rs danced,]

[Footnote 22: Virg. Ecl. iv. 46:

Aggredere, o magnos, aderit jam tempus, honores,
Cara deum soboles, magnum Jovis incrementum.

Ecl. v. 62:

Ipsi laetitia voces ad sidera jactan
Intonsi montes, ipsae jam carmina rupes,
Ipsa sonant arbusta, Deus, deus ille, Menalca!

"_Oh come and receive the mighty honours: the time draws nigh, O beloved
offspring of the gods, O great increase of Jove! The uncultivated
mountains send shouts of joy to the stars, the very rocks sing in verse,
the very shrubs cry out, A god, a god!_"

Isaiah xl. 3, 4. "_The voice of him that crieth in the wilderness,
Prepare ye the way of the Lord! make straight in the desert a high way
for our God! Every valley shall be exalted, and every mountain and hill
shall be made low: and the crooked shall be made straight, and the rough
places plain._" Chap. xliv. 23. "_Break forth into singing, ye
mountains! O forest, and every tree therein! for the Lord hath redeemed
Israel._"--POPE.

The passage from Virgil, in which the shrubs are supposed to cry out "a
god, a god," is not from the same Eclogue with the rest of Pope's
extracts, and has no reference to the anticipated appearance of a ruler
who should regenerate the world. The occasion of the shout is the
presumed deification of one Daphnis who is dead.]

[Footnote 23: The repetition is in the true spirit of poetry, "Deus,
deus ipse." The whole passage indeed is finely worked up from "lofty
Lebanon" to the magnificent and powerful appeal, "Hark! a glad
voice."--BOWLES.]

[Footnote 24: This line is faulty, for the same reason as given in the
remark on "nodding forests." The action is brought too near, and for
that reason the image no longer appears grand.--BOWLES.]

[Footnote 25: He seems to have had in his eye Cromwell's translation of
Ovid, Amor, ii. 16:

Then, as you pass, let mountains homage pay
And bow their tow'ring heads to smooth your way.--WAKEFIELD.]

[Footnote 26: Isaiah xlii. 18.--POPE. "_Hear, ye deaf; and look, ye
blind, that ye may see._"]

[Footnote 27: The sense and language show, that by "visual ray," the
poet meant the sight, or, as Milton calls it, indeed, something less
boldly, "the visual nerve." And no critic would quarrel with the figure
which calls the instrument of vision by the name of the cause. But
though the term be just, nay noble, and even sublime, yet the expression
of "thick films" is faulty, and he fell into it by a co