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In ling’ring pain, in death resign'd.
Her latest agony of mind
Was felt for him, who could not save
His All from an untimely grave :

2. Whom what awaits, &c. L. 11.

The construction here is a little hard, and creates obscurity, which is always least to be pardoned in an epitaph.

EPITAPH II.

This is as perfectin its kind as the foregoing Sonnet. Sir William Williams, in the expedition to Aix, was on board the Magnanime with Lord Howe; and was deputed to receive the capitulation.

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1. The most popular of all our Author's publications; it ran through eleven editions in a very short space of time; was finely translated into Latin by Messrs. Ansty and Roberts : and in the same year another, though I think inferior, version of it was published by Mr. Lloyd. The reader has been informed in the Memoirs, of the time and manner of its first publication. He originally gave it only the simple title of “Stanzas written in a Country Church-yard.” I persuaded him first to call it an Elegy, because the subject authorized him so to do; and the alternative measure, in which it was written, seemed peculiarly fit for that species of composition. I imagined too that so capital a poem, written in this measure, would as it were appropriate it in future to writings of this sort ; and the number of imitations which have since been made of it (even to satiety) seem to prove that my notion was well founded. In the first manuscript copy othis exquisite poem, I find the conclusion different from that which he afterward composed; and though his after-thought was unquestionably the best, yet there is a pathetic melancholy in the four rejected stanzas, which highly claims preservation. Ishall therefore give them as a variation in their proper place.

2. The knell of parting day. L. 1. IMITATION. squilla dilontano a Che paia 'l giorno pianger, che simuore. Dante. Purg. l. 8. G. 3. Far from the madding crowd's ignoble strife. L.73.

v ARIAtion.

The thoughtless world to majesty may bow,
Exalt the brave, and idolize success;

But more to innocence their safety owe,
Than Pow'r, or Genius, e'er conspir'd to bless.

And thou, who mindful of th’ unhonour’d dead,
Dost in these notes their artless tale relate,

By night and lonely contemplation led
To wander in the gloomy walks of fate:

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Hark! how the sacred calm, that breathes around,
Bids every fierce tumultuous passion cease;

In still small accents whispering from the ground,
A grateful earnest of eternal peace.

z No more, with reason and thyself at strife,
Give anxious cares and endless wishes room;
But through the cool sequester'd vale of life

Pursue the silent tenor of thy doom. And here the poem was originally intended to conclude, before the happy idea of the hoary-headed swain, &c. suggested itself to him. 1 cannot help hinting to the reader, that I think the third of these rejected stanzas equal to any in the whole Elegy.

4. Ev’n in our ashes live their wonted fires. L. 92.

IMITATION.

Ch'i veggio nel pensier, dolce mio fuoco,
Fredda una lingua, et due begli occhi chiusi

Rimaner doppo noipien difaville.
Petrarch. Son. 169. G.

- V ARIATION.
Awake and faithful to her wonted fires.

Thus it stood in the first and some following editions, and I think rather better; for the authority of Petrarch does not destroy the appearance of quaintness in the other: the thought, however, is rather obscurely expressed in both readings. He means to say, in plain prose, that we wish to be remembered by our friends after our death in the same manner as when alive we wished to be remembered by them in our absence: this would be expressed clearer, if the metaphorical term fires was rejected, and the line run thus:

Awake and faithful to her first desires.

I do not put this alteration down for the idlevanity of aiming to amend the pas

sage, but purely to explain it.

5. To meet the sun upon the upland lawn. L. 100.

VARIATION.
On the high brow of yonder hanging lawn.

After which, in his first manuscript, followed this stanza ;
Him have we seen the greenwood side along,
While o'er the heath we hied, our labour done,
Oft as the woodlark pip'd her farewell song,
With wistful eyes pursue the setting sun.

I rather wonder that he rejected this stanza, as it not only has the same sort of Doric delicacy, which charms us peculiarly in this part of the poem, but also completes the account of his whole day; whereas, this evening scene being omitted, we have only his morning walk, and his noon-tide repose.

6. Grav'd on the stone beneath yon aged thorn. L. 116. und Between this line and the Epitaph, Mr.Gray originally inserted a very beautiful stanza, which was printed in some of the first editions, but afterward omitted; because he thought (and in my opinion very justly) that it was too long a parenld, thesis in this place. The lines however are, in themselves, exquisitely fine, and demand preservation. There scatter'd oft, the earliest of the year, By hands unseen are show’rs of violets found; ; - The redbreast loves to build and warble there, And little footsteps lightly print the ground. o 7. There they alike in trembling hope repose. L. 127. o do - 1 MITATION.

paventosa spene. Petrarch. Son. I 14. G.

ADDITIONAL POEMS,

NOT IN MB. MASON'S EDITION.

VERSES

ON THE MARRIAGE OF HIS ROYAL HIGHNESS
THE PRINCE OF WALES.

IGN ARAE nostrám mentes, et inertia corda,
Dum curas regum, et sortem miseramur iniquam,
Quae solio affixit, vetuitgue calescere flammā
Dulci, qua dono divum, gratissima serpit
Wiscera per, mollesque animis lene implicataestus;
Nec teneros sensus, Veneris nec praemia nórunt,
Eloquiumve oculi, aut facunda silentia linguae:

Scilicet ignorant lacrymas, saevosque dolores,
Dura rudimenta, et violentiae exordia flammae;
Scilicet ignorant, quae flumine tinkit amaro >
Tela Venus, caecique armamentaria Divi,
Irasque, insidiasque, et tacitum sub pectore vulnus;
Namgue sub ingressu, primoque in limine Amoris
Luctus et ultrices posuere cubilia Curae;
Intus habent dulces Risus, et Gratiae sedem,
Et roseis resupina toris, roseo ore Voluptas:
Regibus huc faciles aditus; communia spernunt
Ostia, jamgue expers duris custodibus istis
Panditur accessus, penetraliaque intima Templi.

Tuque Oh! Angliacis, Princeps, spes optima regnis,

Netantum, ne finge metum; quid imagine captus
Haeres, et mentem pictura pascis inani?
Umbram miraris: nec longum tempus, et ipsa
Ibit in amplexus, thalamosque ornabit ovantes.
Ille tamen tabulis inhians longum haurit amorem,
Affatu fruitur tacito, auscultataue tacentem
Immemor artificis calami, risumque, ruboremdue
Aspicit in fucis, pictaeque in virginis ore :
Tanta Venus potuit; tantus tenet error amantes.
Nascere, magna Dies, qua sese Augusta Britanmo
Committat Pelago, patriamque relinquat amoenam

Cujus in adventum jam nunc tria regna secundos
Attolli in plausus, dulcique accensa furore
Incipiunt agitare modos, et carmina dicunt:
Ipse animo sedenim juvenis comitatur euntem
Explorat ventos, atque auribus aera captat,
Atque auras, atque astra vocat crudelia; pectus
Intentum exultat, surgitaue arrecta cupido:
Incusat spes aegra fretum, solitoque videtur
Latior effundi pontus, fructusque morantes.

Nascere, Lux major, qua sese Augusta Britanno
Committat juveni totam, propriamque dicabit;
At citius (precor) Oh! cedas melioribus astris:
Nox finem pompae, finemgue imponere curis
Possit, et in thalamos furtim deducere nuptam;
Sufficiat requiemque viris, et amantibus umbras;
Adsit Hymen, et subridens cum matre Cupido
Accedant, sternantaue toros, ignemgue ministrent;
Ilicet haud pictae incandescit imaginae formae
Ulterius juvenis, verumque agnoscit amorem.

Sculptile sicut ebur, faciemgue arsisse venustam
Pygmaliona canunt; ante hanc suspiria ducit,
Alloquiturque amens, flammamque et vulnera narrat;
Implorata Venus jussit cum vivere signum,
Foeminaeam inspirans animam ; quae gaudia surgunt,
Audit ut primae nascentia murmura linguæ,
Luctari in vitam, et paulatim volvere ocellos
Sedulus, aspexitgue nová splendescere flamma;
Corripit amplexu vivam, jamque oscula jungit
Acria confestim, recipitolue rapitaue; prioris
Immemor ardoris, Nymphaeque oblitus eburnae.
Tho. GRAY, Pett. Coll.

SONG.3% -
THY Rs.1s, when he left me, swore
In the Spring he would return—
Ah! what means the op'ning flower?
And the bud that decks the thorn?
"Twas the nightingale that sung!
'Twas the lark that upward sprung'

* This was written, at the request of Miss Speed, to an old air of Geminiani: the thought from the French.

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