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Transported demi-gods stood round,
Enflam’d with glory's charms:
And feas, and rocks, and skies rebound)
To arms, to arms, to arms !
But when thro' all th' infernal bounds,,
Love, strong as Death, the Poet led
To the pale nations of the dead,
See, thady forms advance!
upon his wheel,
And the pale spectres dance! The furies sink upon their iron beds, , And snakes, uncurl'd, hang lift'ning round their heads.
By the streams that ever flow,
O’er th’ Elysian flow’rs ;
Or Amaranthine bowers ;
Wand'ring in the myrtle grove,
He sung, and Hell consented
To hear the Poet's prayer ;
him back the fair.
O’er death, and o'er hell,
Tho' fate had faft bound her
With Styx nine times round her, Yet music and love were victorious.
Now under hanging mountains,
And calls her ghoft,
Amidit Rhodope's snows:
Ah see, he dies ! Yet ev'n in death Eurydice he fung, Eurydice still trembled on his tongue,
Eurydice the woods,
Eurydice the floods,
Music the fiercest grief can charm,
This the divine Cecilia found,
Th' immortal pow’rs incline their ear;
And Angels lean from heav'n to hear. Of Orpheus now no more let Poets tell, To bright Cecilia greater pow'r is given; His numbers rais’d a shade from hell,
Her's lift the soul to Hear'n.
Τ Η Ε
These are Mr. Gay's principal performance. They
were originally intended, I suppose, as a buro lesque on those of Philips; but, perhaps without designing it, he has hit the true spirit of pastoral poetry. In fact, he more resembles. Theocritus than any other English paftoral writer whatso
There runs through the whole a strain of ruftic pleasantry which should ever diftinguish this species of compofition; but how far the an, tiquated expressions used here may contribute to the humour, I will not determine; for my own part, I could with the fimplicity were preserved, without recurring to such obsolete antiquity for. the manner of expreffing it.