been subject to attacks of epilepsy, the last of which proved fatal on the morning of the first of March 1698. To the poem with which we are here presented, the editor has prefixed a life of the author by Salvini. He has likewise extracted from Menzini's Arte Poetica, that animated passage which relates to dithyrambic poetry, and Cava's short dissertation on the same subject. The Bacco in Toscana is still the most perfect specimen of this sort of poetical composition which modern Italy can boast; and it is a wonderful example of the ease and correctness to which its author had arrived in the structure and varied harmony of verse. It begins thus: • Dell' Indico Oriente Domator glorioso il Dio del Vino Con la vaga Arianna un dì sedea, Al bell' idolo suo così dicea :' The poem then proceeds in a more animated and fervent style, till the bard's brain, heated by generous wines and noble phrenzy, begins to turn: • Quali strani capogiri D' improviso mi fan guerra? Ma se la terra comincia a tremare, Vara vara quella gondola Navighiamo, Navighiamo infino a Brindisi : Per barca in mare Venticelli, e fresche aurette E al mormorio de tremuli cristalli Narvighiamo infino a Brindisi: Arianna, brindis, brindisi.' These short extracts may convey some idea of the spirit and execution of the whole. Mr. Mathias has retained as many of. the notes as are requisite to explain the meaning of the text. V. Benedetto Menzini was more favoured by the Muses, than by fortune. From the account of his life prefixed to the edition of his poems, published at Nice in 1782, it appears that he was born at Florence, on the 19th March 1646. In the course of his early studies, he was much indebted to the generous patronage of the Marquis Salviati and the celebrated Redi. The first publication which he acknowleged was that of his poems, printed in 1680. Being disappointed of college preferment at Pisa, he foolishly indulged in severe and personal At Rome, his talents were recognized and honoured by the Cardinals Pignatelli and Azzolino, and by that excentric and illustrious patroness of genius, Christina of Sweden; but on her demise, he was again doomed to struggle with poverty. For a short time, he officiated as secretary to Cardinal Rugioski, primate of Poland. In 1695, he was nominated one of the canons of the church of St. Angelo in Peschiera, and afterward professor of rhetoric in the Sapienza of Rome. Evident symptoms of declining health induced him to retire to Albano, where he composed his Lamentations of Jeremiah, and his Tusculan Academy, the latter somewhat in the style of Sannazzaro's Arcadia. On the 7th of September 1704, he died of a dropsy, in the 59th year of his age. His books and manuscripts were the only property which he had to bequeath. He was naturally cheerful, social, and generous: but vain, irritable, and addicted to gaming. Of Menzini's various performances, that which is here selected displays considerable poetic merit, and a mind enriched with the elegant learning of Greece and Rome. It is composed in the terza rima, and consists of five cantos. The principal subjects of the first are, the difficulty of the poetic art, the necessity of an intimate and idiomatic acquaintance with the language in which the poet writes, an imitation of the best models, grandeur and perspicuity of style, facility of versification, and the critical censure of friends. In the second, we are presented with a comparison between Tasso and Ariosto, as epic poets; with considerations on unity of design, and expression of costume; and with the author's sentiments relative to dramatic poetry. In general, we admit the justness of his criticisms: but we cannot join with him in preferring versified to prose comedy. The third canto commences with a spirited description of dithyrambic poetry; and it then passes to satire, elegy, and the pastoral and piscatorial eclogue. The fourth is devoted to sacred poetry and the sonnet, and the fifth commemorates poetic enthusiasm, with the advantages of correct judgment and harmony of numbers. In this arrangement, it is easy to perceive a want of that lucidus ordo, and due connexion of parts, for which we especially look in a work essentially didactic, and involving some of the first principles of fine writing. In other respects, the poem will be found worthy of its author, and intitled to rank with the similar treatises of Aristotle and Horace, of Vida and Boileau. We shall extract a few stanzas from the beginning of the fourth Canto: Al risonar della celeste lira E se tanta bellezza ha nell' esterne Mr. Mathias has subjoined an elegant Italian critique on Lorenzo da Ponte's canzon on the death of the Emperor Joseph II. and the accession of Leopold II. The original, a copy of which accompanies the remarks, is certainly not destitute of merit, though we cannot praise it with all the warmth of its partial English critic. The following lines are, perhaps, the most beautiful in the whole piece: • Un etade novella Scendere si vedrà nel mondo tutto, E forsennato Ardir sarà distrutto, a senno suo vorria le leggi e i mondi ; Se la lieta novella ancor s'è intesa, La gran Teresa si rallegra, e dice : L'Austria mia sarà pur bella e felice.' VI. The name of Nicolas Hugues de Basseville may probably be in the recollection of several of our readers. He was the son of a dyer in Abbeville, and originally bred to the church, but afterward renounced all professional views, and went to Paris in quest of literary adventures. There he engaged to accompany two American young gentlemen of fortune on a tour through Germany, and obtained from them an annuity of 3000 livres. He next repaired to Holland, for the purpose of studying the principles of trade. Whether he prosecuted this laudable design with steadiness, and according to system, we have not ascertained: but the only public result of his inquiries was a poem on Commerce. He then published his Elements of Mythology, and a volume of miscellaneous poetry, both of which were favourably received. His History of the French Revolution, a work which he dedicated to his intimate friend the Marquis de la Fayette, breathes the sentiments of a staunch royalist: but it is probable that his subsequent intimacy with Biron, Brissot, and General Dumouriez, had produced a change in his political creed. It is at least known that, through the influence of Dumouriez, he was appointed secretary to the French legation at the court of Naples, and that his mission to Rome was not of the purest description. He found, however, that this venerable city no longer verified the saying of Jugurtha, or, to adopt his own expression, that she was inélevable. Yet, instigated by the intemperate zeal of unprincipled demagogues, he dared openly to insult the majesty of the Prince and the dignity of the people, until, as he confessed with his departing breath, he died the victim of a fool.—This event, which happened on the 14th January, 1793, gave occasion to Monti's poem, which Mr. Mathias has republished. It doubtless displays fancy, and no ordinary acquaintance with the graces of Italian poetry. It exhibits, however, rather the mea sure sure than the genius and spirit of Dante. Several of the passages approach nearer to the manner of Tasso.-The fol lowing is at once spirited and elegant: • Già di sua veste rugiadosa e scura Un di quei sette che in argentea lista Rote di fiamme gli occhj rilucenti, Grande così, che da nemica offesa &c. This, like the preceding article, is accompanied by explanatory notes; in one of which we observe a beautiful little ode, by the same hand, intitled Invito d' un Solitario ad un Cittadino, which is now given in a correct form. In taking leave of Mr. Mathias, we have only to remark that his admiration of Italian poetry occasionally outsteps discretion; and that he seems not to be aware that, in the very finest pieces which can be quoted, much of the charm may be analysed into the euphony of the language. We mean not, however, to detract from the utility of his labours, nor to weaken the sense of obligation which the public, we trust, will long entertain of his editorial diligence and selection. ART. VIII. Harvest-Home: consisting of Supplementary Glean ings, Original Dramas and Poems, Contributions of Literary Friends, and select Re publications, including Sympathy, a Poem, revised, corrected, and enlarged, from the eighth Edition. By Mr. Pratt. 3 Vols. 8vo. 11. 11s. 6d. Boards. R. Phillips. 1805. NOTWITHSTANDING Mr. Pratt's endeavours to reconcile us to his singular title, we must beg leave to demur to its propriety. "The cart is put before the horse," when the housing of the crop is mentioned subsequently to the gleaner's operations. It is indeed a fact that Mr. Pratt's Gleanings preceded his Harvest; and such being the case, w: congratulate C 4 him |