e greatly
conceived, or more adequately expressed, than the image in the last
couplet.

The deception, sometimes used in rhetoric and poetry, which presents us
with an object or sentiment contrary to what we expected, is here
introduced to the greatest advantage:

"Farewell the youth, whom sighs could not detain,
Whom Zara's breaking heart implored in vain!
Yet, as thou go'st, may every blast arise----
Weak and unfelt as these rejected sighs!"

But this, perhaps, is rather an artificial prettiness, than a real or
natural beauty.

ECLOGUE III.

That innocence, and native simplicity of manners, which, in the first
eclogue, was allowed to constitute the happiness of love, is here
beautifully described in its effects. The sultan of Persia marries a
Georgian shepherdess, and finds in her embraces that genuine felicity
which unperverted nature alone can bestow. The most natural and
beautiful parts of this eclogue are those where the fair sultana refers
with so much pleasure to her pastoral amusements, and those scenes of
happy innocence in which she had passed her early years; particularly
when, upon her first departure,

"Oft as she went, she backward turned her view,
And bade that crook and bleating flock adieu."

This picture of amiable simplicity reminds one of that passage where
Proserpine, when carried off by Pluto, regrets the loss of the flowers
she has been gathering:

"Collecti flores tunicis cecidere remissis:
Tantaque simplicitas puerilibus adfuit annis,
Haec quoque virgineum movit jactura dolorem."

ECLOGUE IV.

The beautiful but unfortunate country where the scene of this pathetic
eclogue is laid, had been recently torn in pieces by the depredations of
its savage neighbours, when Mr. Collins so affectingly described its
misfortunes. This ingenious man had not only a pencil to portray, but a
heart to feel for the miseries of mankind; and it is with the utmost
tenderness and humanity he enters into the narrative of Circassia's
ruin, while he realizes the scene, and brings the present drama before
us. Of every circumstance that could possibly contribute to the tender
effect this pastoral was designed to produce, the poet has availed
himself with the utmost art and address. Thus he prepares the heart to
pity the distresses of Circassia, by representing it as the scene of the
happiest love:

"In fair Circassia, where, to love inclined,
Each swain was blest, for