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2, he brought upon the stage the Distrest Mother, translation of Racine's Andromaque. Such a juires no uncommon powers; but the friends of xerted every art to promote his interest. Before arance of the play, a whole Spectator, none, inf the best, was devoted to its praise; while it yet ed to be acted, another Spectator was written, to at impression it made upon sir Roger; and, on the ght, a select audience, says Pope', was called toto applaud it.

as concluded with the most successful epilogue was ever yet spoken on the English theatre. The first nights it was recited twice; and not only conto be demanded through the run, as it is termed, of ay, but, whenever it is recalled to the stage, where, culiar fortune, though a copy from the French, it .eeps its place, the epilogue is still expected, and is poken.

Le propriety of epilogues in general, and, consequently, is, was questioned by a correspondent of the Spec, whose letter was undoubtedly admitted for the sake he answer, which soon followed, written with much ! and acrimony. The attack and the defence equally tributed to stimulate curiosity and continue attention. may be discovered, in the defence, that Prior's epilogue Phædra had a little excited jealousy; and something of ior's plan may be discovered in the performance of his al. Of this distinguished epilogue the reputed author as the wretched Budgel, whom Addison used to denoinatem "the man who calls me cousin ;" and when he was asked, how such a silly fellow could write so well, relied, "the epilogue was quite another thing when I saw it first." It was known in Tonson's family, and told to Garrick, that Addison was himself the author of it, and that, when it had been at first printed with his name, he came early in the morning, before the copies were distri

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century afterwards, 1498, Mantuan pubks with such success, that they were soon ..us with a comment, and, as Scaliger cominto schools, and taught as classical; his ain, and the practice, however injudicious, continued long. Mantuan was read, at of the inferiour schools of this kingdom, to of the present century. The speakers of ed their disquisitions beyond the country, to corruptions of the church; and from him ed to employ his swains on topicks of con

ns soon transferred pastoral poetry into their ge: Sannazaro wrote Arcadia in prose and sso and Guarini wrote Favole Boschareccie, or nas; and all nations of Europe filled volumes sis and Damon, and Thestylis and Phyllis. thinks it somewhat strange to conceive "how, so addicted to the muses, pastoral poetry never be so much as thought upon." His wonder seems seasonable; there had never, from the time of r, wanted writers to talk occasionally of Arcadia rephon; and half the book, in which he first tried wers, consists of dialogues on queen Mary's death, en Tityrus and Corydon, or Mopsus and Menalcas. ries or book of pastorals, however, I know not that one had then lately published.

Not long afterwards, Pope made the first display of his wers in four pastorals, written in a very different form. hilips had taken Spenser, and Pope took Virgil for his attern. Philips endeavoured to be natural, Pope labourd to be elegant.

Philips was now favoured by Addison, and by Addison's companions, who were very willing to push him into reputation. The Guardian gave an account of pastoral, partly critical, and partly historical; in which, when the merit of

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