liberty to read him in the words of some manuscript, which the laborious editor has thought fit to examine in the prosecution of his work. 4 I question not but the ladies and pretty fellows 5 will be very curious to understand what it is that I have been hitherto talking of. I shall therefore give them a notion of this practice, by endeavouring to write after the manner of several persons who make an eminent figure in the republic of letters. 10 To this end we will suppose, that the following song is an old ode which I present to the public in a new edition, with the several various readings which I find of it in former editions, and in ancient manuscripts. Those who cannot relish the various readings, will perhaps find their account in the song, which never before appeared in print. 5 My love was fickle once and changing, 'Twas first a charming shape enslaved me, But now a long and lasting anguish Hourly I sigh and hourly languish, Nor hope to find the wonted cure. 4 1712, but several ladies. 5 1712, following song, which by the way is a beautiful descant upon a single thought, like the compositions of the best ancient lyric poets, I say we will suppose this song is an old ode, etc. For here the false unconstant lover, VARIOUS READINGS. Stanza the first, verse the first. And changing.] The and in some manuscripts is written thus, &, but that in the Cotton Library writes it in three distinct letters. Verse the second. Nor e'er would.] Aldus 5 reads it ever would; but as this would hurt the metre, we have restored it to its genuine reading, by observing that synaeresis which had been neglected by ignorant transcribers. Ibid. In my heart.] Scaliger, and others, on 10 my heart. Verse the fourth. I found a dart.] The Vatican manuscript for I reads it, but this must have been the hallucination of the transcriber, who probably mistook the dash of the I for a T. Stanza the second, verse the second. The fatal stroke.] Scioppius, Salmasius, and many others, for the read a, but I have stuck to the usual reading. 15 Verse the third. 'Till by her wit.] Some 20 manuscripts have it his wit, others your, others their wit. But as I find Corinna to be the name of a woman in other authors, I cannot doubt but it should be her. Stanza the third, verse the first. A long and 25 lasting anguish] The German manuscript reads a lasting Passion, but the rime will not admit it. ΙΟ 255 Verse the second. For Belvidera I endure.] Did not all the manuscripts reclaim, I should change Belvidera into Pelvidera; Pelvis being used by several of the ancient comic writers for a look5 ing-glass, by which means the etymology of the word is very visible, and Pelvidera will signify a lady who often looks in her glass, as indeed she had very good reason, if she had all those beauties which our poet here ascribes to her. 15 Verse the third. Hourly I sigh and hourly languish.] Some for the word hourly read daily, and others nightly; the last has great authorities of its side. Verse the fourth. The wonted cure.] The elder Stevens reads wanted cure. Stanza the fourth, verse the second. After a thousand beauties.] In several copies we meet with a hundred beauties by the usual error of the transcribers, who probably omitted a cypher, and 20 had not taste enough to know, that the word thousand was ten times a greater compliment to the poet's mistress than an hundred. Verse the fourth. And finds variety in one.] Most of the ancient manuscripts have it in two. 25 Indeed so many of them concur in this last reading, that I am very much in doubt whether it ought not to take place. There are but two reasons which incline me to the reading, as I have published it; First, because the rime, and, secondly, because the 30 sense is preserved by it. It might likewise proceed from the oscitancy of transcribers, who, to dispatch. their work the sooner, used to write all numbers in cypher, and seeing the figure I followed by a little dash of the pen, as is customary in old manuscripts, they perhaps mistook the dash for a second figure, and by casting up both together composed out of them the figure 2. But this I shall leave to the learned, without determining any thing in 5 a matter of so great uncertainty. No. 489. SATURDAY, SEPTEMBER 20. [1712.] SIR : Βαθυρρείταο μέγα σθένος Ωκεανοῖο.—Hom. 1 Upon reading your essay, concerning the pleasures of the imagination, I find, among the three sources of those pleasures which you have dis- 10 covered, that greatness is one. This has suggested to me the reason why, of all objects that I have ever seen, there is none which affects my imagination so much as the sea or ocean. I can not see the heavings of this prodigious bulk of waters, even in 15 a calm, without a very pleasing astonishment; but when it is worked up in a tempest, so that the horizon on every side is nothing but foaming billows and floating mountains, it is impossible to describe the agreeable horror that rises from such 20 a prospect. A troubled ocean, to a man who sails upon it, is, I think, the biggest object that he can see in motion, and consequently gives his imagination one of the highest kinds of pleasure that can arise from greatness. I must confess, it is impos- 25 sible for me to survey this world of fluid matter, without thinking on the hand that first poured it ΙΟ out, and made a proper channel for its reception. Such an object naturally raises in my thoughts the idea of an almighty being, and convinces me of his existence as much as a metaphysical demonstra5 tion. The imagination prompts the understanding, and by the greatness of the sensible object, produces in it the idea of a Being who is neither circumscribed by time nor space. As I have made several voyages upon the sea, I have often been tossed in storms, and on that occasion have frequently reflected on the descriptions of them in ancient poets. I remember Longinus highly recommends one in Homer, because the poet has not amused himself with little fancies upon the 15 occasion, as authors of an inferiour genius, whom he mentions, had done, but because he has gathered together those circumstances which are the most apt to terrify the imagination, and which really happen in the raging of a tempest. It is for the 20 same reason, that I prefer the following description of a ship in a storm, which the Psalmist has made, before any other I have ever met with. “They that go down to the sea in ships, that do business. in great waters: these men see the works of the 25 Lord, and his wonders in the deep. For he commandeth and raiseth the stormy wind, which lifteth up the waters thereof. They mount up to the Heaven, they go down again to the depths, their soul is melted because of trouble. They reel to and 30 fro, and stagger like a drunken man, and are at their wits end. Then they cry unto the Lord in their trouble, and he bringeth them out of their 2 |