aYE 
tory animals) is reprefented by Homer 
in a moft animated manner in the paflage, 
of which the following is 2 tranflation: 
ween — The dreadful Lion thus, 
Whom all th’ aflembled country round pur- 
fue, r 
Intent to kill, at fir moves carelefs on, ~ 
Till, by the {pear of fome bold hunter fruck, 
He writhing yawns, he foams, his generous 
breaft 
Tndignant groans, with bufy tail his fides 
And loins he lathes, roufing to the fight ; 
Then fternly fcouling, rufhes headlong on, 
Refolvedion flaughter, era glorious death. 
dT. xx. gxOg. 
Asa fimile, this noble picture feems 
firangely mifplaced, or thrown away, 
fince it is only introdu&ory to the fugle 
combat in which Achilles, not wounded, 
ér particularly wriated, engages with 
ZEneas, an unequal adverfary. 
Virgil has given a fpirited imitation 
ef this paflage, applying it, as loofely 
as Homer had done, to Turnus, inflamed 
to fury by the public outery againft him, 
after the unfuccefsful beginnings of the 
war againft /Enezs. 
Penorum qualis in arvis 
Saucius ille gravi venantum vulnere pectus, 
Tum demum movet arma leo; gaudetque 
comantes” ‘ ; 
Excutiens cervice toros, fixumaue latronis 
Impavidus fraugit telum, ‘& fremit ore cru- 
ento: 
Haud fecus accenfo glifcit violentia Turno. 
| athe maou. a 
As pierced at diftance by the hunter's dart, 
The Lybian Lion roufes at the fmart, 
find loudly roaring traverfes the plain, 
Scourges his fides, and rears his horrid mane, 
Tugs furious at the fpear, the foe defies, 
And grinds his teeth for rage, and to the 
combat flies : 
So ftorm’d proud Turnus. 
The added cireumftances of ‘* fhaking 
his briftling-mane,” and ‘* breaking the 
{pear fixed inhis fide,” are wel! conceived, 
and expreifed with great vigour. 
I fhall add another picture of a fimilar 
kind; from Homer, chiefly on account of 
the accurate minutenefs with which it 
reprefenis the chace of a wild beaft, as 
ftil! pratifed in various countries. 

ttt 
biee 
As when amid the throng of dogs and men 
A Boar or Lion fiercely glaring ftands ; 
Clofe wedg’d in troops, the hunters round ad- 
vance, 
And launch the frequent fpear3 yet undif- 
nay’d, 
Nor fear nor flight his generous heart allows, 
But fpurs him to his fate: the bands of foes 
@ft turning he aflails 5 as oft the foes 
Where’er he rufhes, yield: Ti. xit. 41. 
"Fhe application is to Hettor trying 
Similes, €2e....Englifo Verfification. 
his paffase aerofs the Grecian rampart; 
and is therefore, like one of the former, 
defective in comparing an aétion of af- 
fault to one of defence. — __ ee 
Virgil, in a concife copy of this fimile, 
has applied it with more exaétnefs to He- 
lenor encompafied by affailing enemies, ~ 
Ut fera, quz denfa venantum fepta corona 
Contra tela furit, fefeque haud nefcia morti 
Injicit, & faltu fuper venabula fertur: ~~ 
Haud aliter juvenis medios moriturus in ho- 
ftes . Ags} 
Irruit : & qua tela vidit denfiffima, tendit. 
n.AX. $51. 
As the ftern favage, whom the train fur- 
rounds : 
Of fhouting hunters, fteeds, and opening 
hounds, © as F = 
On death determined, and devoid of fears, 
Springs forth undaunted on a grove of fpears. 
So, bent on death, where thick the javelins 
rife, ‘ 
Fierce on the clofe embattled war he. flies. 
eee 
The circumftance of the beaft’s leaping 
over the hunting-poles, is happily ima- 
gined. Dryden, in. his tranflations 
chufes to make the animala ftag. J. A. 
(To be continued.) 
EE 
To the Editor of the Monthly Magazane. 
SIR, 
y* anfwer to your correfpondent, L 
in NuMBER TWENTY-FIFTH of 
the MONTHLY MAGAZINE, I fentafew 
general obfervations on Englifh verfifica- 
tion. With your permiffion I will now 
purfue the fubject a little further. 
Ariftotle, who has called poetry imi- 
tation, calls mufic ovowouara ts opyng 
nar weaotntoc, the likendffés of anger’and 
genilenefs, Sc. this correfpondence he 
makes to depend on rhyme and melody 
ov Tors Puboig wats MeAcos. In this point 
of view poetry and mufie are kindred 
arts: and the analogy with refpect te 
rhyme, expreflion, and effeét, is much 
ciofer than many imagine. 
Sound has an influence on paflion; an 
influence not connected with an affocia- 
tion of ideas, but with the tendency of 
certain tones to excite particular move- 
ments in the nerves. This is true of 
mufical founds; it is alfo true of metri- 
eal, Thefe movements, however, are 
not always produced in verfe, by caufes 
uniformly the fame; fometimes it is by 
a particular movement of the verfe, as 
that of Homer, ie 
’ 
Hiroto wer cxncimrornevos yseriTs Worwre 
Aaav ave wherus, &Cs 
Or 
