n Windsor Forest. Pope means that
the savages would be astonished at "our speech, our colour, and our
strange attire," and not that they would admire them in our present
laudatory sense of the term, which would be contrary to the fact. "A
fair complexion," says Adam Smith, "is a shocking deformity upon the
coast of Guinea. Thick lips and a flat nose are a beauty."]

[Footnote 181: As Peru was particularly famous for its long succession
of Incas, and Mexico for many magnificent works of massy gold, there is
great propriety in fixing the restoration of the grandeur of each to
that object for which each was once so remarkable.--WARTON.]

[Footnote 182: Rage in Virgil is bound in "brazen bonds," and Envy is
tormented by "the snakes of Ixion." These coincidences are specified by
Wakefield.]

[Footnote 183: Sir J. Beaumont's Bosworth Field:

Beneath her feet pale envy bites her chain,
And snaky discord whets her sting in vain.]

[Footnote 184: Hor., Ode iii. lib. 3:

Quo, Musa, tendis? desine pervicax
Referre sermones Deorum et
Magna modis tenuare parvis.--WARBURTON.

Addison's translation of Horace's Ode:

But hold, my muse, forbear thy tow'ring flight
Nor bring the secrets of the gods to light.

Pope says that he will not presume "to touch on Albion's golden days,"
and "bring the scenes of opening fate to light," oblivious that the
speech which Father Thames has just delivered is entirely made up of
these two topics. As might be inferred from their feebleness, the lines
from ver. 426 formed part of the original Windsor Forest, with the
exception of the couplet beginning "Where Peace descending," which is of
another order of poetry. The second line is exquisite.]

[Footnote 185: He adopted one or two hints, and especially the turn of
the compliment to Lord Lansdowne, from the conclusion of Addison's
Letter to Lord Halifax:

But I've already troubled you too long,
Nor dare attempt a more adventurous song.
My humble verse demands a softer theme,
A painted meadow, or a purling stream:
Unfit for heroes; whom immortal lays
And lines like Virgil's, or like yours, should praise.]

[Footnote 186: It is observable that our author finishes this poem with
the first line of his Pastorals, as Virgil closed his Georgics with the
first line of his Eclogues. The preceding couplet scarcely rises to
mediocrity, and seems modelled from Dryden's version of the pass