On the far shore there rose a rock; below
Scooped by the breaker’s beating frequently:
The cliff was hollowed underneath, in show
Of arch, and overhung the foaming sea.
Olympia (mind such vigour can bestow)
Sprang up the frowning crest impetuously,
And, at a distance, stretched by favouring gale,
Thence saw her cruel lord’s departing sail.
Stanza xxiii.
Saw it, or seemed to see: * * *
* * * * * * * *
* * * * * * and lies
With face than snow more cold and white in hue.
Stanza xxiv. lines 1, 2, 3, 4.
“–Scopulus raucis pendet adesus aquis.
“Ascendo; vires animus dabat: atque ita latè
“Æquora prospectu metior alta meo.
“Inde ego (nam ventis quoque sum crudelibus usa)
“Vidi præcipiti carbosa tenta Noto:
“Ut vidi; aut etiam cum me vidisse putarem,
“Frigidior glacie semianimisque fui.”
Ariadne.
Where unavailing is the feeble note,
She weeps and claps her hands in agony.
Stanza xxv. lines 1 and 2.
Defoe, that true observer of nature, remarks, that every nation has its peculiar sound indicative of pain and grief, and, it may be added, that different ages have also different signs for expressing their emotions, which symbols appear to be purely conventional. Thus clapping of the hands, now a sign of pleasure and approbation, has been used as expressive of pain; and we read in Dante,
