oducing to the publick.

The fifth contains a celebration of Daphnis, which has stood to all
succeeding ages as the model of pastoral elegies. To deny praise to a
performance which so many thousands have laboured to imitate, would be
to judge with too little deference for the opinion of mankind: yet
whoever shall read it with impartiality, will find that most of the
images are of the mythological kind, and therefore easily invented; and
that there are few sentiments of rational praise or natural lamentation.

In the Silenus he again rises to the dignity of philosophick sentiments,
and heroick poetry. The address to Varus is eminently beautiful: but
since the compliment paid to Gallus fixes the transaction to his own
time, the fiction of Silenus seems injudicious: nor has any sufficient
reason yet been found, to justify his choice of those fables that make
the subject of the song.

The seventh exhibits another contest of the tuneful shepherds: and,
surely, it is not without some reproach to his inventive power, that of
ten pastorals Virgil has written two upon the same plan. One of the
shepherds now gains an acknowledged victory, but without any apparent,
superiority, and the reader, when he sees the prize adjudged, is not
able to discover how it was deserved.

Of the eighth pastoral, so little is properly the work of Virgil, that
he has no claim to other praise or blame, than that of a translator.

Of the ninth, it is scarce possible to discover the design or tendency;
it is said, I know not upon what authority, to have been composed from
fragments of other poems; and except a few lines in which the author
touches upon his own misfortunes, there is nothing that seems
appropriated to any time or place, or of which any other use can be
discovered than to fill up the poem.

The first and the tenth pastorals, whatever be determined of the rest,
are sufficient to place their author above the reach of rivalry. The
complaint of Gallus disappointed in his love, is full of such sentiments
as disappointed love naturally produces; his wishes are wild, his
resentment is tender, and his purposes are inconstant. In the genuine
language of despair, he soothes himself awhile with the pity that shall
be paid him after his death.

_--Tamen cantabitis, Arcades, inquit,
Montibus haec vestris: soli cantare periti
Arcades. O mihi tum quam molliter ossa quiescant,
Vestra meos olim si fistula dicat amores!_ Virg. Ec