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Μέίαπρεπει. Τροπαι '67Γαλλικών Ηρει φελαγίων κλεινα, Βρέθαννικες

Ηρωας ως ξεινισσε, λαμπρη

Τερπομενες ΕΔΟΑΡΔΟC Αυλη. Σεμνούλε λεξας φυλεν ομηλικών Σημει' εδωκε πιστ', να μνημονες

Χηραις αμυνοιν', Ορφανοισθε,

Καλλέι παρθενικών', Αρωγοι. Δικησθε Θεσμον πασιν υπερίερον Βιης φεροιεν. Σας χαρίας 1ο1ε

Ουπω βρο1οις εδειξεν, Αύρε

Εξ αφανές, Χρονος αιπυμηθης. Σιγηδ' αριστον λεπβοποδες Τοκον Eπλασσον Ωραι. Δόξαν απειρίλον

ΕΡΡΙΚΕ, 1οι·1ης μειον' ειχε

Αζικορης ενέθωρ απ' αιης. "Ταυτης γαρ ανθει Μαρλβυριαι σκιαν Ποιεσι Νικαι. Σοιδ' επ' αενναον

Αυξεσι φεύγος ορμαινεσαι

Τοσσ’ Ελεων Γενεαι και Ανδρων.
Σοι γείλονών εκ εςιν επιφθονος
ΕΤΩΝΑ πυργων Κομπος: αρειονε

Ειρηνικοι στεφεσι Κισσοι,
Μεσοφιλη, σεο Τερπνον Αλσος.

Ναπαισι πλανων σαισιν αμηκωνει
Θυμος" πνεει γαρ ποικιλος Ηδονη

Λώθελε,* Λειμώνων/ε πυκνοι
Και Νεαρων ανα παν' Αθυρμοι.

Ναπαισι Λαύλαις ΠΙΕΡΙΔΩΝ ποθον
Eθρεψε ΓPAIOC. Πινδαρικον Σθενος,

Βασιν1ε, και θειον Φρονημα
Λειότεραις χαρίζεσαι μιξας.

Ου σοι μαλην γαρ αιεν ΟΜΗΡΙΚΑΙ
Φθεγξεσι Χορδαι. Μεσα ΣΟΦΟΚΛΕΟC

Σεμνη. Θεοισ7' ομοιον ομφην
Κεινο στομασπέδον ΑΙΣΧΥΛΕΙΟΝ.

Ουδ' αυ μαλαιως δασι ενθορε
ΔΗΜΟΣΘΕΝΟΥC βρονημα" μελισταγης

Ου κωφoν εισέπιπτεν Βασ
Ηδυλαία ΚΙΚΕΡΩΝΟC Aυδη.

Ου Μανοανος Κυκνος ει Μέλος
Κενας προ Αυρας. Ου Μελέθαι Ιοσαν

ΒΕΡΝΑΡΔΕ, σειο στωμυλονίε

Ταις χαρισιν' επιμικίον ομμα.
Ου FOSTEΡΕΙΟΥ Σηθεος, εμπλεόν
ΡΩΜΑΙΚΩΝ ΓΡΑΙΩΝ1ε Μαθημαίων

Κλεινον Νοημ' αφ ε φανενlG
ΠΟΡΣΟΝΙΚΟΝ ανέβειλεν Αστρον.

Σεθενδ' αρ' ωρίο ΚΑΜΔΕΝΙΟΝ Σελας.
Σεθενθαρ' αυλος FOXIOC: Ουνομα

Ηδιστον αλλααισιε ΜΟΥΣΑΙΣ
Σωσιωολείλε μαλιστ' ΑΘΗΝΗ.

* NYMPHER ALBR.

XATAMOC ημων εδε συγ' ενδεης
ΕΤΩΝΑ ΔΑΦΝΩΝ. Μαρίυρες Αιέζοι

Μινδηνιοι: Τροπαιαιαυλης

Λαμπρα Ναω πρόλιθεα ΓPANTHC. Μαρίυς ΙΒΗΡΩΝ και ΛYΣITANIHC Εγερθεις Ελπης και Κλεος ΑΓΓΛΙΚΟΝ

Ως προσθεν εξελαμψε, TΑΓΟΥ.

Παρ λιπαρη νεον αφθεν ακη. ΓΑΛΛΩΝ Τραπενίων. Ποιαπο ΠΑΛΛΑΔΟC Παρεστι Δωρα Ιων πολεμοκλoνω

Χρεος Θυελλη» των γεγυθείν

Προς σκιερη θεμις αυ7' ΕΛΑΙΗ.
Ου μυσικων σοι Υιες απειρεεις,
ΕΤΩΝΑ, φθούγων. Αρμονιων Λυρης,

Αστρωνε Ταξεως, Νομών1ε
Κοσμον εν οις

συνεχει Ι Μαθησις.

ΕΤΩΝΑ χαιροις"--Αιεν ελευθερον
Τρεφoις φρονημα. σαις κορυφαις αει

Εφιζανοι Χαρις και Αιδως,
Και ΠΑΤΡΙΔΟC Eρος, ηδε ΒΩΜΩΝ.

Κ. Α.

ΕΙωνιαλης.
Τροστυνης εποιει.
Μαιμακτηριωνος πεύθε

και δεκάλω.
15 S, 1808.

ART. DCCXLIX.

No. L. What is light reading ;-Poetry, a gift.

I Publish the following letter, as I received it. I think I can guess at the handwriting; and if my conjecture is right, I must entreat the author to throw away some part of the diffidence expressed in the latter part of the paper.

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I am one of those who prefer rambling effusions, and the natural association of ideas, to formal Essays. To you, therefore, who certainly cannot be blamed for a narrow taste, and seem to love every species of intellectual effort; who do not judge by rule, nor repeat hacknied phrases of mechanical criticism as substitutes for feeling and thought, I trust I may address a frank and unstudied letter with the certainty of a candid reception.

Allow me then to say, that among those books which are called light reading, it is the fashion to class many of those productions, which ought to stand in a high rank, both in point of genius and usefulness. They who have climbed up to the chair of criticism, by toil, and an unwearied attention to those departments in literature, which are attainable rather by patient drudgery than by the partial endowments of Nature, will of course use every exertion and artifice to encourage this erroneous

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fashion. The ignorant great, as well as vulgar, are fond of admiring what they do not understand; and it is necessary that a work should take a scientific form, and be clothed in outward pomposity before it be deemed profound and important.

But does it never occur to these wise judges to listen to the lessons of time, and observe what are the productions which have retained within themselves the seeds of life? The works of the mere learned, for the most part, nay the larger part of the labours of science, have been pushed off the stage by their successors, as wave swallows up wave. Their materials have been pulled to pieces, and worked up afresh; and little but their name, (if even, that) remains. And thus it is with artificial writers, even in the Belles Lettres. Simplicity, predominant vigour of genius, and natural eloquence, alone survive the changes of fashion, and lapse of ages.

The tricks of composition, the temporary objects of admiration in style, sentiment, or form, become as ridiculous and disgusting in one age, as they were attractive in another. From the Euphuism of Wm. Lilly in the reign of Queen Elizabeth, to the stiff glitter of Lord Bolingbroke in the last reign, all is gone by and forgotten. Look at old Reviews forty years back, and observe the books that they have commended, and the books that they have abused. Of the former a large part are now no longer heard of; many of the latter are among the most popular and admitted works of genius.

There is an unsophisticated force of intellect; the power of a vivid fancy, and a warm and tremulous

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