14 Ακδε πολλά, λάλει δ' όλιγα. 15 Πονηρὸν άνδρα μηδέποτε ποις φίλον. 16 Επαινειτε τις αγαθές. 17 Μοχθειν ανάγκη. 18 Τὴν τῶν ποταμῶν φύσιν, καὶ τὰ εἴιθρα αὐτῶν ὁρῶμεν. τῇ Μάλλον λήρει τὰς τῶν λόγων, ἡτας τῶν χρημάτων παρακαταθήκας, 20 Ποίει μηδὲν μεθ ̓ ὀργῆς. 21 Τοὺς ἀγαθος εὖ ποίει· 22 Ύπνος πενίαν τὴν κακέσχατον δαμα. 23 Εν θαλάσσῃ ζητείς ύδωρ. 24 Σ. αν ἄμεινον 7' αισχρά. 25 Μὴ κάμης φίλον ἄνδρα ευεργετῶν αλλ' ἔλεγχε 1. ̓Αλεξανδρος) s. in Latin Alexander. Δαρείος, Darius. S. ἐνίκησε) ν. νικαω. Δαρείον) δο 2. Νεα) νεος adj. see the Rule in Sec. I. N. 28, agrees with φρόλιος) ἐκ) adv. κ is added to & non, when the next word begins with a vowel having the smooth breathing. αλγειν) ν. άλγεω, infin. after φελει) Η Στ. φιλέω. 3. Πλατων) s. Plato. Proper names are used with the article some- This 4. λεγεσι) ν. λεγω, its nom. is λόγοι) 5. λόγος. τινες) adj. τις. pronoun has two distinct significations; it is sometimes used as an interrogative and signifies, who, what; and sometimes as a pronoun indefinite and signifies, any, some, certain. Here it is a pronoun inde finite. It agrees with λόγοι. Ηρακλης) 3. Ηρακλης by Crasis for Ηρακλες. This word is declined both as a parisyllabic and an imparisyllabic. For its declension as an imparisyllabic see the Grammar, Here it is declined thus; See Hercules in the Biblioth. Class. παιδα) s, παις, put in apposition to Ηρακλην. Διος) s. see Sec. II. N. 5. ̓Αλκμήνης) 5. ̓Αλκμήνης Alcmena. απο) prep, governs a genitive only, From γενεας). 5. γενεα, see the Rule in Sec. I. Ν. 42. Ηρακλείδην) 5. Ηρακλείδης, Heraclides. κεκλησθαι) ν. καλεω. This verb makes εσω in the future and you in the perf, TW 5. Alvos) s. Dionysius; see N. 5. of this Sec. i) prep. in is used before a consonant, it before a vowel. It governs a genitive Yly. From, out of. ἁπανίων) adj. απας, agrees with ἱερων) 5. ἱεραν. r) art. The article like an adjective (see Sec. I. Obs. R. 3,) must have a substantive expressed or understood, with which it agrees in gender, number and case. The substantive here is igy. The article is often prefixed to a participle, and must be rendered as if it were the relative, ,, with the verb before the participle made to agree with the relative, or as if it were the relative se,,, with the same tense of the verb in the indicative mood as the participle—thus ay may be rendered as if it were ds is hey, who is speaking, or as if it were is Aye, who speaks. The participle in instances, where a preposition or adverb follows, is often. understood thus ὁ ἐν τοις ερανοίς 1, e. ὁ ὧν ἐν τοις έρανοις the same as ὃς ἐσιν ἐν τοῖς ἐρανοις : τα έξω 1. e. τα όλα έξω, the same as a εισιν έξω, δε In the present instance (see, o, or, the imperfect participle) from is understood before the prep. i, which may be rendered as if it were doar in, which were in. Συρακεσίαις) 5. Συρακεσίαι, it has no singular, in Latin Syracuse. v becomes before. See Thebe and Ethiops, Sec. I. N. 33 and 44• να συλλώ. τα χρήματα) 8. χρημα, acc. after the verb. ولا and becomes a as ἐσυλησε) The volume will be found to be an useful Chrestomathia: but per haps it would have been of more general utility, if a literal Latin version had been added to the Greek. It was once the author's intention to have subjoined a Lexicon, and some notes on the First Iliad of Homer; calculated to shew the origin and progress of dialects, the use of the Greek particles, the laws of Greek quantity, and similar passages from Milton and Virgil: these notes are now designed for a separate publication. Ged..s. POETRY, DRAMATIC, &c. Art. 18. Clavidgo, a Tragedy, in Five Acts. Translated from the We gave some account of Goethe's Iphigenia in Tauris, in vol. xi. Tay. Art. 19. Reformed in Time; a Comic Opera, in Two Acts. As performed at the Theatre Royal, Covent Garden. 8vo. Is. Cadell jun. and Davies. 1798. Not having seen this little musical drama exhibited, we are unable to judge of the effects of the dialogue when delivered, or of the music of the songs when sung. It seems, however, on mere perusal, not to be devoid of merit in the composition. The fable, indeed, is not quite new, nor are the characters either very original or strongly marked: but the piece is innocent, and of a moral tendency, There is a variety in the measure of the songs, with a buffo humour in some of them, very favourable to dramatic music of the burletta Cast: cast: but we must observe that the character of the soubrette, Mrs. Handy, (Lady Insight's woman,) is overcharged with assurance, impertinence, and absurdity. Art. 20. D.B....Y. The Patriot; a Poem. By a Citizen of the World. 8vo. Patriot, and Citizen of the World, are contradictory terms. A patriot is a lover of his own particular country; and a citizen of the world is one who cares as much for one country as for another. use. We have not room to insert our remarks on particular defects in this poem, though in the course of examination we had written down more than twenty; exclusively of bad rhymes: such as worseDeath-wrath. Prepare-rear. Began-dawn. Grace-encrease. Eyes-joys. Joy-melody:-but there are slight defects, such as care and diligence may rectify. We wish not to discourage the attempts of young or anonymous authors in any species of writing, if the seeds of genius be discoverable: but in essays at poetry, if no originality, no ideas, no poetical language, be discoverable, the case is hopeless for the future. It is to be regretted that our worthy citizen of the world wants to be told, publicly, that he is not afflatus numine, not gifted with inspiration; and that he has chosen a subject which is above his powers. We observe that the 2d line of cach couplet is in want of ideas, and scems left to chance, without any preparation being made for it. Common thoughts expressed in common words will not constitute the language of the gods, as the antients called poetry. Many moderns have usurped a place among poets by the mere aid of rhyme: but antient poets, who had no such resource, were expected to possess other requisites than the mechacal art of arranging long and short syllables. A species of inspiration was thought necessary in their ideas and invention, as well as metaphorical expression in their language, to entitle them even to the name of versifiers; which modern bards acquire on easier terms. These remarks are not addressed merely to the author of the Patriot, but to poetical Tyros in general; who frequently imagine that, by being able to put into rhyme common thoughts, stale stories, and prosaic language, they shall be dignified with the high title of poet. The smaller pieces, which terminate this publication, seem of a better texture, and merit more lenity than the Patriot. Art. 21. False and True; a Play, in Three Acts. Performed at the Theatre Royal, Hay-Market. 8vo. 2s. Bell. 1798. Out of whose cage this summer bird flew to the Hay-Market, we are not told. We find, however, on examination, that it is a bird which not only sings but talks; and though we have not been able to hear its warblings, we are qualified to give our opinion of its powers of speech, since what it uttered has been printed. To get rid however of a troublesome metaphor, and speak of this production in plain English, we may apply its own title to the. merit of its writing and its characters. There are some good scenes, some comic and agreeable songs, and some amiable personages in the drama-but the character of Caliari is too black and disgusting for comedy; Count Benini is too gay, foolish, and frolicsomie, for an an Italian old man, though his archetype might possibly have been found in France some time ago; the Marchesa Veteria is too coquettish, fantastical, weak, and ridiculous, for an ugly old woman of any country; O'Rafarty is too absurd, even for a stage Irishman; and the Assassins are too easily found and purchased, even for Italy. Exaggeration is the great defect of this drama. We are not unacquainted with the customs and manners of the Neapolitans, and can venture to say, from our own knowlege, that there was a greater appearance of liberty, manliness, and personal safety there, a few years ago, than in any other city in Italy. Its climate is de. lightful; its productions are abundant, and of easy purchase; and there was a greater cheerfulness of countenance, with more seeming happiness, among the people of that kingdom, even in rags, than among those of any other country which we have seen. Such are the warmth and salubrity of the air, that clothes are a burden to the inhabitants; and the children of the poor will not be incommoded by shoes and stockings, even when given to them by compassionate strangers from northern climates, who imagine a warm covering to be the first of earthly blessings. Art. 22. The School for Ingratitude; a Comedy, in Five Acts: so LIKE, in many Points-in ONE, SO UNLIKE CHEAP LIVING." 8vo. Bell, Oxford-street. Heavy complaints are made by the author of this comedy, which had been submitted to the inspectioh of the managers of Drurylane Theatre, and suffered to remain in their hands almost a year, when another play on a similar subject, intitled Cheap Living, was brought on the stage, and his own rejected. He seems to insinuate, in strong terms, that some unfair use had been made of his MS.; and that the coincidences of character, sentiment, and expression, are as much beyond the power of chance, as the system of the universe.As he states the case, indeed, there certainly does seem a coincidence which is rather incredible, and unaccountable by the laws of chance:but not having seen the defence of the managers, nor of the rival author, we cannot enter deeply into the controversy, nor pretend to decide, judicially, on this misprision of plagiarisin. Let us see, however, what kind of drama it is, that has been thought worth pillaging so unmercifully. D:B....y. On perusal, we must own that commiseration for the author has not had the power of making us partial to the merits of the piece.. We scarcely think that, with the best possible acting, it could have been well received by the public. The brutality and villany of Perkins, one of the principal characters, are disgusting; and we see nothing either pleasant or ingenious in the duplicity and rascality of Janus, another prominent character. The scene at the Chop-house Is vulgar in the extreme, and by no means risible. Low Comedy, in the hands of a man of humour, is diverting, and often makes us laugh till we are ashamed of ourselves: but mirth and laughter cannot be excited by scenes of dirty distress and pilfering. The characters, here,; verge too much on vice and villany, to be amusing. There is, indeed, no tragic murder nor conspiracy: but rank offences and immorality abound. The only two characters for whom a wish can be be formed, except for their being hanged, are feebly written. We thought Hopeful amiable and innocent, till he joined in robbing the palace at Lambeth.-" But what a genius!" Thrice is this vulgar exclamation uttered at the gross thefts and ravenous appetite of the principal hero, Quickscent, on which the character of Spurge, in Cheap Living, is supposed to be formed. The whole is indeed such a farrago; there is such confusion in the denouement; such indelicacy in seizing for wives, on such short acquaintance, two females, who had been rather debauched by than married to one man; and the dinner-stealer, not hunter, is so gross, unnatural, and unlikely to be tolerated in society; that the loss to the public, by the rejection of this play, will certainly not be very great,-whatever it may be to the author. There is a considerable dissimilitude between a parasite who obtains an invitation, or invites himself, to dinner, where he is an unwelcome guest, and a man, like Mr. Scentwell, (if such ever had existence,) who steals his dinner, by robbing the kitchen, the pantry, and even the table during a repast. We were not much captivated with Mr. Reynolds's play of Cheap Living: but with all its exaggeration and deficiencies, since that and the School for Ingratitude are brought into comparison, justice obliges us to confess that the former is the best production of the two. The impudence of Spunge is outrageously overcharged: but we have heard of parasites, though never of town-footpads, or dinner-lifters, robbing people's larders and plates in open daylight. Art. 23. A Monody on the Death of Mr. John Palmer, the Comedian, This production comes from the pen of a cordial friend and enthusiastic admirer of the late excellent actor whom it celebrates; of whose various and extensive talents, his family and the public were deprived by a sudden death on the stage at Liverpool, during the exercise of his profession. We perfectly agree with the author as to the variety and excel, lence of Mr. Palmer's theatrical powers, and the loss which the lovers of the drama have sustained by his decease, in the meridian of his fame but we are not so certain of the necessity and utility of that spirit of comparison which runs through the whole review now before us. To instruct the people at large how to feel and how to admire in their amusements, is assuming a kind of dictatorial power which may make it difficult to please them, while it will not add to their real enjoyment, Such a review as this must be extremely mortifying to individuals whose talents are depreciated, and will excite envy, hatred, malice, and all uncharitableness, in the objects of the author's disapprobation. The applause which each performer receives from the spontaneous feelings of the public is the most certain test of his or her * See Rev. Dec. 1797, p. 465. |