as very sumptuous by Hentznerus*, in the gardens of Nonefuch +. Bacon has left directions about them in his Essay on Gardens. "Fountains I intend "of two natures. For the firft, the ornaments of ❝ images gilt, or of marble, which are in use, do well. 66 .... As for the other kind of fountaine, which we 66 may call a bathing poole, it may admit much "curiofity and beauty..... As that the bottom be finely paved, and with images: the fides likewife, " and withal embellifhed with coloured glaffe, and "fuch things of luftre; encompassed also with fine "railes of low ftatues t." Thus Spenfer's fountain, was, So Of richest Subftance that on earth might bee, Was over-wrought, and fhapes of naked boys, To fly about, playing their wanton toyes, Whilft others did themfelves embay in liquid joyes. This fountain falls into an ample laver, or bathing poole, of which, Pauli Hentzneri, J. C. ITINERARIUM, &c. 8vo. Noribergæ, 1629. The Tour through England was performed, 1598. It begins pag. 168. Pag. 228. See alfo Camden's Brit, in SURREY. ESSAYES. XLVI. rough 1 Through the waves one might the bottom See, All pavd beneathe with jafper, fhining bright. B. ii. c. xii. f. lxxxi. But one above the rest in speciall That had an hog been late, hight Grill by name, That had from human shape him brought to naturall. Dr. Jortin* obferves, that this fiction is taken from a dialogue in Plutarch, infcribed, ПEРI TOY TA ΑΛΟΓΑ ΛΟΓΩ ΧΡΗΣΘΑΙ: where Gryllus, one of the companions of Ulyffes, transformed into a hog by Circe, holds a difcourfe with Ulyffes, and refufes to be restored to his human shape. Not many years before the FAIRY QUEEN was written, viz. 1548, Gelli published his Circe, which is faid in the preface to be founded upon the dialogue of Plutarch, mentioned by Jortin. Circe foon became a very popular book, and was tranflated into english in the year 1557, by one Henry Iden; fo that, probably, Spenfer had read it; and might be induced to confult that dialogue, from its mention in the preface. "Swinish Grill" is mentioned by Hall†. * Remarks, pag. 77. VOL. II. X SATYRES, fat, 2. b. 2. B. iii. B. iii. c. i. f. xiv. Save beares, lyons, and buls, which romed them around. This verse would be improved in its harmony, by reading, Save lyons, beares, and buls, &c. As would the following alfo, Yet was admired much of fooles, women, and boyes. If we were to read, 5. 2. 30. Yet was admired much of women, fooles, and boyes. But these corrections are made by the critic, upon a supposition that his author must have infallibly written what was beft. It may be laid down as a general rule, that an alexandrine cannot be harmonious without a full pause after the third foot. For example, That fpear enchanted was-which laid thee on the green. Confequently the fixth fyllable muft neceffarily be a monofyllable, or the last syllable of a word; for we cannot make a full paufe in the middle of a word: upon which account fuch alexandrines, as these are neceffarily inharmonious. So So in his angry cour-age fairly pacify'd. That bore a lyon pass-ant in a golden field. But that he must do bat-tel with the fea-nymph's fon. And to her watry cham-ber swiftly carry him. And because a full pause must be made on the last fyllable of the third foot, the third foot fhould never confift of a trochee, for then we fhould be obliged to lay the greater stress upon the fhort fyllable; as if the third foot was beauty, courage, greedy, flowry, or the like. And it may be further remarked, that an iambus, for the third foot, will make the verse more mufical, as the pause will be more ftrong after a short syllable. Thus, Fit to adorn the dead,-and deck the dreary tomb. That art thus foully fled-from famous enemy. For the fame reafon an iambic foot at the end of any english verse, has a good effect: and it is to fuch a collocation that Dryden's verfification owes great part of its harmony. An alexandrine entirely confifting of iambic feet, answers X 2 answers precisely to a pure tetrametrical iambic verse of the antients. Thus, The gentle Eve awākes refreshfull āirs åround, In reading this kind of measure, the antients did not, probably, huddle the fyllables together, as we do but it would be difficult to point out the places at which they made their pauses. Why fhould the following pure iambic of Sophocles *, Ανειμένη μεν ως εοίκας αν εξεφη, be read like mere prose, without any certain pause, or divifion? And this verfe of Anacreon †, Θελω λεγειν Αρείδας, Be read with these rests, Θέλω λεγειν-Αρείδας May we not suppose, that the iambic of Sophocles was read with fome fuch divifions as thefe, |