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Show [ 92 ] the Engli (h Review for Augufi, I 789, adds, that one great fource of our pleafure from fccnical difircfs arifes from our, at the f.:1.me time, generally contemplating one of the noblefi objeCl:s of nature, that of Virtue triumphant over difficulty and oppreffion, or [upporting its votary under eve1y fuffering: or, where this does not occur, that our minds are relieyed by the jufiice of fome fignal punifhment awaiting the ciclinquent. But, bdides this, at the exhibition of a good tragedy, we a_rc not only amufed by the dignity and novelty, and beauty, of the objcCl:s before us ; but, if any diftrcfsful circumfiances occur too forcibly for our fenfibility, we can voluntarily exert oudelves, and recolleCl:, that the fcenery is not real: and thus not only the pain, which we had received from the apparent difirefs, is lelfened, but a new fource of pleafure is opened to us, :fimilar to that which we frequently have felt on awaking from a difirefsful dream; we are glad that it is not true. We are at the fame time unwilling to relinquiih. the pleafure which we receive from the other intereil:ing circumfiances of the drama; and on that account quickly permit ourfelves to relapfe into the delu:fion; and thus alternately believe and diibelieve, almofi: every moment, the exifience of the objects reprefented before us. B. Have thofe two fovereigns of poetic land, HoMER and SHAKES PEAR, kept their works entirely free from the Horrid?-or even yourfclf in your third Canto ? P. The defcriptions of the mangled carca.fes of the companions of Ulyffes, in the cave of Polypheme, is in this refped certainly objectionable, as is well obferved by Scaliger. And in the play of Titus Andronicus, if that was written by Shakcfpear (which from its internal evidence I think very improbable,) there are many horrid and difgufiful circumibnces. The following Canto is fubmitted to the candour of the critical. reader, to whofc opinion I. fhall fubmit .in filcnce. T.HE LOVES OF rfHE PLANTS. CANTO III. AND now the Goddefs founds her filver ihel1 ' And ihakes with deeper tones the inchanted dell; Pale, round her graffy thr~ne, bedew' d with tears, Flit the thin forms of Sorrows, and of Fears; Soft Sighs refpon:Gve whifper to the chords, And Indignations half-uniheath the.ir fwords.,.., 5 |