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In keen and shrilling strains the strings rebound j
Now in the deep majestic base resound:
Now with the hoarse sonorous strains unite
Such as the trumpet's clangors that excite
The rage of armies, and provoke to fight.
The nightingale resumes, and from her throat
The treble's sliarp attenuated note
Emitsj then sudden sinks to strains profound
And murmurs in the base's solemn sound;
And now to bold full numbers swells her voice,
And emulates the clarion's martial noise.
The tuneful artist in confusion blusiVdj
And indignation ev'ry feature flusli'd.
"Once more, he cry'd, my efforts I'll renew;
"Either this mimic songstress I'll subdue,
"Or break my lute, and shiver all its chords."
He said; and as his lips pronounc'd the words,
With all his skill his instrument he plies;
Notes upon notes inimitable rife:
Swift o'er the strings his agil fingers glance;
Now these, now those in tuneful numbers dance;
Each chord in turn the quick vibration shares,
Now softly sweet, now boldly strong the airs:
In rapid multiplicity he plays,
Assumes, and reassumes the dying lays:
Then with majestic sounds concludes the song;
Majestic sounds the ech'ing hills prolong.

He ceas'd, expecting if the rival-bird
Would back return the melody she heard;
The bird, tho' with her toils grown hoarse and tir'd,
Still with a noble emulation fir'd,
With all her might strove to repeat the strain,
But( ah! with all her might she strove in vain;


Sor lab'ring to reverberate the song,
Impetuous, complicate, sublime, and strong,
Her utt'rance fail'd: like an envenom'd dart,
Th'inglorious disappointment pierc'd her heart 9
Unequal to the strife she yields her breath,
And on the victor's viol drops in death,
As the dire instrument her ruin wrought,
She for her last funereal bed had sought.

* Thou cruel conqu'ror, swathe in black thy lutej And let it lie for ever, ever mute; Or if the guilty strings are touch'd again, ^

Solemn and fad be ev'ry future strain, >

And mourn the lovely Philomela slain f. *

* The five last lines are not in Strada, but added by the Translator.

f Jam Sol a medio pronus deflexerat orbe
Mitius e radiis vibrans crinalibus ignem.
Cum fidicen propter Tiberina fluenta sonanti
Lenibat plectro curas, æstumqufc levabat
Hie defensus nigra fcenaqut: virenti.

Audiit hunc hospes silvæ philomela propinquæ,
Musa loci, nemoris siren, imioxia siren.
At prope succedens stetit abdita frondibus, alte
Accipiens sonitum, secumque remurmurat, & quos
Ille modos variat digitis, hæc gutture reddit.

Sensit fe fidicen philomela imitante referri.
Et placuit ludum volucri dare. Plenius ergo
Explorat citharam, tentamentumque futuræ
Præbeat ut pugnæ, percurrit protinus omnes
Impulsii pemice fides. Nee segnius ilia
Mille per excurrens variæ diferimina vocis
Venturi specimen præfert argutula cantus.

Tune fidicen per fi!a movens trepidantia dextram,
Nunc contemnenti similis diverberat ungue
Depectitque pari chordas Se simplice ductu;


Nunc carptim replicat, digitisqne micantibus urget *
Fila minutatim, celerique repercutit ictu.
Mox silet. Ilia modis totidem refpondet, & artem
Arte refert. Nunc ceu rudis, aut incerta canendi
Projicit in longum, nulloque plicatile flexu
Carmen init, simili serie, jugiq.ue tenore
Præbet iter liquid um labenti e pectore voci;
Nunc cæsim variat, modulisque canora minutia
Delibrat vocem, tremuloque reciprocat ore.

Miratur fidicen parvis e faucibus ire
Tam varium tarn dulce melos; majoraque tentans
Alternat mira arte fides; dum torquet acutas,
Inciditque graves operoso verbere palsat,
Permiscetque simul certantia rauca sonon's,
Ceu resides in bella viros clangore lacessat.
Hoc etiam philomela canit dumque ore liquenti
Vibrat acuta sonum, modulisque interplicat æquis;
Ex inopinato gravis intonat, & leve murmur
Turbinat introrsus, alternantique sonore
Clarat, & insuscat ceu martia claflica pulset.

Scilicet erubuit fidicen, iraque calente,
Aut non hoc, inquit, referes citharistria silvæ,
Aut fracta cedam cithara. Nec plura loquutus
Non imitabilibus plectrum concentibus urget.
Namque manu per fila volat, simul hos, simul illos
Explorat numeros, chordaque laborat in omni,
Et strepit, & tinnit, crescitque superbius, & fe
Multiplicat relegens, plenoque choreumata plaudit.
Turn stetit expectans si quid paret æmula contra.
Ilia autem, quamquam vox dudum exercita fauces
Afperat, impatiens vinci simul advocat omnes
Nequidquarn vires: nam dum diferimina tanta
Reddere tot fidium nativa & simplice tentat
Voce, canaliculifque imitari grandia parvis;
Impar magnanimis aufis, imparque dolori
Deficit, & vitam fummo in certamina linquens
Victoris cadit in plectrum par nacta fepulcrum.
Usque adeo & tenues anima, ferit æmula virtus.

Strada Prolus. 6, lib. iii. in Stylo Qcutdiano.

§ 3. We may meet with several instances of the Enantiosis in the sacred Writings. In the 29th and 30th chapters of Job we have the different pictures which Job draws of himself in the season of his former prosperity, and in that of his present affliction, and how strong a contrast is there between them? In chap. xxix. 2, 7. and the following verses, he fays, "O! that I were as in "months past, as in the days when God pre"served me. When I went out to the gate "through the city; when I prepared my seat in "the street. The young men saw me, and hid "themselves; and the aged' arose, and stood up. "The princes refrained talking, and laid their "hand on their mouth: the nobles held their "peace, and their tongue cleaved to the roof of "their mouth. When the ear heard me, then "it blessed me; and when the eye saw me, it •" gave witness unto me." But in the next chapter, he tells us, verse 1. "But now they that are "younger than I have me in derision, whose fa"thers I would have disdained to have set with "the dogs of my flock." And verse 9. and the following, " And now am I their song, yea, I "am their by-word. They abhor me, they flee "far from me, and spare not to spit in my face. "Because he hath loosed my cord, and afflicted •" me; they have also let loose the bridle before "me. Upon my right-hand rise the youth; u they push away my feet, and they raise up u against me the ways of their destruction: they "mar my path; they set forward my calamity;

S "they

u they have no helper. They came upon me as "a wide breaking in of waters: in the desola"tion they rolled themselves upon me. Terrors "are turned upon me: they pursue my soul as "the wind; and my welfare passes away as a u cloud. And now my soul is poured out upon "me; the days of affliction have taken hold "upon me."

In Psalm i. j. we have the pious man represented as s! a tree planted by the rivers of water, that "brings forth his fruit in his season; whose leaf shall not wither but while a tree, a tree planted in a well-watered soil, a tree crowned with fruit in its season, and flourishing in undecaying verdure, is the emblem of the good man, the wicked man is resembled in the next verse to chaff which the wind drives away, to an empty, worthless husk, that has no solidity of its own, nor any firm connexion with any thing else, to keep it in its place, and prevent it from becoming the sport of every blast that sweeps through the heavens, or even of every breath that stirs in the uncertain atmosphere.

What a contrast is exhibited in Psalm xvii. 13 —15, between what are the characters and conditions of the men of this world, and the saints and citizens of heaven? SI Arise, O Lord, disappoint H him, cast him down: deliver my soul from the "wicked, which is thy sword; from men which "are thine hand, O Lord, from men of the world, !! which have their portion in this life, and whose "belly thou fillest with thine hid treasure. They

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