verses- -Greek as well as Latin. The Latin lines upon Chantrey's success at Holkham in killing two woodcocks at the first shot, which subsequently he sculptured in marble, and presented to Lord Leicester, are perhaps the most felicitous amongst the whole. Masquerading, in Lord Wellesley's verses, as Praxiteles, who could not well be represented with a Manton having a percussion lock, Chantrey is armed with a bow and arrows:

"En! trajecit aves una sagitta duas."

In the Greek translation of "Parthenopous" there are as few faults as could reasonably be expected. But, first, one word as to the original Latin poem: to whom does it belong? It is traced first to Lord Grenville, who received it from his tutor (afterwards Bishop of London), who had taken it as an anonymous poem from the " Censor's book;" and with very little probability, it is doubtfully assigned to "Lewis of the War Office," meaning, no doubt, the father of Monk Lewis. By this anxie.y tracing its pedigree, the reader is led to exaggerate the pretensions of the little poem; these are inconsiderable: and there is a conspicuous fault, which it is worth while noticing, because it is one peculiarly besetting those who write Latin verses with the help of a gradus-viz., that the Pentameter is often a mere reverberation of the preceding Hexameter. Thus, for instance:

"Parthenios inter saltus non amplius erro,

Non repeto Dryadum pascua læta choris;"

and so of others, where the second line is but a variation of the first. Even Ovid, with all his fertility, and partly in consequence of his fertility, too often commits this fault. Where, indeed, the thought is effectually varied, so that the second line acts as a musical minor, succeeding to the

major in the first, there may happen to arise a peculiar beauty. But I speak of the ordinary case, where the second is merely the rebound of the first, presenting the same thought in a diluted form. This is the commonest resource of feeble thinking, and is also a standing temptation or snare for feeble thinking. Lord Wellesley, however, is not answerable for these faults in the original, which, indeed, he notices indulgently as "repetitions;" and his own Greek version is spirited and good. There are, however, some mistakes. The second line is altogether faulty. Χωρια Μαιναλιῳ παντ έρατεινα θεῳ Αχνύμενος λείπων

"I sorrow

does not express the sense intended. Construed correctly, this clause of the sentence would meanfully leaving all places gracious to the Manalian god;" but that is not what Lord Wellesley designed: "I leaving the woods of Cylene, and the snowy summits of Pholoe, places that are all of them dear to Pan”—that is what was meant; that is to say, not leaving all places dear to Pan-far from it-but leaving a few places, every one of which is dear to Pan. In the line beginning

Καν εθ ἐφ' ἡλικιας,

where the meaning is—and if as yet, by reason of my immature age, there is a metrical error; and a will not express immaturity of age. I doubt whether, in the next line, Μηδ' ἀλκη θάλλοι γουνασιν ἠιθεός,

youran could convey the meaning without the preposition γουνασιν ¿v. And in

Σπέρχομαι οὐ καλεουσι θεοι

-I hasten whither the gods summon me-où is not the right word: du is where, or in what place; but the call is for whither, or to what place. It is, however, difficult to write Greek verses which shall be liable to no verbal objections; and

the fluent movement of these verses sufficiently argues the off-hand ease with which Lord Wellesley must have read Greek, writing it so elegantly, and with so little of apparent constraint.

Meantime the most interesting (from its circumstances) of Lord Wellesley's metrical attempts, is one to which his own English interpretation of it has done less than justice. It is a Latin epitaph on the daughter (an only daughter) of Lord and Lady Brougham. She died, and (as was generally known at the time) of an organic affection disturbing the action of the heart, at the early age of eighteen. And the peculiar interest of the case lies in the suppression, by this pious daughter (so far as it was possible), of her own bodily anguish, in order to beguile the mental anguish of her parents. The Latin epitaph is this:

"Blanda anima, e cunis heu! longo exercita morbo,

Inter maternas heu lachrymasque patris,

Quas risu lenire tuo jucunda solebas,

Et levis, et proprii vix memor ipsa mali;

I, pete calestes, ubi nulla est cura, recessus:
Et tibi sit nullo mista dolore quies!"

The English version is this:

"Doom'd to long suffering from earliest years,

Amidst your parents' grief and pain alone
Cheerful and gay, you smiled to soothe their tears;

And in their agonies forgot your own.
Go, gentle spirit! and among the blest

From grief and pain eternal be thy rest!"

In the Latin, the phrase e cunis hardly expresses from your cradle upwards. The second line is faulty in the opposition of maternas, an adjective, to the substantive patris; whilst the repetition of the heu in two consecutive lines is ungraceful. In the fourth line, levis conveys a false meaning: levis must mean either physically light—i. e., not heavy -which is not the sense, or else tainted with levity, which

is still less the sense. What Lord Wellesley wished to say was light-hearted: this he has not said; but neither is it easy to say it in good Latin.

I complain, however, of the whole, as not bringing out Lord Wellesley's own feeling-which feeling is partly expressed in his verses, and partly in his accompanying prose note on Miss Brougham's mournful destiny ("her life was a continual illness "), contrasted with her fortitude, her innocent gaiety, and the pious motives under which she supported this gaiety to the last. Not as a direct version, but as filling up the outline of Lord Wellesley, sufficiently indicated by himself, I propose the following

INSCRIPTION FOR THE GRAVE OF THE HON. MARIA BROUGHAM:

'Child, that for thirteen years hast fought with pain,

Prompted by joy and depth of filial love,

Rest now at God's command. Oh! not in vain

His angel ofttimes watch'd thee-oft, above

All pangs that would have dimm'd thy parents' eyes,

Saw thy young heart victoriously rise!

Rise now for ever, self-forgetting child!

Rise to those choirs, where love like thine is blest,

From pains of flesh, from filial tears assoil'd—

Love which God's hand shall crown with God's own rest!"

* "For thirteen:"-i. e., from the age of five to eighteen, at which age she died.

In the person of this Mr Schlosser is exemplified a common abuse, not confined to literature. An artist from the Italian opera of London and Paris, making a professional excursion to the French or English provinces, is received deferentially and almost passively according to the tariff of the metropolis; no rural judge being bold enough to dispute decisions coming down from the courts. above. In that particular case, there is seldom any reaзon to complain-since really, out of Germany and Italy, there is no city, if you except Paris and London, possessing musical resources for the composition of an audience large enough to act as a court of revision. It would be presumption in the provincial audience, so slightly trained to good music and dancing, if it should affect to disturb a judgment ratified in the supreme capital. The result, therefore, will be practically just, if the original verdict was just; what was right from the first cannot be made wrong by iteration. Yet, even in such a case, there is something not satisfactory to a delicate sense of equity; for the artist returns from the tour as if from some new and independent triumph, whereas all is but the reverberation of an old one; it seems a new access of sunlight,