Who does not discern, in this Place, what an Injury is done to the original Image, by the military Metaphor?  Recalling the ‘Troops’ of a Deluge, ‘Drawing off its Forces’; and its ’Marching away, at a Signal,’ carry not only a visible Impropriety of Thought, but are infinitely below the Majesty of That God, who is so dreadfully represented thundering his Commands to the Ocean; They are directly the Reverse of that terrible Confusion, and overwhelming Uproar of Motion, which the Sea, in the Original, is suppos’d to fall into.  The March of an Army is pleasing, orderly, slow; The Inundation of a Sea, from the Tops of the Mountains, frightful, wild and tumultuous; Every Justness and Grace of the original Conception is destroyed by the Metaphor.

In the same Psalm, the Hebrew Poet describing God, says, ’....He maketh the Clouds his Chariots, and walketh on the Wings of the Wind.’  Making the ‘Clouds his Chariots,’ is a strong and lively Thought; But That of ‘walking on the Wings of the Wind,’ is a Sublimity, that frightens, astonishes, and ravishes the Mind of a Reader, who conceives it, as he shou’d do.  The Judgement of the Poet in this Place, is discernable in three different Particulars; The Thought is in itself highly noble, and elevated; To move at all upon the Wind, carries with it an Image of much Majesty and Terror; But this natural Grandeur he first encreas’d by the Word ‘Wings,’ which represents the Motion, as not only on the Winds, but on the Winds in their utmost Violence, and Rapidity of Agitation.  But then at last, comes that finishing Sublimity, which attends the Word ‘walks’!  The Poet is not satisfied to represent God, as riding on the Winds; nor even as riding on them in a Tempest; He therefore tells us, that He walks on their Wings; that so our Idea might be heighten’d to the utmost, by reflecting on this calm, and easy Motion of the Deity, upon a Violence, so rapid, so furious, and ungovernable, to our human Conception.  Yet as nothing can be more sublime, so nothing can be more simple, and plain, than this noble Imagination.  But Mr. Trapp, not contented to express, attempts unhappily to adorn this inimitable Beauty, in the following Manner.

      “Who, borne in Triumph o’er the Heavenly Plains,
       Rides on the Clouds, and holds a Storm in Reins,
       Flies on the Wings of the sonorous Wind, &c.”

Here his imperfect, and diminishing Metaphor, of the ‘Rains,’ has quite ruin’d the Image; What rational, much less noble Idea, can any Man conceive of a Wind in a Bridle?  The unlucky Word ‘Plains’ too, is a downright Contradiction to the Meaning of the Passage.  What wider Difference in Nature, than between driving a Chariot over a Plain, and moving enthron’d, amidst That rolling, and terrible Perplexity of Motions, which we figure to our Imagination, from a ‘Chariot of Clouds’?  But the mistaken Embellishment of the Word ‘flies,’ in the last Verse, is an Error almost unpardonable; Instead of improving the Conception, it has made it