« السابقةمتابعة »
I. In Proditionem Bombardicam. CUM simul in regem nuper satrapasque Britannos
Ausus es infandum, perfide Fauxe, nefas, Fallor ? An et mitis voluisti ex parte videri,
Et pensare mala cum pietate scelus ? Scilicet hos alti missurus ad atria cæli,
Sulphureo curru, flammivolisque rotis : Qualiter ille, feris caput inviolabile Parcis,
Liquit lördanios turbine raptus agros.
II. In eandem. SICCINE tentasti cælo donasse läcoburn,
Quæ septemgemino Bellua monte lates ?
Parce precor, donis insidiosa tuis.
Astra, nec inferni pulveris usus ope.
Et quot habet brutos Roma profana Deos :
Crede mihi, cæli vix bene scandet iter.
6. Elijah. See note on Par. monte lates?] The Pope, called Reg. ii. 17.
in the theological language of 2. Quæ septemgemino Bellua the times The Beast.
III. In eandem. PURGATOREM animæ derisit Iäcobus ignem,
Et sine quo superum non adeunda domus.
Movit et horrificum cornua dena minax.
Supplicium spreta religione dabis.
Non nisi per flammas triste patebit iter.
Verbaque ponderibus vix caritura suis ! Nam prope Tartareo sublime rotatus ab igni,
Ibat ad æthereas, umbra perusta, plagas.
IV. In eandem. QUEM modo Roma suis devoverat impia diris,
Et Styge damnarat, Tænarioque sinu; Hunc, vice mutata, jam tollere gestit ad astra,
Et cupit ad superos evehere usque Deos.
V. In inventorem bombarde. TAPETIONIDEM laudavit cæca vetustas,
Qui tulit ætheream solis ab axe facem ; At mihi major erit, qui lurida creditur arma,
Et trifidum fulmen surripuisse Jovi.
1. derisit Täcobus ignem,] afterwards transferred to the Compare the quantity of lacobus Paradise Lost. Where the fallen in Epigr. ii. 1. and In Quintum angels are exulting in their new Novembris, 1. E.
invention of fire-arms, b. vi. 490.
They shall fear we have disarm'd 4. Et trifidum fulmen surri- The thunderer of his only dreaded puisse Jovi.] This thought was bolt.
VI. Ad Leonoram Romæ canentem.* ANGELUS unicuique suus, sic credite gentes,
Obtigit æthereis ales ab ordinibus.
* Adriana of Mantua, for her M. Maugars, Prior of S. Peter beauty surnamed the Fair, and de Mac at Paris, king's interher daughter Leonora Baroni, preter of the English language, the lady whom Milton celebrates and in his time a capital practiin these three Latin Epigrams, tioner on the viol, has left this were esteemed by their con- eulogy on Leonora and her temporaries the finest singers in mother, at the end of his the world. Giovanni Battista judicious Discours sur la Musique Doni, in his book de præstantia d'Italia, printed with the life of Musicce veleris, published in Malherbe, and other treatises, at 1647, speaking of the merit of Paris, 1672. 12mo. “ Leonora some modern vocal performers, “ has fine parts, and a happy declares that Adriana, or her “ judgment in distinguishing daughter Leonora, would suffer “good from bad music: she injury by being compared to the “ understands it perfectly well, ancient Sappho. B. ii. p. 57. There « and even composes, which is a volume of Greek, Latin, “ makes her absolute mistress of Italian, French, and Spanish " what she sings, and gives her poems in praise of Leonora, “ the most exact pronunciation printed at Rome, (probably at “ and expression of the sense of Bracciano. Todd.] entitled Ap “ the words. She does not plausi poetici alle glorie della “ pretend to beauty, yet she is Signora Leonora Baroni. Nicius “ far from being disagreeable, Erythreus, in his Pinacotheca, “ nor is she a coquet. She sings calls this collection the Thea “ with an air of confident and trum of that exquisite Songstress “ liberal modesty, and with a Eleonora Baroni, « in quo, “ pleasing gravity. Her voice “ omnes hic Romæ quotquot “ reaches a large compass of “ ingenio et poeticæ facultatis “ notes, is just, clear, and melo“ laude præstant, carminibus, “ dious; and she softens or “ cum Etrusce tum Latine scri- “ raises it without constraint or “ ptis, singulari ac prope divino “ grimace. Her raptures and “ mulieris illius canendi artificio, “sighs are not too tender; her « tamquam faustos quosdam cla- “ looks have nothing impudent, “ mores et plausus edunt, &c.” “nor do her gestures betray any Pinac. ii. p. 427. Lips. 1712. " thing beyond the reserve of a 12mo. In the Poesie Liriche of “ modest girl. In passing from Fulvio Testi, there is an enco “ one song to another, she miastic Sonnet to Leonora, Poes. “ shews sometimes the divisions Lyr. del Conte Fulvio Testi, “ of the enharmonic and chroVen. 1691. p. 361.
“matic species with so much Se l'angioletta mia tremolo, e chiaro,
" air and sweetness, that every “ hearer is ravished with that
Quid mirum, Leonora, tibi si gloria major ?
Nam tua præsentem vox sonat ipsa Deum. Aut Deus, aut vacui certe mens tertia cæli
Per tua secreto guttura serpit agens; Serpit agens, facilisque docet mortalia corda
Sensim immortali assuescere posse sono. Quod si cuncta quidem Deus est, per cunctaque fusus,
In te una loquitur, cætera mutus habet.
" delicate and difficult mode of 196. To the excellence of the " singing. She has no need of mother Adriana on the lute, or any person to assist her with a Milton alludes in these lines of " theorbo or viol, one of which the second of these three Epi“ is required to make her singing grams, v. 4. si complete; for she plays per Et te Pieria sensisset voce canentem « fectly well herself on both Aurea materna fila movere lyre. « those instruments. In short, When Milton was at Rome, he “ I have been so fortunate as to was introduced to the concerts « hear her sing several times of Cardinal Barberini, afterwards « aboye thirty different airs, Pope Urban the Eighth, where “ with second and third stanzas he heard Leonora sing and her ~ of her own composition. But mother play. It was the fashion “I must, not forget, that one for all the ingenious strangers « day she did me the particular who visited Rome, to leave some « favour to sing with her mother verses on Leonora. See the Can« and her sister : her mother zone, supr. p. 329. and Sonn. iv. “ played upon the lute, her Pietro Della Valle, who wrote “ sister upon the harp, and about 1640, a very judicious Dise “ herself upon the theorbo. This course on the music of his own « concert, composed of three fine times, speaks of the fanciful and « voices, and of three different masterly style in which Leonora « instruments, so powerfully cap- touched the arch-lute to her own « tivated my senses, and threw accompaniments. At the same « me into such raptures, that l time, he celebrates her sister “ forgot my mortality, et crus Caterine, and their mother Adri. “ etre deja parmi les anges, jouis- ana. See the works of Battista “ sant des contentemens des bien- Doni, vol. ii. at Florence, 1763. “ heureux." See Bayle, Dict. 1. Angelus unicuique, &c.] See Baroni. Hawkins, Hist. Mus. iv. note on Comus, v. 658.
ALTERA Torquatum cepit Leonora poetam,
Cujus ab insano cessit amore furens. Ah miser ille tuo quanto felicius ævo
Perditus, et propter te, Leonora, foret! Et te Pieria sensisset voce canentem
Aurea maternæ fila movere lyræ: ..
Sævior, aut totus desipuisset iners,
Voce eadem poteras composuisse tua ;
1. Altera Torquatum cepit Les marks that have been made on onora] In the Life of Tasso, the Gierusalemme Liberata of by G. Battista Manso, mention Tasso, I do not remember to is made of three different ladies have seen it observed, that this of the name of Leonora, of whom great poet probably took the hint Tasso is there said to have been of his fine subject, from a book successively enamoured. Gier. very popular in his time, written Lib. edit. Haym, Lond. 4to. by the celebrated Benedetto Ac1724. p. 23. The first was Le- colti, and entitled, De Bello a onora of Este, sister of Alfonso, Christianis contra Barbaros gesto, Duke of Ferrara, at whose court pro Christi Sepulchro et Judæa Tasso resided. The Countess recuperandis, lib. iv. Venetiis San Vitale was the second Leo- per Bern. Venetum de Vitalibus, nora, to whom Tasso was said to 1532. 4to. It is dedicated to be much attached, p. 26. Manso Pietro de Medici. Dr. J. Warrelates, that the third Leonora ton. was a young lady in the service This allusion to Tasso's Leoof the princess of Este, who was nora, and the turn which it takes, very beautiful, and to whom are inimitably beautiful. Tasso paid great attention, p. 27. 7. For the story of Pentheus, He addressed many very elegant a king of Thebes, see Euripides's love-verses to each of these three Bacchæ, where he sees two súns, different ladies; but as the pieces &c. v. 916. Theocritus, Idyll. addressed to Leonora princess of xxvi. Virgil, Æn. iv. 469. But Este have more passion than galt Milton, in torsisset lumina, alludes lantry, it may justly be inferred, to the rage of Pentheus in Ovid, notwithstanding the pains he Metam. ïïi. 577. toosre to conceal his affection,
Aspicit hunc oculis Pentheus, quos th wi:he was the real favourite of
ira tremendos hahie urt. Among the many re Fecerar.