Addison, in some beautiful Latin lines inserted in the Spectator, is entirely of opinion that birds observe a strict chastity of manners, and never admit the caresses of a different tribe. (v. vol. vi. No. 412.)

CHASTE are their instincts, faithful is their fire,
No foreign beauty tempts to false desire;
The snow-white vesture, and the glittering crown,
The simple plumage, or the glossy down,
Prompt not their loves the patriot bird

the patriot bird pursues

His well-acquainted tints, and kindred hues.
Hence through their tribes no mix'd polluted flame,
No monster breed to mark the groves with shame;
But the chaste blackbird, to its partner true,
Thinks black alone is beauty's favourite hue.
The nightingale, with mutual passion blest,
Sings to its mate, and nightly charms the rest.
While the dark owl to court its partner flies,
And owns its offspring in their yellow eyes.1

1 See Goldsmith's An. Nat. vol. v. p. 212.

LINES ATTRIBUTED TO DR. GOLDSMITH,

INSERTED IN THE MORNING CHRONICLE

OF APRIL 3, 1800.

E'ER have you seen, bath'd in the morning dew, The budding rose its infant bloom display: When first its virgin tints unfold to view,

It shrinks, and scarcely trusts the blaze of day.

So soft, so delicate, so sweet she came,

Youth's damask glow just dawning on her cheek;

I gaz❜d, I sigh'd, I caught the tender flame, Felt the fond pang, and droop'd with passion weak.

VIDA'S GAME OF CHESS,

AS IT HAS BEEN FOUND TRANSCRIBED IN THE HANDWRITING

OF

OLIVER GOLDSMITH.

NOW FIRST PRINTED FROM THE ORIGINAL MS.

IN THE POSSESSION OF

BOLTON CORNEY, ESQ.

Of the MS. of this translation, Mr. Forster, who has drawn largely and importantly from it, gives the following account: "It is a small quarto manuscript of thirty-four pages, containing 679 lines, to which a fly-leaf is appended, in which Goldsmith notes the differences of nomenclature between Vida's chessmen and our own. It has occasional interlineations and corrections, but rather such as would occur in transcription, than in a first or original copy. Sometimes, indeed, choice appears to have been made (as at page 29) between two words equally suitable to the sense and verse, as 'to' for 'toward;' but the insertions and erasures refer almost wholly to words or lines accidentally omitted and replaced. The triplet is always carefully marke; and though it is seldom found in any other of Goldsmith's poems, I am disposed to regard its frequent recurrence, here, as even helping in some degree to explain the motive which had led him to the trial of an experiment in rhyme comparatively new to him. If we suppose him, half consciously it may be, taking up the manner of the great master of translation, Dryden, who was at all times so much a favourite with him, he would at least be less apt to fall short in so marked a peculiarity, than to err perhaps a little on the side of excess; though I am far from thinking such to be the result in the present instance. The effect of the whole translation is very pleasing to me, and the mock heroic effect I think not a little assisted by the reiterated use of the triplet and Alexandrine. As to any evidences of authorship derivable from the appearance of the manu script, I will only add another word. The lines in the translation have been carefully counted, and the number is marked in Goldsmith's hand at the close of his transcription. Such a fact is, of course, only to be taken in aid of other proof; but a man is not generally at the pains of counting, still less, I should say, in such a case as Goldsmith's, of elaborately transcribing, lines which are not his own."-Forster's Goldsmith, ii. 265.

There had been an earlier translation of the poem by George Jeffreys, (4to. 1736,) but it is very inferior to the translation which Mr. Cornev has now enabled me to reprint. CUNNINGHAM.