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Jupiter, excepto, donasset ut omnia, cælo ?
Non potiora dedit, quamvis et tuta fuissent,
Publica qui juveni commisit lumina nató,
Atque Hyperionios currus, et fræna diei,
Et circum undantem radiata luce tiaram.
Ergo ego jam doctæ pars quamlibet ima catervæ,
Victrices hederas inter, laurosque fedebo;
Jamque nec obscurus populo miscebor inerti,
Vitabuntque oculos vestigia nostra profanos.
Este procul vigiles curæ, procul este querelæ, 105
Invidiæque acies transverso tortilis hircuo,
Sæva nec anguiferos extende calumnia rictus; å
In me tristę nihil fødiffima turba potestis,
Nec vestri sum juris ego ; securaque tutus
Pectora, vipereo gradiar lublimis ab ictụ.

At tibi, chare pater, postquam non æqua merenti
Poffe referre datur, nec dona rependere factis,
Sit memoraffe fatis, repetitaque munera grato
Percensere animo, fidæque reponere menti.

Et vos, O noftri, juvenilia carmina, lusus, 115 Si modo perpetuos sperare audebitis annos, Et domini fupereffe rogo, lucemque tueri, Nec spiffo rapient oblivia nigra fub Orco; Forfitan has laudes, decantatumque parentis Nomen, ad exemplum, sero servabitis ævo.*


I 20

106. Invidiæque acies tranfverfo tortilis birquo.] The best com. ment on this line is the following description of envy, raised to the highest pitch, in PARAD. L. B. iv. 502.

-Aqide the Devil turn'd
For envy, yet with jealous leer malign

Ey'd them akance. • Such productions of true genius, with a natural and noble consciousness anticipating its own immortality, are seldom found to fail.


Σραήλ ότε παιδες, ότ' αγλαά φύλ'Ιακώβ

Αιγύπιον λίπε δημoν, απεχθέα, βαρβαρόφωνον,
Δή τότε μένον έην όσιον γένος μες Ιεδα.
ετ Εν δε θεός λαδίσι μέγα κρείων βασίλευεν.

Είδε, και εντροπάδην φύγωδ' ερρώησε θάλασσα - Κύματι αλυμένη δοθίω, οδ' άρ' εσυφελίχθη

Ιρος Ιορδάνης ποτί άργυροιδεα πηγήν. - Έκ δ' όρεα σκαρθμοίσιν απαρέσια κλονέοντο,

Ως κριοί σφριγόωντες ευτραφερω έν αλή,


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• Whoever will carefully compare this Psalm with Duport's version, will find this of Milton far superiour; for in Duport's version are many solecisms.“ Quod in FORTUNIUM, says Dawes

very candidly, in cæteros itidem quosque, qui a fæculis recenti“ oribus Græce scribere tentarunt, cadere dicendum est.” MisCELLAN. p. 1. Dr. J. WARTON.

In my new arrangement, I ought to have placed this piece on. der the TRANSLATIONS. But being in a learned language, and not in English, I judged it best it should remain here. Milton fent it to his friend Alexander Gill, in return for an elegant copy of hendecasyllables. “ Mitto itaque quod non plane meum est, sed " et vatis etiam illius vere divini, cujus hanc oden altera ætatis “ septimana, nullo certo animi propofito, fed fubito nescio quo im.

petu, ante lucis exortum, ad Græci carminis heroici legem, in “ lectulo fere concinnabam.” He adds, “ It is the first and only thing I have ever wrote in Greek, since I left

your school;

for, you know, I am now fond of composing in Latin or English. They in the present age who write in Greek, are singing to the “ deaf. Farewell, and on Tuesday next_expect me in London

among the booksellers:” Epist. Fam. Dec. 4, 1634. ProseWORKS, ii. 567. He was now therefore twentyeight years old. In the Postscript to Bucer on Divorce, he thus expresses his averfion to translation. “Me who never could delight in long citations, “ much less in whole traductions; whether it be natural disposition

or education in me, or that my mother bore me a speaker of “what God made mine own, and not a Translator.”* ProseWorks, vol. i. 293. It was once proposed to Milton to translate Homer.



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Βαιότεραι δ' άμα πάσα ανασκίρτησαν ερίπναι,
Oια σαρα σύριγέ φίλη υπό μητέρι άρνες.
Τίπε σύγ, αινα θάλασά, σέλως φύγαδ' ερρώησας
Κύματι αλυμένη ροθίω και τι δ' άρ' έσυφελίχθης
Ιρος Ιορδάνη ποτί άργυροειδέα πηγήν και
Τίπόρεα σκαρθμοίσιν άπειρέσια κλονέεσθε, 15
Ως κριοί σφριγόωντης ευτραφερω έν άλωή;
Βαιοτέραι τι δ' άρ' υμμές ανασκιρτήσατερίπναι,
Oια σαραι σύριγιε φίλη υπό μητέρι άρνες και
Σεάεο για τρέασα θεον μεγάλο εκτυπέοντα
Βαλα θεον τρείασ' ύπατον σέβας Ιωακίδαο,
“ος τε και εκ σπιλάδων ποταμός χέε μορμάροντας,
Κρήνηνταέναον αέτρης απο δακρυσέασης.

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Philosophus ad regem quendam, qui eum igno

tum et infontem inter reos forte captum infcius damnaverat, την επί θανάτω πορευόμενG, bæc fubito mist.

'Ω άνα, έ ολέσης με τον έννομον, έδε τιν' ανδρών Δανόν όλως δράσαντα, σοφώτατον ίθι κάρηνον Ρηιδίως αφέλoιο, το δ' ύσερον αύθι νοήσεις, Μαψιδιως δ' άρ' έπειτα τεόν σρος θυμόν οδυρη, Τοιον δ' εκ στόλιος περιώνυμον άλκαρ ολέσας.

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4. In edition 1645, thus,

Μαψ αύτως δ' άρ' έπειτα χρόνω μάλα πολλών οδύρη,

Τοιόν εκ πόλεως.
The paffage was altered, as at present, in edition 1673.

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In Efigiei Ejus * Sculptorem.

'Αμαθα γεγράφθα χειρί τήνδε μέν εικόνα
Φαίης τάχ' άν, σρός είδος αυτοφυές βλέπων.
Τον δ' εκτυπωτών εκ επιγνότες φίλοι
Γελάτε φαύλα δυσμίμημα ζωγράφε.

* Of Milton.

+ This inscription, a fatire on the engraver, but happily concealed in an unknown tongue, is placed at the bottom of Milton's print, 'prefixed to Moseley's edition of these poems, 1645. The print is in an oval : at the angles of the page are the Mufes Melpomene, Erato, Urania, and Clio; and in a back-ground a landSchape with Shepherds, evidently in allusion to LYCIDAS and L'ALLEGRO. Conscious of the comeliness of his person, from which he afterwards delineated Adam, Milton could not help expresting his resentment at fo palpable a diffimilitude. Salmafius, in his DEFENSIO REGIA, calls it comptulam imaginem, and declares that it gave him no disadvantageous idea of the figure of his antagonist. But Alexander More having laughed at this print, Milton replies in his Defens10 PRO se," Tu effigiem mei diffi

millimam, prefixam poematibus vidisti. Ego vero, impulsu et « ambitione librarii me imperito scalptori, propterea quod in urbe “ alius eo belli tempore non erat, infabre scalpendum permifi, id

me neglexisse potius eam rem arguebat, cujus tu mihi nimium “ cultum objicis.” Prose-Works, vol. ii. 367. Round it is in“ fcribed JOHANNIS Milton1 ANGLI EFFIGIES ANNO ÆTA

There was therefore some drawing or painting of Milten in 1629, from which this engraving was made in 1645, eo belli tempore, when the civil war was now begun. The engraver

is William Marshall; who from the year 1634, was of ten employed by Moseley, Milton's bookseller, to engrave heads. for books of poetry. One of these heads was of Shakespeare, to his Poems in 1640. Marshall's manner has sometimes a neatness. and a delicacy discernible through much laboured hardness. In the year 1670, there was another plate of Milton by Faithorne, from a drawing in crayons by Faithorne, prefixed to his HISTORY OF BRITAIN, with this legend, " Gul. Faithorne ad vivum delin. et “ sculpsit. Joannis Miltoni effigies Ætat. 62. 1670.". It is also prefixed to our author's Pros E-WORK-s, in three volumes, 1698. This is not in Faithorne's best manner. Between the two VOL. I. Xxx



prints, hitherto mentioned, allowing for the great difference of years, there is very little if any resemblance. This last was copied by W. Dolle, before Milton's Logic, 1672. Afterwards by Robert White; and next by Vertue, one of his chief works, in 1725. There are four or five original pictures of our author. The firft, a half length with a laced ruff, is by Cornelius Janfen, in 1618, when he was only a boy of ten years old. It had belonged to Milton's widow, his third wife, who lived in Cheshire. This was in the possession of Mr. Thomas Hollis, having been purchased at Mr. Charles Stanhope's sale for thirty one guineas, in June, 1760. Lord Harrington wilhing to have the lot returned, Mr. Hollis replied, “ his lordship's whole estate should not repurchase it.” It was engraved by J. B. Cipriani, in 1760. Mr. Stanhope bought it of the executors of Milton's widow for twenty guineas. The late Mr. Hollis, when his lodgings in Covent-garden were on fire, walked calmly out of the house with this picture by Jansen in his hand, neglecting to secure any other portable article of value. I presume it is now in the possiession of Mr. Brand Hollis. - [See Ad Parr. Note, v. 75.] Another, which had also belonged to Milton's widow, is in the possession of the Onslow family. This, which is not at all like Faithorne's crayon-drawing, and by fome is fufpected not to be a portait of Milton, has been more than once en. graved by Vertue : who in his first plate of it, dated 1731, and in others, makes the age twenty one. This has been also engraved by Houbraken in 1741, and by Cipriani. The ruff is much in the neat style of painting ruffs, about and before 1628. The picture is handsomer than the engravings. This portrait is mentioned in Aubrey's manuscript Life of Milton, 1681, as then belonging to the widow. And he says, “Mem. Write his name in red letters on his pictures which his widowe has, to preserve them.Vertue, in a Letter to Mr. Christian the seal engraver, in the British Museum, abont 1720, proposes to ask Prior the poet, whether there had not been a picture of Milton in the late lord Dorset's Collection. The duchess of Portland has a miniature of his head, when


the face has a stern thoughtfulness, and, to use his own expression, is severe in youthful beauty. Before Peck's New MEMOIRS of Mil. ton, printed 1740, is a pretended head of Milton in exquisite mezzotinto, done by the second ). Faber : which is characteristically unlike

any other representation of our author. I remember to have seen. It is from a painting given to Peck by fir John Meres of Kirkby-Belers in Leicestershire. But Peck himself knew that he was impofing upon the public. For having asked Vertue whether he thought it a picture of Milton, and Vertue peremptorily anfwering in the negative, Peck replied, " I'll have a scraping from so it, however ; and let pofterity settle the difference." Besides, in this picture the left hand is on a book, lettered PARADISE Lost. But Peck supposes the age about twenty five, when Milton had

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