212 r HEO Rr of the 



the exprefllon by the common, or what we may call the natural 

 mood, is as clear and intelligible as the circumlocution, or fup- 

 pofed refolution of it, and much Oiorter, and more animated 

 and forcible, and of courfe more agreeable and proper. 



It mvill be owned, however, that fometimes there is a great 

 and manifefl beauty and advantage, not only in point of vari- 

 ety, but in force and animation of expreflion, obtained by 

 ufing a mood of the verb, and a form of fpeech different from 

 what might be termed the natural one, and what would exprefs 

 the literal meaning of the fpeaker. Thus, in the ode of Ho- 

 race, already quoted, the ufe of the imperative mood inftead 

 ' of the fubjuJiSlive, which would exprefs the literal meaning, ap- 

 pears to me advantageous, even putting all regard to verfe 

 cut of the queftion. Pone me pigris, &c. Pone fub cum, 

 &c. is furely more forcible and animated than Si ponerer, or 

 Si ejjem pofittis^ or fimply pofitus, though the general meaning 

 be the fame. And Gay's lines, in imitation of thefe two 

 ftanzas of Horace, 



Were I laid on Greenland's coaji, 

 Were I fold on India's foil, 



though highly beautiful, and in one refped, I mean the bold- 

 nefs of the imagery introduced, fuperior both to Horace's 

 own lines, and to thofe of his tranflator, are lefs animated 

 than either the original or the tranflation, 



Place me where never fummer breeze 

 Unbinds the earth or fans the trees j 

 Place me beneath the burning ray. 

 Where rolls the rapid car of day. 



All fuch applications of the imperative mood I confider as 

 metaphorical ; underftanding by the term metaphor, the trans- 

 ferring 



