well imagine, that the shepherds and the herdsmen, surrounded by their flocks and their cattle, piped before him the current songs of the times; and that he was frequently a witness of their dialogues and contentions; heard their proverbial speeches, transcribed their manner, and caught from their lips the very vulgarisms which characterise his ruder Idyls. Such was the foundation of his Pastorals, original both in matter and form; the more rustic of which were probably composed in the earlier part of his life, before he left his native island, allured by brighter prospects.

That he had a very early propensity to this species of composition, and that his genius was originally formed for it, in preference to any other, may be inferred from his frequent recurrence to the woods and plains, in works of a contexture and complexion by no means resembling the Pastoral; and from the interspersion, indeed, through all his productions, of such similes and allusions as are evidently the offspring of the country. But his genius was not confined to a particular species of writing. Though not fervid or bold, it was versatile and penetrating. The refined age of Theocritus was equally favourable to compositions where the fashions and foibles of men are humorously displayed. Wit can only exist amidst ease and security. At a period of high civilisation, there arise checquered and complex characters,

variously shaded by folly, and assuming a diversity of transitory shapes. Hence the manners become the subject of observation, and afford ample scope for the exercise of ridicule. These fleeting traits of a civilised people by no means escaped the penetration of Theocritus.

But he had not only the opportunities of contemplating, in his own country, the beautiful forms of nature, and the diversified appearances of life: he enjoyed the additional advantages of travel. The prospect of Ægyptian manners and customs, and pursuits so different from those of Sicily, must have enlarged his knowledge of mankind; and the rich and extensive pastures on the banks of the Nile have delighted his rural imagination. But, during his residence in Ægypt, his genius and his taste must have been enlightened and refined by the polite conversation of a court, where literature was associated with elegance and splendour; and where emulation was excited and cherished by princely munificence. And not only the Muses flourished under the auspices of a Ptolemy; but literature in general was highly cultivated and improved.

* We have every reason to imagine that he met with a more favourable reception at Alexandria, than he had experienced at Syracuse, from the encomiums on Ptolemy contained in Idyl xvii., where he rises above the pastoral style, and shows that he could,

The labours of the Seventy Interpreters at the Alexandrian court form a celebrated epoch in the annals of learning. That our poet availed himself of these labours, and frequently snatched a grace from sacred writ, no one will doubt, who peruses his most finished pieces with attention. It was under the patronage of Ptolemy, that his contemporary bard Callimachus composed those Hymns to his fabled Gods, which evidently borrowed some portion of their beauty from the same sources: and possibly the more ancient writers of Greece might have drawn sentiments and imagery from scripture. There is often discoverable in Pindar a spirit of oriental grandeur; and we trace, in many passages of Homer, resemblances apparently imitative of these divine originals. It is not to be wondered, that such elegant enjoyments should have kindled the gratitude of our poet; and have produced that panegyric on his royal patron, which, in point of animation, delicacy, address, and well appropriated

on an occasion, as Virgil did afterwards, exalt his Sicilian Muse to a sublimer strain. He derives the race of Ptolemy from Hercules; he enumerates his many cities, describes his great power and immense riches, but above all he commemorates his royal munificence to the sons of the Muses. Towards the conclusion of Idyl xiv. there is a short, but very noble panegyric on Ptolemy. In Idyl xv. he celebrates Berenice, the mother, and Arsinoë, the wife of that prince.

compliment, may be considered as the first of encomiastic performances.

These corresponding felicities of genius and situation was it the fortune of Theocritus to possess. It is to these that we owe his most original and interesting works; though to his perfect acquaintance with fabulous antiquity we are indebted for no mean effusions of the Heroic Muse; while his other productions, of various character, still further evince the versatility of his talents, the extent of knowledge, and the elegance of his friendships.

This great diversity of pieces hath been transmitted to us, except the Epigrams indeed, under the title of Idyls; a term which, according to its general import, is doubtless well applied to a collection of miscellaneous poems.* Heinsius observes, that the ancients gave this title to the poems before us, to express their variety. Thus have we the Sylvæ of Statius, and Edyllia of Ausonius. But as εἰδύλλιον, a diminutive of εἶδος, may signify a little picture, or image, it may, in this sense, be applied, with peculiar propriety, to the Miscellanies of Theocritus; which are, every where, replete with lively and natural representation; and paint all the objects they describe.

*Besides the Idyls and Epigrams now extant, Theocritus is said by Suidas to have written Prætides, Hopes, Hymns, Heroines, Dirges, Elegies, and Iambics.

On a general view of the Greek Idyls, their dialect is an obvious and striking feature. The Doric dialect, in which they are for the most part written, was, of all others, best adapted to the subjects, the characters, and simplicity of the sentiment. It possesses an inimitable charm, that can never be transfused in the most happy translation. It hath a modulated sweetness which melts upon the ear, at the same time that its wildness and rusticity often characterise the personages who use it. In the age of Theocritus, this species of the Doric, much softer and smoother than the old dialect of the Dorians, was current in many parts of Greece; another adventitious circumstance much in favour of our Poet. Hence his versification derives a melody, which no one of the ancients hath equalled; while the frequent recurrence of the dactyl gives it an ease and lightness more peculiarly graceful in the pastoral Idyls.

With respect to the general sentiment, there is a clearness, a simplicity, a sportive vivacity, that must always please: but there are few strokes of the sublime; few fervid aspirations of fancy. There is no want of vigour; yet there is little enthusiasm. We, in some instances, meet with a surprising thought, with a wonderful degree of animation : but though we are often charmed, we are seldom astonished. There is always a justness in the combination; all is natural and appropriated; but

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