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lished, was edited by Garth about a century ago, ul

it even possible for him to declare his Godhead in plainer or stronger terms? He does not say, I am one that knows the heart; but, in far higher terms, I am He, that one God, who alone search eth the heart.

*6 Jesus knows ALL THINGS : • We are sure that thou knowest all things.' John xvi. 30. Peter said unto hint, 'Lord, thou knowest all things.' John xxi. 17. And all men shall know, in the great day of God, that this is true of Christ, for · When Christ cometh he will bring to light the hidden things of darkness, and will make manifest the counsels of the hearts.' 1 Cor. iv. 5.

“ More yet; Jesus Christ knows not only the hearts of men, and all things in the world of nature and of grace; but he knows all that God is. As the Father knoweth me, EVEN so. know I the Father.' John x. 15. • The Spirit (which is called the Spirit of Christ) "searcheth all things, yea the deep things of God.'. I Cor. ii. 10. No man knoweth the Father save the Son. Matt. xi. 27. No man hath seen God at any time, the only-begotten Son, which is in the bosom of the Father, he hath declared lim.” John i. 18. When Jesus came down to earth he saith “I speak that which I have seen with my Father.' John viii, 38.

Note. No man hath seen God at any time. Jesus Christ. knoweth the Father in the very same manner as the Father knoweth Christ. Jesus is omniscient; none is so but God.” P. 8. Art. XI. Enone to Paris, translated from Ovid, with the Latin Text und Notes. 12mo. 1s. 6d. White and Coch

1815. A TRANSLATION of the Heroides of Ovid is among the desiderata of cur English literature. The only one yet pub

which is certainly with about two splendid exceptions, but a very meagra and very miserable collection. The author of the translation before lis sends it into the world as a specimen only of a more complete work, which he purposes, should the public approve of his first attempt, speedily to bring out. We trust that he, will not be discouraged in the performance of his resolution. He has many qualifications for the performance of such a task. With a perfect acquaintance with his author, he unites much nearness and elegance of versification. If there is a point in: wlrich be fails, it is in his inability to catch the airy freedom: and graceful negligence of the original. Tibullus perhaps would be better adapted to our translator's taste. This however may proceed in some masure from his very just desire to avoid






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amplification, as he does not generally exceed the original by more than two lines in twenty.

Let him proceed in his task: he is fully capable of its per: formance, as the following version of these delicious lines will clearly show.

“ Populus est (memini) fluviali consita ripa,

Est in quâ nostri litera scripta memor;
Popule! vive, precor, quæ consita margine ripæ

Hoc in rugoso cortice carmen habes!
Cùm Paris &none poterit spirare relictá,

Ad fontem Xanthi versa recurret aqua.
Xanthe ! retro propera ! versæque recurrite lymphæ !

Sustinet Enonen deseruisse Paris.” P. 10.

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“ Late on a Poplar's bark, whose towering head

Waves o'er a stream, the well-known name I read
Still thrive that Poplar by the streamlet's side,

Still be these lines upon its bark descried !
Let Xanthus, refluent, seek his fount above,

If Paris live, when he has ceas'd to love.
Turn, Xanthus, turn! ye streams your source explore !

False Paris lives, and yet he loves no more! P. 11.

Should our translator be encouraged to fulfil his intention of presenting the public with a perfect translation of the “Hefoides," we need not, we are assured, advise him to insert the translation of Sappho to Phaon by Pope, nor attempt to supercede what, with all its faults, is still inimitable.

Art. XII. The Descent of Liberty, a Mask. By Leigh Hunt. 12mo. 82 pp. 6s.

Gale and Feuner. 1814.


THAT Mr. Hunt is a man possessed of a very fair portion of talent we shall not be disposed to deny. . His juvenile poems displayed a genius, wbich if it had been properly cultivated night have been an ornament both to himself and his country. Most unpropitious however have been the pursuits of his life to the cultivation of his muse. Politics, even of the highest order, and poetry are but an ill-assorted pair; but politics, such as Mr. Hunt's, must strike at the very existence of all poetry, ex depting the seditious doggrel of Peter-Pindarics at second hand. The

pert and vulgar insolence of a Sunday demagogue, dictating

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on matters of taste to town apprentices, and of politics to their conceited masters, must utterly eradicate from the mind that simple and subdued elegance, that softened grace which is so essential a characteristic of the poet's mind.

The poem before us is an imitation of the ancient Mask, upon which Mr. Hunt has written an essay which, in our opinion, is infinitely the best part of the volume, and if we except occasional flippaucies, is both an amusing and instructive performance. From this we shall extract with pleasure a portion of Mr. Hunt's history of the antiquity and the variety of Masks.

Pageant and Mask are common terms in Shakepeare and Spenser for something more than ordinarily striking in the way of vision ; they often furnish them with resemblances and reflections; and a great deal of the main feature of the Faerie Queen has with great probability been traced to the influence of these congenial spectaclesi Milton, it is true, who objected to kings on earth and filled heaven with regalities,—who denied music to chapel. goers and allowed it to angels,—who would have had nothing brilliant in human worship and sprinkled the pavement before the deity's throne with roses and amaranths,-las a passage in which he speaks contemptuously of

« Court-amours, Mix'd dance, or wanton Mask, or midnight ball; but it was after he had learnt to quarrel with the graces of the world, as something which Providence had sent us only to deny ourselves. He is speaking here too of the entertainment in it's abuse rather than it's proper character. In his younger, happier, and it may be added, not less poetical days, he counted

"Mask and antique Pageantry among the rational pleasures of cheerfulness, and gave them perhaps the very highest as well as most lovely character of abstract and essential poetry, by calling them

“ Such sights as youthful poets dream

On summer eves by haunted stream. In short, Comus had been the result of his early feelings, and it was curious, that he who inveighed against Masks in his more advánced age, should have been fated to leave to posterity the very piece by which this species of composition is chiefly known.

" Comus, however, though an undoubted Mask in some respects, as in it's magic, it's route of monsters, and it's particular allusiori to an event in the noble family that performed it

, is more allied, from it's regularity of story and it's deficiency in scenic shew, to the Favole Boschereccie, or Sylvan Tales of the Italian poets, which had just then been imitated and surpassed by the Faithful Shep


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upon him.


Berdess of Fletcher. A Mask may be pastoral or not as it pleases ; but scenic shew and personification are, upon the whole, it's dise tinguishing features; and Milton, with the Faithful Shepherdess on his table (his evident prototype) was tempted to deviate more and more from the title of his piece by the new charm that had come

« On the other hand, Spenser, who appears at one time to have written a set of Pageants, has introduced into his great poem an allegorical procession into which Upton conjectures them to have been worked up*, and which the author has expressly called a • Maske,' though it is in the other extreme of Comus, and has no thing but shew about it. It is in Book the third, Canto the twelfth, where Britomart, in the strange Castle, and in the silence and solitude of night is awaked by a shrilling trumpet,' and after a storm of wind and thunder, with the clapping of doors, sees the Maske of Cupid' issue from the Enchanted Chamber, and pace about her

The whole scene is in his noblest style of painting; but as it is only a mute spectacle, and that too rather described than acted, it does not include the dramatic character necessary to complete the more general idea of the Mask.

“ The Mask which is introduced in the Tempest, and which Warburton had unluckily forgotten when he thought to countenance his opinion of these fooleries' by saying that Shakspeare bad written none t, is a much completer thing of it's kind. In addition to supernatural agency, it has songs and a dialogue, and is called up by Prospero for the purpose of celebrating a particular event. the betrothinent of Ferdinand and Miranda. It is not, of course, as the mere contingency of a play, to be compared with the work of Milton, nor is it, though not without marks of a great hand, so lively and interesting as Spenser's Pageant; but it comes much nearer than either to the genuine Mask, and indeed only differs from it inasmuch as it is rather an incident than a piece by itself,- rather a Mask in a drama, than a drama in the form of Mask. Of a similar kind, and not without touches of poetry, is the Mask in the Maid's Tragedy of Beaumont and Fletcher, and the spirited little sketch of another, after Spenser, in Fletcher's Wife for a Month." P. xxvii.

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Of Mr. Hunt's own performance we cannot speak in very high terms. After allowing him all the credit due to a fruitful imagination we have little else to say in his favour. We have all the quaintness and conceit of the older poets, unredeemed by any of those softer touches, which shew the hand of a Master.

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66* See a note on the passage.

Todd's Spenser, vol. 5. p. 106. 180.5.! + Note to Romeo and Juliet, Act l, Sc. 4."


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What beauty can any of our readers discover in the following

" Then the flowers on all their beds
How the sparklers glance their heads !
Daisies with their pinky lashes,
And the marigold's broad flashes,
Hyacinth with sapphire bell
Curling backward, and the swell
Of the rose, full-lipp'd and warm,
Round about whose riper form
Her slender virgin-train are seen
In their close-fit caps of green;
Lilacs then, and daffadillies ;
And the nice-leav'd lesser lillies,
Shading, like detected light,
Their little green-tipt lamps of white;
Blissful poppy, odorous pea,
With it's wings up lightsomely ;
Balsam with his shaft of amber,
Mignonette for lady?s chamber,
And genteel geranium,
With a leaf for all that come ;
And the tulip, trick'd out finest,
And the pink, of smell divinest;'
And as proud as all of them
Bound in one, the garden's gem,
Heartsease, like a gallant bold,
In his cloth of purple and gold.
But why stay I chattering here
To a more instructed ear?
Feet approach, my task is done,
I must glance me through the sun,
Phaniel, if your cloud holds two,
I'll come up, and sit with you?
Phấn. Come along, and share my

“ Mabiel flies up across the scene, wliisking his coloured wings
in the sunshine." P. 28.

There is a sort of vulgarity in this and numberless other page
sages which will still obtrude itself on our view though covered
with the antiquated garb of conceit. The dialogue is too pon-
derous and prosy to allow us to make any favourable report of
its merits. The descriptions of the action or the directions for
its performance are sometimes so long and sometimes so absurd
as to set the imagination of the reader at defiance. Let us take
the following as an example.

“ Here Poetry waves her wand, and several stately and gorgeous visions pass through the air, the actual back-ground of the


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