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Of this epitaph, short as it is, the faults seem not to be very few. Why part should be Latin, and part English, it is not easy to discover. In the Latin the opposition of Immortalis, and Mortalis is a mere sound, or a mere quibble; he is not immortal in any sense contrary to that in which he is mortal.
In the verses the thought is obvious, and the words night and light are too nearly allied.
the 191h Year of his Age, 1735.
Pays the last tribute of a saint to Heaven. This epitaph Mr. Warburton prefers to the rest ; but I know not for what reason. To crown with reflection is surely a mode of speech approaching to nonsense. Opening virtues blooming round, is something like tautology; the six following lines are poor and prosaick. Art is in another couplet used for arts, that a rhyme may be had to heart. The six last lines are the best, but not excellent.
The rest of his sepulchral performances hardly deserve the notice of criticism. The contemptible
Dialogue" between He and SHE should have been suppressed for the author's sake.
In his last epitaph on himself, in which he attempts to be jocular upon one of the few things that make wise men serious, he confounds the living man with the dead.
Under this stone, or under this sill,
Or under this turf, &c. When a man is once buried, the question, under what he is buried, is easily decided. He forgot that though he wrote the epitaph in a state of uncertainty, yet it could not be laid over him till his grave was made. Such is the folly of wit when it is ill employed.
The world has but little new ; even this wretchedness seems to have been borrowed from the following tuneless lines :
Ludovici Areosti humantur ossa
Olim siquod haberit is sepulchrum. Surely Ariosto did not venture to expect that his trifle would have ever had such an illustrious imitator.
P I T T.
CHRISTOPHER Pitt, of whom whatever I shall relate, more than has been already published, I owe to the kind communication of Dr. Warton, was born in 1699, at Blandford, the son of a physician much esteemed.
He was,'in 1714, received as a scholar into Winchester College, where he was distinguished by exercises of uncommon elegance, and at his removal to New College in 1719, presented to the electors, as the product of his private and voluntary studies, a complete version of Lucan's poem, which he did not then know to have been translated by Rowe.
This is an instance of early diligence which well deserves to be recorded. The suppression of such a work, recommended by such uncommon circumstances, is to be regretted. It is indeed culpable to load libraries with superfluous books; but incitements to early excellence are never superfluous, and from this example the danger is not great of many imitations.
When he had resided at his college three years, he was presented to the rectory of Pimpern in Dorsetshire (1722), by his relation, Mr. Pitt of Strat
field Say in Hampshire; and, resigning his fellowship, continued at Oxford two years longer, till he became Master of Arts (1724).
He probably about this time translated “ Vida's “ Art of Poetry," which Tristram's splendid edition had then made popular. In this translation he distinguished himself, both by his general elegance, and by the skilful adaptation of his numbers to the images expressed; a beauty which Vida has with great ardour enforced and exemplified.
He then retired to his living, a place very pleasing by its situation, and therefore likely to excite the imagination of a poet; where he passed the rest of his life, reverenced for his virtue, and beloved for the softness of his temper, and the easiness of his manners. Before strangers he had something of the scholar's timidity or distrust; but when he became familiar he was in a very high degree cheerful and entertaining. His general benevolence procured general respect ; and he passed a life placid and honourable, neither too great for the kindness of the low, nor too low for the notice of the great.
AT what time he composed his Miscellany, published in 1727, it is not easy or necessary to know: those which have dates appear to have been very early productions, and I have not observed that any rise above mediocrity.
The success of his Vida animated him to a higher undertaking ; and in his thirtieth year he published a version of the first book of the Eneid. This being, I suppose, commended by his friends,
be some time afterwards added three or four more; with an advertisement in which he represents himself as translating with great indifference, and with a progress of which himself was hardly conscious. This can hardly be true, and, if true, is nothing to the reader.
At last, without any farther contention with his modesty, or any awe of the name of Dryden, he gave us a complete English Eneid, which I am sorry not to see joined in this publication with his other poems.* It would have been pleasing to have an opportunity of comparing the two best translations that perhaps were ever produced by one nation of the same author.
Pitt, engaging as a rival with Dryden, naturally observed his failures, and avoided them; and, as he wrote after Pope's Iliad, he had an example of an exact, equable, and splendid versification. With these advantages, seconded by great diligence, he might successfully labour particular passages, and escape many errors. If the two versions are compared, perhaps the result would be, that Dryden leads the reader forward by his general vigour and sprightliness, and Pitt often stops him to contemplate the excellence of a single couplet; that Dryden's faults are forgotten in the hurry of delight, and that Pitt's beauties are neglected in the languor of a cold, listless perusal; that Pitt pleases the critics, and Dryden the people; that Pitt is quoted, and Dryden read.
He did not long enjoy the reputation which this
* It has been added to the collection.