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action admirable affecting alſo ancient appear attend beautiful beſt Boileau called character circumſtance compoſition Corneille critics deſcribed deſcription Dryden elegant equal excellent eyes firſt French frequently genius give given hand himſelf human images imagination imitation introduced Italy juſt kind king language laſt lately learned letters lines lively manner means mentioned method Milton mind moſt muſic muſt nature never numbers obſervations occaſion once opinion original painted particularly paſſage paſſion pathetic perhaps perſon piece pleaſing poem poet poetical poetry Pope preſent produced proper Racine reader remarkable repreſented rules ſaid ſame ſatire ſays ſcene ſee ſeems ſentiments ſeveral ſhall ſhe ſhould ſome ſpeak ſpecies ſtory ſtrokes ſubject ſuch taſte theſe thing thoſe thought tion tragedy tranſlation true turn uſed verſes Virgil whole whoſe writing written
Page 173 - But see! each Muse, in Leo's golden days, Starts from her trance, and trims her wither'd bays! Rome's ancient Genius, o'er its ruins spread, Shakes off the dust, and rears his rev'rend head. Then Sculpture and her sister-arts revive; Stones leap'd to form, and rocks began to live; With sweeter notes each rising Temple rung; A Raphael painted, and a Vida sung.
Page 142 - Where a new world leaps out at his command, And ready nature waits upon his hand ; When the ripe colours soften and unite, And sweetly melt into just shade and light ; When mellowing years their full perfection give( And each bold figure just begins to live, The treacherous colours the fair art betray, And all the bright creation fades away...
Page 81 - And, when I die, be sure you let me know Great Homer died three thousand years ago. Why did I write? what sin to me unknown Dipp'd me in ink, my parents', or my own?
Page 150 - Durfey's Tales. With him most authors steal their works, or buy ; Garth did not write his own Dispensary. Name a new play, and he's the poet's friend ; Nay, show'd his faults — but when would poets mend? No place so sacred from such fops is barr'd, Nor is Paul's church more safe than Paul's churchyard: Nay, fly to altars ; there they'll talk you dead ; For fools rush in where angels fear to tread.
Page 129 - Tis not a lip, or eye, we beauty call, But the joint force and full result of all. Thus when we view some well-proportion'd dome, (The world's just wonder, and ev'n thine, O Rome!) No single parts unequally surprise, All comes united to th' admiring eyes; No monstrous height, or breadth or length appear; The whole at once is bold and regular.
Page 317 - May one kind grave unite each hapless name, And graft my love immortal on thy fame. Then, ages hence, when all my woes are o'er...
Page 297 - How oft, when press'd to marriage, have I said, Curse on all laws but those which love has made! Love, free as air, at sight of human ties, Spreads his light wings, and in a moment flies...
Page 41 - Less than a God they thought there could not dwell Within the hollow of that shell, That spoke so sweetly and so well.
Page 124 - Some figures monstrous and mis-shap'd appear, Consider'd singly, or beheld too near, Which, but proportion'd to their light, or place, Due distance reconciles to form and grace. A prudent chief not always must display 175 His pow'rs, in equal ranks, and fair array, But with th' occasion and the place comply, Conceal his force, nay seem sometimes to fly.
Page 293 - Repentant sighs, and voluntary pains: Ye rugged rocks! which holy knees have worn; Ye grots and caverns shagg'd with horrid thorn! .-• Shrines! where their vigils pale-ey'd virgins keep, And pitying saints, whose statues learn to weep! Tho' cold like you, unmov'd and silent grown, I have not yet forgot myself to stone.