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115

Posse referre datur, nec dona rependere factis,
Sit memorasse satis, repetitaque munera grato
Percensere animo, fidæque reponere menti.

Et vos, O nostri, juvenilia carmina, lusus,
Si modo perpetuos sperare audebitis annos,
Et domini superesse rogo, lucemque tueri,
Nec spisso rapient oblivia nigra sub Orco ;
Forsitan has laudes, decantatumque parentis
Nomen, ad exemplum, sero servabitis ævo.

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Psalm CXIV.
ΙΣΡΑΗΛ ότε παιδές, ότ' αγλαά φύλ' 'Ιακώβου
Αιγύπτιον λίπε δημoν, απεχθέα, βαρβαρόφωνον,

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* Such productions of true « ante lucis exortum, ad Græci genius, with a natural and noble “ carminis heroici legem, in leconsciousness anticipating its own “ctulo fere concinnabam." He immortality, are seldom found to adds, “ It is the first and only fail.

thing I have ever wrote in

Greek, since I left your school ;. * Whoever will carefully com- “ for, as you know, I am now pare. this Psalm with Duport's fond of composing in Latin or version, will find this of Milton “ English. They in the present far superior; for in Duport's ver- age

who write in Greek, are sion are many solecisms. “Quod" singing to the deaf. Farewell,

. infortunium, says Dawes very " and on Tuesday next expect

candidly, in cæteros itidem “ me in London among the book

quosque, qui a sæculis recen- s sellers.” Epist. Fam. Dec. 4, « tioribus Græce scribere tenta- 1634. Prose Works, ii. 567. He " runt, cadere dicendum est.” was now therefore twenty-eight Miscellan. p. 1. Dr. J. Warton. years old. In the postscript to

Milton sent it to his friend Bucer on Divorce, he thus exAlexander Gill, in return for an presses his aversion to translation. elegant copy of hendecasyllables. " Me who never could delight “ Mitto itaque quod non plane “in long citations, much less in

meum est, sed et vatis etiam “ whole traductions; whether it “ illius vere divini, cujus hanc “ be natural disposition or edus oden altera ætatis septimana, “ cation in me, or that my mo« nullo certo animi proposito, “ther bore me a speaker of what oc sed subito nescio quo impetu,

« God made mine own, and not

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Δη τότε μούνον την όσιον γένος υλες Ιούδα.
Εν δε θεός λαοϊσι μέγα κρείων βασίλευεν.
Είδε, και εντροπάδην φύγαδ' ερρώησε θάλασσα
Κύματι ειλυμένη ροθίω, οδ' άρ' έστυφελίχθη

'
Ίρος Ιορδάνης ποτί άργυροειδέα πηγήν.
'Εκ δ' όρεα σκαρθμοίσιν απειρέσια κλονέοντο,
Ως κριοί σφριγόωντες ευτραφερω έν αλωή.
Βαιότεραι δ' άμα πάσαι ανασκίρτησαν ερίπναι,
Οία παραι σύριγγι φίλη υπό μητέρι άρνες.
Τίπτε σύγ, αινα θάλασσα, πέλως φύγαδ' ερρώησας
Κύματι ειλυμένη ροθίω; τι δ' άρ' έστυφελίχθης
Προς Ιορδάνη ποτί άργυροειδέα πηγήν;
Τίπτάρεα σκαρθμοίσιν απειρέσια κλονέεσθε,
Ως κριοί σφριγόωντες ευτραφερό εν αλωή και
Βαιοτέραι τι δ' άρ' ύμμες ανασκιρτήσατ' ερίπναι,
Οία παραι σύριγγι φίλη υπό μητέρι άρνες και
Σείεο γαία τρέουσα θεον μεγάλο εκτυπέοντα
Γαία θεον τρείουσύπατον σέβας Ισσακίδαο,
"Ος τε και εκ σπιλάδων ποταμούς χέε μορμύροντας,
Κρήνηνταέναον πέτρης από δακρυοέσσης.

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Philosophus ad regem quendam, qui eum ignotum et

insontem inter reos forte captum inscius damna

verat, την επί θανάτω πορευόμενος, hoc subito misit. Ω ANA, ει ολέσης με τον έννομον, ουδέ τιν ανδρών Δεινον όλως δράσαντα, σοφώτατον ίσθι κάρηνον

a translator.” Prose Works, posed to Milton to translate vol, i. 293. It was once pro- Homer.

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Ρηιδίως αφέλoιο, το δ' ύστερον αύθι νοήσεις,

d Μαξιδίως δ' άρ' έπειτα τεόν προς θυμον οδυρή, Toιόνδ' εκ πόλιος περιώνυμον άλκαρ ολέσσας.

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* In Efigiei ejust Sculptorem. ΑΜΑΘΕΙ γεγράφθαι χειρί τήνδε μέν εικόνα Φαίης τάχ' άν, προς είδος αυτοφυές βλέπων. Τον δ' εκτυπωτών ουκ επιγνόντες, φίλοι, Γελάτε φαύλου δυσμίμημα ζωγράφου. . I

rem

4. In edition 1645, thus, tageous idea of the figure of Μαν αύτως δ' άρ' έπειτα χρόνο μάλα More having laughed at this

his antagonist. But Alexander σολλών οδύρη, Τοιον δ εκ πόλεως.

print, Milton replies in his

Defensio pro se, “Tu effigiem The passage was altered, as at « mei dissimillimam, prefixam present, in edition 1673.

poematibus vidisti. Ego vero,

“ si impulsu et ambitione librarii * + Added in the edition of “me imperito scalptori, pro1673. Newton.

pterea quod in urbe alius eo + Of Milton.

“ belli tempore non erat, infabre # This inscription, a satire on “ scalpendum permisi, id me the engraver, but happily con- “ neglexisse potius eam cealed in an unknown tongue, is "arguebat, cujus tu mihi niplaced at the bottom of Milton's "mium cultum objicis.” Prose print, prefixed to Moseley's Works, vol. ii. 367. Round it edition of these poems, 1645. is inscribed Johannis Miltoni Angli The print is in an oval: at the Effigies anno ælatis vigesimo angles of the page are the primo. There was therefore some Muses Melpomene, Erato, Ura- drawing or painting of Milton nia, and Clio; and in a back- in 1629, from which this engravground a landscape with Shep- ing was made in 1645, eo belli herds, evidently in allusion to tempore, when the civil war was Lycidas and L'Allegro. Con- now begun. The engraver is scious of the comeliness of his William Marshall; who from person, from which he afterwards the year 1634, was often emdelineated Adam, Milton could played by Moseley, Milton's not help expressing his re- bookseller; to engrave heads for sentment at so palpable a dis- books of poetry. One' of these similitude. Salmasius, in his heads was of Shakespeare, to

' Defensio Regia, calls it com- his Poems in · 1640. Marshall's ptulam imaginem, and declares manner has sometimes a neatness that it gave him no disadvan- and a delicacy discernible through VOL. IV.

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much laboured hardness. In the Brand Hollis. [The picture of year 1670, there was another Milton by C. Jansen passed with plate of Milton by Faithorne, the rest of the Hollis property from a drawing in crayons by into the hands of Dr. Disney, Faithorne, prefixed to his His. who inherited also from Mr. tory of Britain, with this legend, Brand a small silver seal with “ Ĝul. Faithorne ad vivum delin. which Milton was accustomed et sculpsit. Joannis Miltoni to seal his letters. On the death

effigies Ætat. 62. 1670." It of Foster, the husband of Milton's is also prefixed to our author's grand-daughter, it passed through Prose Works, in three volumes, one intermediate hand into the 1698. This is not in Faithorne's possession of Mr. T. Hollis in best manner. Between the two 1761. It bears Milton's arms, prints, hitherto mentioned, al- which were argent, a spread lowing for the great difference eagle with two beads gules, of years, there is very little if legged and beaked sable. Symany resemblance.

This last was

mons.] (See Ad Patr. note, v. copied by W. Dolle, before Mil- 75.) Another, which had also ton's Logic, 1672. Afterwards belonged to Milton's widow, is in by Robert White; and next by the possession of the Onslow Vertue, one of his chief works, family. This, which is not at in 1725. There are four or five all like Faithorne's crayon-draworiginal pictures of our author. ing, and by some is suspected The first, a half length with a not to be a portrait of Milton, laced ruff, is by Cornelius Jansen, has been more than once enin 1618, when he was only a graved by Vertue: who in his boy of ten years old. It had first plate of it, dated 1731, and belonged to Milton's widow, his in others, makes the age twenty third wife, who lived in Cheshire. one. This has been also enThis was in the possession of graved by Houbraken in 1741, Mr. Thomas Hollis, having been and by Cipriani. The ruff is purchased at Mr. Charles Stan- much in the neat style of painthope's sale for thirty one guineas, ing ruffs, about and before 1628. in June, 1760. Lord Harrington The picture is handsomer than wishing to have the lot returned, the engravings. This portrait is Mr. Hollis replied, “ his lord- mentioned in Aubrey's manu

, "ship's whole estate should not script Life of Milton, 1681, as

repurchase it.” It was {en- then belonging to the widow. graved by J. B. Cipriani, in And he says, “ Mem. Write his 1760. Mr. Stanhope bought it " name in red letters on his pictures of the executors of Milton's which his widowe has, to widow for twenty guineas. The preserve them.Vertue, in a late Mr. Hollis, when his lodg- Letter to Mr. Christian the seal ings in Covent-garden were on engraver, in the British Museum, fire, walked calmly out of the about 1720, proposes to ask house with this picture by Prior the poet, whether there Jansen in his hand, neglecting had not been a picture of Milton to secure any other portable in the late Lord Dorset's collecarticle of value. I presume it is tion. The Duchess of Portland now in the possession of Mr. has a miniature of his head, when

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young: the face has a stern seeing the drawing, taking no thoughtfulness, and, to use his notice of the rest, she suddenly own expression, is severe in cried out in great surprise, o youthful beauty. Before Peck's Lord, that is the picture of my New Memoirs of Milton, printed father! How came you by it? 1740, is a pretended head of And stroking down the hair of Milton in exquisite mezzotinto, her forehead, added, Just so my done by the second J. Faber: father wore his hair. She was very which is characteristically, unlike like Milton. Compare Richardany other representation of our son, Explan. N. p. xxxvi. This author I remember to have seen. head by Faithorne was etched It is from a painting given to by Richardson the father about Peck by Sir John Meres of 1734, with the addition of a Kirkby-Belers in Leicestershire. laurel-crown to help the proBut Peck himself knew that he priety of the motto. It is before the was imposing upon the public. Explanatory Notes on the ParaFor having asked Vertue whether dise Lost, by the Richardsons, he thought it a picture of Milton, Lond. 1734, 8vo. The busts and Vertųe peremptorily an- prefixed to Milton's Prose Works swering in the negative, Peck by Birch, 1738, and by Baron replied, “ I'll have a scraping 1753, are engraved by Vertue “ from it, however; and let from a bad drawing made by

posterity settle the difference.” J. Richardson, after an original Besides, in this picture the left cast in plaister about fifty. Of hand is on a book, lettered this cast Mr Hollis gave a draw. Paradise Lost. But Peck sup- ing by Cipriani to Speaker poses the age about twenty five, Onslow, in 1759. It was exewhen Milton had never thought cuted, perhaps on the publication of that poem or subject. Peck of the Defensio, by one Pierce, mentions a head done by Milton an artist of some note, the same himself on board: but it does who did the marble bust of Sir not appear to be authenticated. Christopher Wren in the BodThe Richardsons, and next the leian library, or by Abraham Tonsons, had the admirable Simon. Mr. Hollis bought it of crayon-drawing above mention- Vertue. It has been remodelled ed, done by Faithorne, the best in wax by Gosset. Richardson likeness extant, and for which the father also etched this bust, Miltop sate at the age of sixty for The Poems and Critical two. About the year 1725, Essays of S. Say, 1754. 4to. But, Vertue carried this drawing, I believe, this is the same etchwith other reputed engravings ing that I have mentioned above, and paintings of Milton, to Mil- to have been made by old ton's favourite daughter Debo- Richardson 1734, and which was rah, a very sensible woman, now lent to Say's editor, 1754, who died the wife of Abraham for Say's. Essays. Old RichardClark, a weaver in Spitalfields, son was not living in 1754. in 1727, aged 76. He contrived There is, however, another etchto have them brought into the ing of Milton, by Richardson, room as if by accident, while he the younger, before he was was conversing with her. At blind, and when much younger

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