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tells us how intimate he has been with princes: Europe has known him through all her provinces ; he ventured every thing in a thousand combats:

L'on me vit obeir, l'on me vit commander,

Et mon poil tout poudreux a blanchi sous les armes ;
Il est peu de beaux arts ou je ne sois instruit ;
En prose et en vers, mon nom fit quelque bruit ;
Et par plus d'un chemin je parvins à la gloire!

IMITATED.

Princes were proud my friendship to proclaim,
And Europe gazed, where'er her Hero came!
I grasp'd the laurels of heroic strife,

The thousand perils of a soldier's life!
Obedient in the ranks each toilful day!
Though heroes soon command, they first obey.
'Twas not for me, too long a time to yield!
Born for a chieftain in the tented field!
Around my plumed helm, my silvery hair
Hung like an honour'd wreath of age and care!
The finer arts have charm'd my studious hours,
Versed in their mysteries, skilful in their powers;
In verse and prose my equal genius glow'd,
Pursuing glory, by no single road!

Such was the vain George Scudery! whose heart however was warm; poverty could never degrade him; adversity never broke down his magnanimous spirit!

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La jeans vray of servacion dat dis peterword Frenen fuke. curing a Clivet in ma laury of the French Academy, cocid never Butikk. Leviation, at his election, to address the wentong, Achongh chosen a member, be never entered, for much was his timidity, that he evuld

not face an audience and pronounce the usual compliment on his introduction; he whose courage, whose birth, and whose genius, were alike distinguished. The fact is, that it appears by Mad. De Sevigné, that Rochefoucault lived a close domestic life; and that there must be at least as much theoretical as practical knowledge in the opinions of such a retired philosopher.

Chesterfield, our English Rochefoucault, we are also informed, possessed an admirable knowledge of the heart of man; and he too has drawn a similar picture of human nature! These are two noble authors whose chief studies seem to have been made in courts. May it not be possible, allowing these authors not to have written a sentence of apocrypha, that the fault lies not so much in human nature as in the satellites of Power?

PRIOR'S HANS CARVEL.

WERE we to investigate the genealogy of our best modern stories, we should often discover the illegitimacy of our favourites; we should indeed trace them frequently to the East. My well-read friend Mr. Douce, has collected materials for such a work; but his modesty has too long prevented him from receiving the gratitude of the curious in literature,

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Fintaine las prettily set af, mu în munynous writer has composed in Latin Anacreonce verses; má u enga our Prior has given it in his best manner, with equal gatery and freedom. Ater Atuan, La Fontaine, and Prior, let us bear of it no more; get this has been done.

Voltaire has a curious essay to show that most of our best modern stories and plots originally be

longed to the eastern nations, a fact which has been made more evident by recent researches. The Amphitrion of Moliere was an imitation of Plautus, who borrowed it from the Greeks, and they took it from the Indians! It is given by Dow in his History of Hindostan. In Captain Scott's Tales and Anecdotes from Arabian writers, we are surprised at finding so many of our favourites very ancient orientalists.-The Ephesian Matron, versified by La Fontaine, was borrowed from the Italians; it is to be found in Petronius, and Petronius had it from the Greeks. But where did the Greeks find it? In the Arabian Tales! And from whence did the Arabian fabulists borrow it? From the Chinese! It is found in Du Halde, who collected it from the Versions of the Jesuits.

THE STUDENT IN THE METROPOLIS.

A MAN of letters, who is more intent on the acquisitions of literature than on the plots of politics, or the speculations of commerce, will find a deeper solitude in a populous metropolis than if he had retreated to the seclusion of the country.

The student, who is no flatterer of the little passions of men, will not be much incommoded by their presence. Gibbon paints his own situation in the

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