But hear, rejoice, stand silent, and adore. The Persians thus, first gazing on the sun, Admir'd how high 'twas plac'd, how bright it shone; 10 But, as his power was known, their thoughts were rais'd; And soon they worshipp'd, what at first they prais'd. And Cowley's verse keeps fair Orinda young. Strange force of harmony, that thus controls Our thoughts, and turns and sanctifies our souls: While with its utmost art your sex could move Our wonder only, or at best our love: 20 You far above both these your God did place, stroy; That with your numbers you our zeal might raise, And, like Himself, communicate your joy. When to your native Heaven you shall repair, And with your presence crown the blessings there, Your lute may wind its strings but little higher, 31 To tune their notes to that immortal quire. Your art is perfect here; your numbers do, More than our books, make the rude atheist know, • Imitated from Alleyne's Poetical History of Henry VII. "For nought but light itself, itself can show, And only kings can write what kings can do." That there's a Heaven, by what he hears below. Some cherub finishes what you begun, To burning Rome when frantic Nero play'd, prise, 40 Confest them less than those of Anna's eyes: 50 PICTURE OF SENECA DYING IN A BATH, BY JORDAIN.* AT THE RIGHT HON. THE EARL OF EXETER'S AT BURLEIGH HOUSE. HILE cruel Nero only drains The moral Spaniard's ebbing veins, How dull, how thoughtless is his rage! Jacques Jordain was born at Antwerp in 1584; was a disciple of Adam van Oort, but was indebted to Rubens for Heighten'd revenge he should have took; 10 AN ODE. ZHILE blooming youth, and gay delight Sit on thy rosy cheeks confest, Thou hast, my dear, undoubted right To triumph o'er this destin'd breast. My reason bends to what thy eyes ordain: For I was born to love, and thou to reign. the principal part of his knowledge in the art of painting: "He painted with extraordinary freedom, ease, and expedition; there is a brilliancy and harmony in his colouring, and a good understanding of the Chiaroscuro. His composition is rich, his expression natural and strong, but his design wanted elegance and taste. He studied and copied nature, yet he neither selected its beauties, nor rejected its defects. He knew how to give his figures a good relief, though frequently incorrect in the outlines; but his pencil is always excellent, and for a free and spirited touch, no painter can be accounted his superior."-Pilkington's Dic tionary of Painters. He died in 1678, aged 84 years. But would you meanly thus rely And do an ill, because you may? Still must I thee, as atheists Heaven adore; Take heed, my dear, youth flies apace; 10 The thousand loves, that arm thy potent eye, Then wilt thou sigh, when in each frown Seems but the sad effect of years: Kindness itself too weak a charm will prove, Fore'd compliments and formal bows A talking dull platonic I shall tura; Then shun the ill, and know, my dear. So vast a weight as that of love. If thou canst wish to make my flames endure, 20 30 Haste, Celia, haste, while youth invites, And give thy soul a loose to joys: Let millions of repeated blisses prove, Be mine, and only mine; take care 40 Thy looks, thy thoughts, thy dreams to guide To me alone; nor come so far, As liking any youth beside: What men e'er court thee, fly 'em, and believe, So shall I court thy dearest truth, So time itself our raptures shall improve, 50 AN EPISTLE TO FLEETWOOD SHEPHARD, ESQ. SIR, BURLEIGH, MAY 14, 1689. S once a twelvemonth to the priest, in it: |