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should be remembered, that him, instances have before ocBuchanan was now a popular and curred, and will occur again. I familiar modern Latin classic, am obliged to an unknown critic, and that Milton was his rival for the leading idea of this very in the same mode of composition. just and ingenious elucidation of And of our author's allusions to

a passage in Lycidas.

EPIGRAMMATUM LIBER.

I. In Proditionem Bombardicam. CUM simul in regem nuper satrapasque Britannos

Ausus es infandum, perfide Fauxe, nefas, Fallor? An et mitis voluisti ex parte videri,

Et pensare mala cum pietate scelus? Scilicet hos alti missurus ad atria cæli,

Sulphureo curru, flammivolisque rotis : Qualiter ille, feris caput inviolabile Parcis,

Liquit lördanios turbine raptus agros.

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II. In eandem.

SICCINE tentasti cælo donasse läcobum,

Quæ septemgemino Bellua monte lates?
Ni meliora tuum poterit dare munera numen,

Parce precor, donis insidiosa tuis.
Ille quidem sine te consortia serus adivit.

Astra, nec inferni pulveris usus ope.
Sic potius fædos in coelum pelle cucullos,

Et quot habet brutos Roma profana Deos :
Namque hac aut alia nisi quemque adjuveris arte,

Crede mihi, coeli vix bene scandet iter.

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6. Elijah. See note on Par. monte lates ?] The Pope, called Reg. ii. 17.

in the theological language of 2. Quæ septemgemino Bellua the times The Beast.

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III. In eandem. PURGATOREM animæ derisit läcobus ignem,

Et sine quo superum non adeunda domus.
Frenduit hoc trina monstrum Latiale corona,

Movit et horrificum cornua dena minax.
Et nec inultus ait, temnes mea sacra, Britanne:

Supplicium spreta religione dabis.
Et si stelligeras unquam penetraveris arces,

Non nisi per flammas triste patebit iter.
O quam funesto cecinisti proxima vero,

Verbaque ponderibus vix caritura suis ! Nam prope

Tartareo sublime rotatus ab igni, Ibat ad æthereas, umbra perusta, plagas.

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IV. In eandem.
QUEM modo Roma suis devoverat impia diris,

Et Styge damnarat, Tænarioque sinu;
Hunc, vice mutata, jam tollere gestit ad astra,
Et cupit ad superos

evehere
usque

Deos.

V. In inventorem bombardce.
IAPETIONIDEM laudavit cæca vetustas,

Qui tulit ætheream solis ab axe facem ;
At mihi major erit, qui lurida creditur arma,

Et trifidum fulmen surripuisse Jovi.

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1. -derisit läcobus ignem,] afterwards transferred to the Compare the quantity of läcobus Paradise Lost. Where the fallen in Epigr. ii. 1. and In Quintum angels are exulting in their new Novembris, 1. E.

invention of fire-arms, b. vi. 490.

—They shall fear we have disarm'd 4. Et trifidum fulmen sufri- The thunderer of his only dreaded puisse Jovi.] This thought was bolt.

VI. Ad Leonoram Romce canentem. ANGELUS unicuique suus, sic credite gentes,

Obtigit æthereis ales ab ordinibus.

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* Adriana of Mantua, for her M. Maugars, Prior of S. Peter beauty surnamed the Fair, and de Mac at Paris, king's interher daughter Leonora Baroni, preter of the English language, the lady whom Milton celebrates and in his time a capital practiin these three Latin Epigrams, tioner on the viol, has left this were esteemed by their con- eulogy on Leonora and her temporaries the finest singers in mother, at the end of his the world. Giovanni Battista judicious Discours sur la Musique Doni, in his book de præstantia d' Italia, printed with the life of Musicæ veteris, published in Malherbe, and other treatises, at 1647, speaking of the merit of Paris, 1672. 12mo. « Leonora some modern vocal performers," has fine parts, and a happy declares that Adriana, or her judgment in distinguishing daughter Leonora, would suffer good from bad music: she injury by being compared to the “understands it perfectly well,

“ ancient Sappho. B. ii. p. 57. There “ and even composes, which is a volume of Greek, Latin, 66 makes her absolute mistress of Italian, French, and Spanish "what she sings, and gives her poems in praise of Leonora, “ the most exact pronunciation printed at Rome, (probably at “ and expression of the sense of Bracciano. Todd.) entitled Ap- “ the words. She does not plausi poetici alle glorie della “pretend to beauty, yet she is

Signora Leonora Baroni. Nicius“ far from being disagreeable, , Erythreus, in his Pinacotheca, “ nor is she a coquet. She sings calls this collection the Thea- 66 with an air of confident and trum of that exquisite Songstress “ liberal modesty, and with a Eleonora Baroni,

quo, "pleasing gravity. Her voice « omnes bic Romæ quotquot

“ reaches a large compass of “ ingenio et poeticæ facultatis notes, is just, clear, and melo“ laude præstant, carminibus, “ dious; and she softens

cum Etrusce tum Latine scri. “ raises it without constraint or

ptis, singulari ac prope divino grimace. Her raptures and “ mulieris illius canendi artificio, sighs are not too tender; her “tamquam faustos quosdam cla- “ looks have nothing impudent,

mores et plausus edunt, &c." nor do her gestures betray any Pinac. ii. p. 427. Lips. 1712. thing beyond the reserve of a 12mo. In the Poesie Liriche of “ modest girl. In passing from Fulvio Testi, there is an enco- “one song to another, she miastic Sonnet to Leonora, Poes. shews sometimes the divisions Lyr. del Conte Fulvio Testi, c of the enharmonic and chroVen. 1691. p. 361.

“matic species with so much

« air and sweetness, Se l'angioletta mia tremolo, e chiaro,

that

every &c.

“ hearer is ravished with that

in

or

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Quid mirum, Leonora, tibi si gloria major

Nam tua præsentem vox sonat ipsa Deum. Aut Deus, aut vacui certe mens tertia cæli

Per tua secreto guttura serpit agens ; Serpit agens, facilisque docet mortalia corda

Sensim immortali assuescere posse sono. Quod si cuncta quidem Deus est, per cunctaque fusus,

In te una loquitur, cætera mutus habet.

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delicate and difficult mode of 196. To the excellence of the « singing. She has no need of mother Adriana on the lute,

any person to assist her with a Milton alludes in these lines of “ theorbo or viol, one of which the second of these three Epi« is required to make her singing grams, v. 4. « complete; for she plays per- Et te Pieria sensisset voce canentem « fectly well herself on both Aurea maternæ fila movere lyræ. « those instruments. In short, When Milton was at Rome, he * I bave been so fortunate as to was introduced to the concerts « hear her sing several times of Cardinal Barberini, afterwards “ above thirty different airs, Pope Urban the Eighth, where « with second and third stanzas he heard Leonora sing and her of her own composition. But mother play. It was the fashion “ I must not forget, that one for all the ingenious strangers « day she did me the particular who visited Rome, to leave some “ favour to sing with her mother verses on Leonora. See the Can« and her sister : her mother zone, supr. p. 329. and Sonn. iv. " played upon the lute, her Pietro Della Valle, who wrote « sister upon the harp, and about 1640, a very judicious Dis. « herself upon

the theorbo. This course on the music of his own “ concert, composed of three fine times, speaks of the fanciful and voices, and of three different masterly style in which Leonora “ instruments, so powerfully cap- touched the arch-lute to her own « tivated my senses, and threw accompaniments.

At the same me into such raptures, that l time, he celebrates her sister “ forgot my mortality, et crus Caterine, and their mother Adri“ etre deja parmi les anges, jouis- ana. See the works of Battista “ sant des contentemens des bien. Doni, vol. ii. at Florence, 1763. « heureux." See Bayle, Dict. 1. Angelus unicuique, &c.] See Baroni. Hawkins, Hist. Mus. iv. note on Comus, v. 658.

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