. Campbell's . Pleasures,' judiciously reserved, are those which he deduces from the Hopes of immortality; and in these passages, the poem rises into a tone of unvaried sublimity, suited to the sacred nature of the subject.

The conclusion is in the true style of a Grand Finale, and the idea is bold and impressive :

• Eternal Hope! when yonder spheres sublime,
Peal'd their first notes to sound the march of time!
Thy jovous youth began--but not to fade.
When all the sister planets have decay'd,
When wrapt in fire the realms of Ether glow,
And Heav'n's last thunder shakes the world below;
Thou, undismay'd, shalt o'er the ruin smile,

And light thy torch at Nature's funeral pile !' To characterize this performance in a few words, we think that it is an highly promising poen, although marked with some defects. It has no incident; no story to enabellish it; nor is the plan regularly followed up: but we deem it entitled to rank among the productions of our superior Bards of the present day, as it unquestionably contains many striking proof of the juvenile author's capacity for genuine and sublime poetry.

The minor pieces are chiefly songs and translations: the latter are not inelegant, and the former possess a simplicity which, when united to melody, must produce a pleasing effect.

Art. XV. ETPIMAOY EKABH. Euripidis Hecuba, ad fidem Manz

scriptorum emendata, &c. Arr. XVI. In Euripidis HECUBAM Londini nuper publicat.

Diatribe extemporalis. Composuit Gilbertus Wakefield. ART. XVII. ΕΥΡΙΠΙΔΟΥ ΟΡΕΣΤΗΣ. Euripidis Orestes, ad fidem

Manuscriptorum emendata, &c. •

[Art. concluded from p. 311—334.] The defence of those passages in Mr. Porson's edition of the

HECUBA, which had been censured in Mr. Wakefield's DIATRIBE, has been attempted in the former, parts of this article; and our concern has been expressed, that the confined limits, prescribed by the plan of the Monthly Review, would not allow room for a full discussion of the anassailed excellencies 6


observable in the Professor's publication.-Extensive, however, a 9 this critique has been, it must not be concluded, before we have offered to our learned readers a confirmation of one CORRECTion exhibited in Mr. Porson's text. The verse, indeed, is in the ORESTES :--but both the tragedies are illustrated by the same Editor, and in both is the Phidiaca Manus equally visible.

ORESTES 499. 'Avids xaxiwv éyivelo url pa xlavav. Thus Aldus, and the generality of copies. Brunck gives gévelo, from a persuasion that the augment was unnecessary. Edidit gárslo ex conjectura Brunckius,says Mr. Porson,“

qui gaudio exsultasset, si cognosset ita exstare in duobus MSS." The Professor gives

'Αυλές κακίων μητέρ' εγένετο κανών. This is the emendation, which, as far at least as the lengthened Iota in uniwr is concerned, it is intended to confirm, at some length; as the consideration of it comprehends a question of importance to the purity of Greek prosody. It relates to the quantity of the penultimate in comparative adjectives which are terminated in inN, and which are in use among the Ionic, Attic, and Doric poets. This point has never been fully discussed; and it has been involved in difficulty and contradiction by all the critics, since the revival of letters ; if we except our two learned countrymen, Richard Dawes, in his Miscell. Critica, 251, and Richard Porson, in his note on Eurip. Orest. 499.

Dawes. Comparativa in INN exeuntia in sermone Attico penultimam semper producunt.The instances in Aristophanes are then produced, in order to confirm the rule, and vindicate a correction in V. 270 of the Acharnenses,

This Canon was rejected by Markland, E. Suppl. 1001. and the truth of it was doubted by Musgrave in his notes on Euripides, by Burgess in his notes on Dawes, p. 469, and by Brunck in his notes on Eur. 0.507.

The Greek Professor of our times, (whose erudition and acuteness enable him to appreciate the excellencies of former philologists, as well as to detect their errors,) in his note on the cited verse of Euripides, rarities by his correction this rule of Dawes; though he has judged the mention of his name, on this occasion, unnecessary. Dawes, in his remark, quotes the passages in which these comparatives appear, from Aristophanes only, among the comic writers: but he does not produce a single reference to the tragedies; por does he state



what is the metrical custom with the Ionic and Doric *

poets, in their usage of these comparatives. On the rule, however, of which he was the first and original proposer, the following extended metrical Canon may be founded; the truth of which shall be evinced by the necessary examples:


ΑΙΣΧΙΩ Ν. The penultimate of this comparative is short, lonicè and Dorice Homer t. Il. 0.437.

'Αρξάντων ετέρων. Το μεν ΑΙΣΧΙΟΝ, άι καιαμαχητί.

Pindar. Isthm. 2. 32. 'Our úco xiov quã s. which corresponds with V.8. Tik péplalov Dewv-—Iamb. Hemiol.

The Iota is long Atticè :
EURIP. Helen. 271. "AISXION Fidos avid tõu xariv ad'ea.
ARISTOPH. Plut. 590. Ilonu tñs nevias Apayje? "AIEXION,

ζηλεις αυθώ περι αψαι. Eccles. 625. DEU Evlat yap tous aloxious, Tous de marsus

βαδιουνlαι. MENANDER. 'Etilpr. ap. Stob. Grot. LXXXVII. p. 363. Cleric. p. 68. "Αισχύν έστι: το δ' οδυνάσθ' ανθρώπινον.

'Arxiwy also occurs in the following passages; in which, from its situation in the verse, the quantity of the penultimate cannot be determined :

EURIPIDES, Medea. 506. "Onews ', epwirleis was aloxiw, paičio Soph. Electr. 559.

ΑΛΓΙΩΝ. . The penultimate is short in Homer: Il. £. 278. Ensimit αμπύργους: τω δ' ΑΛΓΙΟΝ, αι κ' εθέκησιν.

Markland indeed, 1. c. observes, Media in Dorico, ade corripitur semper, vel såpe. The last two words should have been omitted. The custom of the Dorics should not have been produced in the consideration of an Attic poet. Well does great RICHARD BENTLEY say to Boyle, who supposed that the final syllable of Tadas might be short Anice : “ Perhaps he might remember that verse of Theocritus, Id. II. 4.

Ως μοι δωδ. γαιδιος και ταλας υδέποθ' ήνει. . For there, indeed, tánge is short : but surely such a learned Grecian would know, that this was the Doric idiom, and not to be drawn into example, where that dialect was not used."

BENTLEY on Phalaris, p. 138. * In citing the authorities from the Ionic and Doric poets, Gre in#ance, on account of our limits, must be deemed sufficient. The examples from the Tragic and Comic writers are given at full length.

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It is,

It is long, Atticè :
SOPHOCL.. Αntig. 64. Και τους ακούειν, κάτι των ΑΛΓΙΟΝΑ.

The quantity is doubtful in Æsch. Prom. 933. EURIP.
Hipp. 490. Med. 238. which is cited in Stob. Grot. Tit.
LXXII. p. 303. and in the Prologue to Rhesus, first published
by Valckenaer, Diatr. 9o. 'Endiya'p ovdev gslın angios Csipes -

This comparative does not occur in the Attic poets. The
penultimate is short in Theocritus, E. 43.
Μη βαθιον τήνω πυγισμαλος υβέ ταφένης, ,

The penultimate is short in the only passage of Homer in
which this comparative occurs: Od. P. 18.

IITWX Girlíov sole xala mlóniv, nè xal aypous. where the true reading is Bérlepov, which is found in six verses of the Iliad, and in one of the Odyssey, and in two of the Hymn to Mercury, according to Seber's index. Eustathius, as Clarke's note well observes, gives Béalepov in his Commentary ; which Thomas Bentley found also in several MSS, therefore, surprising that Wolfius should have omitted so ob vious and necessary a restoration as Bixlepov, in his recently published Odyssey. Hesiod also uses Bexlepos instead of Berlíw. Op. et D. 365.

"Ομοι Βέλγερον ειναι, έπει Βλαβερών το θύρηφι. So Apollon. Rhod. I. 254. II. 33 8. III. 507. IV. 1255.

As to the Attic poets, in Eschylus * Beatiwe never occurs.
He follows Homer and Hesiod in the use of Bérlepose

S. Theb. 337: Bexlepa Tünde apoioceiv.
Suppl. 1066. Kat xpoétos vélos yuva

Ξίντο Βέλγερον κακού. .
He also employs Bestalos as a superlative, Eumen. 486).
Suppl. 1052. in the last Chorus t, though he uses Béalolos in a
Chorus of the Agamemnon, 397

Instances of Beaviwy, however, with the penultimate long,
occur frequently in the Dramatic writers after Eschylus.
EURIP. Andromach. 727. Tanxovles iole underd's BEATIONEE.

Ιon. 424. Εις παιδα τον σον μεταπέσοι ΒΕΛΤΙΟΝΑ,
Meleag. ix. ap. Stob. Tit. Lxx. p. 70. et Clem, Alex. II,

passage in one of his fragments shall be examined in the course of this disquisition.

+ A new regulation in the Metres of this Chorus was proposed in the Monthly Review for January 1798, Article, Butler.

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