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of OXFORD and Earl MORTIMER. UCH were the notes thy once-lov'd Poet fung, S
'Till Death untimely stop'd his tuneful tongues Oh just beheld, and loft! admir’d and mourn'd! With foftest manners, gentlest arts adorn'd! Bleft in each science, blest in ev'ry strain !
5 Dear to the Muse! to HARLEY dear-in vain !
For him, thou oft haft bid the World attend,
Absent or dead, still let a friend be dear,
NOT E S. Epift. to Robert Earl of Oxford.) This Epistle was sent to the Earl of Oxford with Dr. Parnelle's Poems published by our Author, after the faid Earl's Imprisonment in the Tower, and Retreat into the Country, in the Year # D 2
Or deeming meanest what we greatest call,
And sure, if aught below the seats divine
In vain to Deserts thy retreat is made ;
EPIS T L E
J AMES CRAGGS, Esq.
SECRETARY of STAT E.
Soul as full of Worth, as void of Pride,
Secretary of State.] In the Year 1720. P.
To Mr. J ER VAS, With Mr. DRÝDEN'S Translation of
FRESNOY's Art of Painting.
THis verife be things
, my friends nor thou
HIş Verse be thine, my friend, nor thou
Smit with the love of Şifter-Arts we came, And met congenial, mingling fame with fame; Like friendly colours found them both unite, 15 And each from each contract new strength and light.
NOTES. Epist. 10 Mr. Fervas.] This Epistle, and the two following, were written fome years before the reft, and o. riginally printed in 1717. P.
How oft in pleasing tasks we wear the day,
20 How oft review ; each finding like a friend Something to blame, and something to commend?
What flatt'ring scenes our wandring fancy wrought, Rome's pompous glories rising to our thought ! Together o'er the Alps methinks we fly, 25 Fird with Ideas of fair Italy. With thee, on Raphael's Monument I mourn, Or wait inspiring Dreams at Maro's Urn: With thee repose, where Tully once was laid, Or seek fome Ruin's formidable fhade : While fancy brings the vanish'd piles to view, And builds imaginary Rome a new, Here thy well-study'd marbles fix our eye ; A fading Fresco here demands a ligh: Each heav'nly piece unwearied we compare, 35 Match Raphael's grace with thy lov'd Guido's air, Carracci's strength, Correggio's softer line, Paulo's free stroke, and Titian's warmth divine.
How finish'd with illustrious toil appears This small, well-polith'd Gem, the * work of years! Yet still how faint by precept is exprest 41 The living image in the painter's breast ? Thence endless ftreams of fair Ideas flow, Strike in the sketch, or in the picture glow; Thence Beauty, waking all' her forms, fupplies 45 An Angel's sweetness, or Bridgewater's eyes.
NO I e s. Fresnoy employed above twenty Years in finishing his Poem. P. #D4