'er thy days from anguish free,
And know, whatever thou hast been,
'Tis something better not to be."
Lord Byron's Euthanasia.

Compare also the plaintive chorus in the Oedipus at Colonos, 1211.
Among the tragedies of Sophocles this stands forth a mass of
feeling. See Schlegel's remarks upon it in his Dramatic Literature.

No. 108. SATURDAY, NOVEMBER 17, 1753.

_Nobis, quum semet occidit brevis lux,
Nox est perpetua una dormienda._ CATULLUS. Lib. v. El. v.

When once the short-liv'd mortal dies,
A night eternal seals his eyes. ADDISON.

It may have been observed by every reader, that there are certain
topicks which never are exhausted. Of some images and sentiments the
mind of man may be said to be enamoured; it meets them, however often
they occur, with the same ardour which a lover feels at the sight of his
mistress, and parts from them with the same regret when they can no
longer be enjoyed.

Of this kind are many descriptions which the poets have transcribed from
each other, and their successors will probably copy to the end of time;
which will continue to engage, or, as the French term it, to flatter the
imagination, as long as human nature shall remain the same.

When a poet mentions the spring, we know that the zephyrs are about to
whisper, that the groves are to recover their verdure, the linnets to
warble forth their notes of love, and the flocks and herds to frisk over
vales painted with flowers: yet, who is there so insensible of the
beauties of nature, so little delighted with the renovation of the
world, as not to feel his heart bound at the mention of the spring?

When night overshadows a romantick scene, all is stillness, silence, and
quiet; the poets of the grove cease their melody, the moon towers over
the world in gentle majesty, men forget their labours and their cares,
and every passion and pursuit is for a while suspended. All this we know
already, yet we hear it repeated without weariness; because such is
generally the life of man, that he is pleased to think on the time when
he shall pause from a sense of his condition.

When a poetical grove invites us to its covert, we know that we shall
find what we have already seen, a limpid brook murmuring over pebbles, a
bank diversified with flowers, a green arch that excludes the sun, and a
natural grot shaded with myrtles; yet who can forbear to enter the
pleasing gloom to enjoy coolness and