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eral difference in point of p between the and the Prospect of Etc

B say these objectors," Obscurity, by taking o Il grant that, if the o le, this is certainly true! gs, proceeding from the the composition, it does n new one which arises from which accrues from a diff the passage itself be a fi tat which we discover at the e Ladies, requires to be co for not having yielded too r ending as it does in a sor ve its force with the intellig he men of fashion; as to cri transcribe, for their impr am, which I found amer bly wrote on occasion of The Gout de Comparai. of ordinary minds. They er of an author or a compost Tibullus spoke the languag the vanities and follies of m Cached them to the quick on images by the graces expression; but they d Horace; and that Horace Saw Tibullus."

or oratorio. A common friend of his and Mr. Gray's
f much in this design, and drew out a clear analysis of
r. Smith might more perfectly understand the Poet's
onversed also with Mr. Gray on the subject, who gave
the overture, and marked also some passages in the
ascertain which should be recitative, which air, what
how accompanied. The design was, however, not ex-
refore I shall only (in order to give the reader a taste of
cal feelings) insert in this place what his sentiments
the overture. "It should be so contrived as to be a
uction to the Ode; it might consist of two movements,
ptive of the horror and confusion of battle, the last a
nd majestic, but expressing the exultation and insolent
quest. This movement should be composed entirely
ments, except the kettle-drum heard at intervals. The
must be suddenly broke in upon, and put to silence
of the harp in a tumultuous rapid movement, joined
e, all at once, and not ushered in by any symphony.
may be strengthened by any other stringed instrument;
should everywhere prevail, and form the continued
mpanyment, submitting itself to nothing but the voice."
ys Mr. Mason) quit this and the preceding Ode, without
r two concerning the obscurity which has been imputed
e preference which, in consequence, has been given to
ems as if the persons, who hold this opinion, suppose
es of Poetry ought to be equally clear and intelligible:
tion nothing can be more repugnant to the several spe-
composition, and to the practice of ancient art. Not to
I his Odes for an example, (though what I am here de-
ritten professedly in imitation of him) I would ask, Are

se.

"2

flection? Now between these Odes, thus compared, there is equal difference in point of perspicuity, as between the Progress sy, and the Prospect of Eton; the Ode on the Spring, and the But, say these objectors, "The end of Poetry is, universally to Obscurity, by taking off from our pleasure, destroys that I will grant that, if the obscurity be great, constant, and unintable, this is certainly true; but if it be only found in particussages, proceeding from the nature of the subject and the very of the composition, it does not rob us of our pleasure, but supernew one which arises from conquering a difficulty; and the re which accrues from a difficult passage, when well understood, ed the passage itself be a fine one, is always more permanent hat which we discover at the first glance. The lyric Muse, like ine Ladies, requires to be courted, and retains her admirers the for not having yielded too readily to their solicitations. This art, ending as it does in a sort of simile, will, I am persuaded, not ave its force with the intelligent readers (the ETNETOI,) but also he men of fashion; as to critics of a lower class, it may be suffito transcribe, for their improvement, an unfinished remark, or maxim, which I found amongst our Author's papers; and which obably wrote on occasion of the common preference given to his "The Gout de Comparaison (as Bruyere styles it) is the only e of ordinary minds. They do not know the specific excellency er of an author or a composition: for instance, they do not know t Tibullus spoke the language of Nature and Love; that Horace the vanities and follies of mankind with the most penetrating eye, I touched them to the quick; that Virgil ennobled even the most nmon images by the graces of a glowing, melodious, and wellpted expression; but they do know that Virgil was a better poet n Horace; and that Horace's Epistles do not run so well as the gies of Tibullus."

l arrangement, we have printed it with the divisions e Composer, Dr. Randall, then Music Professor at Cam

AIR.

ENCE, avaunt, ('tis holy ground)
mus, and his midnight-crew,
Ignorance with looks profound,
d dreaming Sloth of pallid hue,
Sedition's cry profane,

Eude that hugs her chain,

in these consecrated bowers

nted Flatt'ry hide her serpent-train in lowers.

CHORUS.

Envy base, nor creeping Gain,

the Muse's walk to stain,

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in celestial transpo

Let hither oft a glance f

They send of tender syn

Bess the place, where
the genuine ardour
Milton struck the d

as the choral warblin
Newton's self bends
ods his hoary head,

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