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Through the pierc'd limbs: his body black with

dust. Unlike that Hector, who return'd froin toils Of war triumphant in Æacian spoils, Of him who made the fainting Greeks retire, Courage. Hurling (1) amidst their fleets the Phrygian fire, His hair and beard were clotted stiff with gore, Pity. The ghastly wounds, he for his country bore, Now stream'd afresh. I wept to see the visionary man,

Gricf. And whilst my trance continu'd thus began. (2) O light of Trojans, and support of Troy, Thy father's champion, and thy country's joy ! o, long expected by thy friends! From whence Art thou so late return'd to our defence ? Alas! what wounds are these? What new dis

grace Deforms the manly honors of thy face? (3) The spectre, gnawing from his inmost

breast, This warning in these mournful words express'd. Warning.

Haste, goddess born! Escape by timely flight,
The flames and horrors of this fatal night.
The foes already have possess'd our wall;
Troy nods from high, and totters to her fall.
Enough is paid to Prian's royal name,
Enough to country and to deathless fame.
If by a mortal arin my fathers throne
Could have been sav'dmthis arm the feat had

Troy now coinmands to thee her future state,
And gives her gods companions of thy fate.
Under their Umbrage hope for happier walls, Directing.
And follow where thy various fortune calls."

(1) “ Hurling,” to be expressed by throwing out the arm, with the action of hurling.

(2) “Olight of Trojans," &c. to be expressed by opening the arms with the action of welcoming,

(3) “ The Spectre,” &c. these two lines, and the ghost's speech, are to be spoken in a deep and hollow voice, slowly and folemnly, with little rifug or falling, and a torpid inertia of action,

(1). He said, and brought, from forth the sa

cred choir, The gods, and relicks of th' immortal fire. Trepidation. Now peals of shouts came thund'ring from afar,

Cries, threats, and loud lament, and mingled war,
The noise approaches, though our palace stood
Aloft from streets, embosom'd close with wood;
Louder and louder still, I hear the alarms
Of human crieș, distinct, and clashing arms,
Fear broke


I mount the terrace; thence the town survey,
And listen what the swelling sounds convey.
Then Hector's faith was manifestly clear'd;
And Grecian fraud in open light appear'd.
The palace of Deiphobus ascends
In smoky flames, and catches on his friends.
Ucalegon burns next į the seas are bright
With splendors not their own, and shine with

sparkling light.
New clanours, and new clangors now arise,

The trumpet's voice, with agonizing cries.
Courage. With frenzy seiz'd, I run to meet th' alarms,

Resolu'd on death, resolu'd to die in arms.
But first to gather friends, with whom t'oppose,
If fortune favour'd, and repel the foes,
By courage rous'd, by love of country fir'd,

With sense of honour and revenge inspir’d.
Trepidation Pantheus, Apollo's priest, a sacred name,

Had' scap'd the Grecian swords, and pass'd the

With relics loaded, to iny doors he fied,

And by the hand his tender grandson led.
Question. What hope, O Pantheus? Whither can we run,

Where make a stand? Or what may yet be done?

Scarce had I spoke, when Pantheus, with a groan Grief.

(2)Trojis no more! Her glories now are gone.

(2) “He said, and," &c. Here the voice resumes its usual key

(1) “ Troy is no more," Such ihort periods, comprehending much in a few words, may often receive additional force by a pause (not exceeding the length of a semicolon) between the nominátěve and the verb, or between the verb and what is governed by it, thicli, otherwise, is contrary to ru'e.



The fatal day, th' appointed hour is come,
When wrathful Jove's irrevocable doom
Transfers the Trojan state to Grecian hands :
Our city's wrapt in flanes: the foe commands.
To sev'ral posts their parties they divide ;
Some block the narrow streets, some scour the

The bold they kill ; th' unwary they surprize;
Who fights meets death, and death finds him

who flies.



Ths scene of Humphrey Gubbin's introduction to his romantic Cousin. [Tend. Husb.]

HUMPHREY, Aunt, and Cousin Biddy. Humph. AUNT, your saarvant--your saar Respect. vant aunt.--Is-that-ha-aunt?

Question. Aunt. Yes cousin Humphrey, that is your Information Cousin Bridget. Well, I'll leave you together. with Sat

. [Ex. Auni. They sit.] Humph. Aunt does as she'd be done by, cou- Question. sin Bridget, does not she, cousin ? [A long pause looking hard at her.] What, are you a London Wonder, er, and not give a gentleman a civil answer, when he asks you a civil question ?-Look ye, d'ye see, Indiff'rence cousin, the old volks resolving to marry us, I thought it would be proper to see how I lik'd you. For I don't love to buy a pig in a poke, as we say in th' country, he, he, he. (Laughs.]

Biddy. Sir, your person and address bring to Stiff affecmy mind the whole story of Valentine and Orson. What, would they give me for a lover, a Titanian, a son of the earth? Pray, answer me a ques

delicacy. tion or two.

Humph. Ey, ey, as many as you please, cou- Indiff rence sin Bridget, an they be not too hard.




of Fear.


Affectation Biddy. What wood were you taken in ? how
Quiestion. long have you been caught ?
Wonder. Humph. Caught !
Question, Biddy. Where were your haunts ?
Surprise. Humph. My haunts.

Biddy. Are not clothes very uneasy to you?
ing. Is this strange dress the first you ever wore?
Wonder. Humph. How !
Question. Biddy. Are you not a great admirer of roots,
Affe&ation and raw flesh 2-Let me look, upon your nails,

I hope you won't wound me with thein. Wonder. Humph. Where ! [Whistles] Hoity, toity!

What have we got? Is she betwattied? Or is she gone o' one-side.

Biddy. Can'st thou deny, that thou wert aversion. suckled by a wolf, or at least by a female satyr ?

Thou hast not been so barbarous, I hope, since

thou cam’st among men, as to hunt thy nurse. rity. Humph. Hunt iny nurse! Ey, ey, 'tis so, she's

out of her head, poor thing as sure as a gun. Anxious [Draws away. ] Poor cousin Bridget ! Howe

enquiry. long have you been in this condition ? Offence.

Biddy. Condition! What dost thou mean by

condition, monster ? Quest. with Humph. How came you upon the high ropes?

Pity. Was you never in love with any body before me? Affected Biddy. I never hated any thing so heartily

aversion. before thee. Indiff'rence

Humph. For the matter of that cousin, an it

were not a fully to talk to a mad-woman there's Question. no haired lost, I assure you. But do you hate

me in earnest? Aversion. Bidd:. Dost think any human being can look

upon thee with other eyes, than those of hatred?

Humph. There is no knowing what a woman loves or hates, by her words. But an you were in your senses cousin, and hated me in earnest, I

should be main contented, look you. For, may I Indi Frence be well horse-whipt, if I love one bone in your

skin, cousin; and there is a fine woman I am told, who has a month's mind to mna.


Biddy. When I think of such a consort as Aversion. thee, the wild boar shall defile the cleanly ermine, or the tyger be wedded to the kid.

Humph. An I marry you, cousin, the polecat shall catter-waul with the civit.

Biddy. To imagine such a conjunction, was Romantic as unnatural as it would have been to describe affectation. Statira in love with a chimney sweeper, or Oroondates with a nymph of Billingsgate ; to paint, in romance, the silver streams running up to their sources in the sides of the mountains ; to describe the birds on the leafy boughs uttering the hoarse sound of roaring bears, to represent knights errent murdering distressed ladies, whom their profession obliges them to relieve; or ladies yielding to the suit of their enamoured knights before they have sighed out half the due time at their feet.

Humph. If this poor gentlewoman be not out Clownish of herself, may I be hang'd like a dog:


From Mr. Pope's TEMPLE OF FAME. (1)
Troop came next, who crowns and armour

wore, And proud defiance, in their looks they bore. For thee,” (they cry'd) “ amidst alarms and Cringing

strife, We sail'd in tempests down the stream of life; For thee whole nations fili'd with fire and blood, And swam to empire through the purple flood. (2) Those ills we dar'd, thy inspiration own; What virtue seem'd, was done for thee alone."

(1) The pupil, if he has not read the TEMPLE OF FAME, must be inforined of the plot of the poem, viz. The author represents numbers of the pursuers of fame, as repairing, in crowds, to the temple of that goddess, in quest of her approbation, who are differently received by her, according to their respective inerits, &c.

(2) “ Those ills,' &c. The meaning of this line (which is not too, obvious) is, “ Our being guilty of such extravagancies, thews how eager we are to obtain a name.”

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