humour was afterwards employed, they are pro bably for that reason only mentioned here.

ODE XII. THE PASSIONS.

If the music which was composed for this Ode had equal merit with the Ode itself, it must have been the most excellent performance of this kind, in which poetry and music have, in modern times, united. Other pieces of the same nature have derived their greatest reputation from the perfec tion of the music that accompanied them, having in themselves little more merit than that of an ordinary ballad; but in this we have the whole soul and power of poetry-expression that, even without the aid of music, strikes to the heart; and imagery of power enough to transport the attention, without the forceful alliance of corresponding sounds: what, then, must have been the effect of these united!

It is very observable, that though the measure is the same in which the musical efforts of Fear, Anger, and Despair, are described, yet by the variation of the cadence the character and operation of each is strongly expressed; thus particularly of Despair.

With woeful measures wan Despair---
Low sullen sounds his grief beguil'd;
A solemn, strange, and mingled air.
'Twas sad by fits, by starts 'twas wild.

He must be a very unskilful composer who could not catch the power of imitative harmony from these lines.

The picture of Hope that follows this, is beau tiful almost beyond imitation. By the united powers of imagery and harmony, that delightful being is

exhibited with all the charms and graces that pleasure and fancy have appropriated to her :

Relegat, qui semel percurrit;
Qui nunquam legit, legat.

But thou, O Hope! with eyes so fair,
What was thy delighted measure?
Still it whisper'd promis'd pleasure,
And bade the lovely scenes at distance hail!
Still would her touch the strain prolong;
And from the rocks, the woods, the vale,

She call'd on Echo still, through all the song;
And, where her sweetest theme she chose,

A soft responsive voice was heard at ev'ry close;
And Hope enchanted smil'd, and wav'd her golden

hair.

In what an exalted light does the above stanza place this great master of poetical imagery and harmony! what varied sweetness of numbers! what delicacy of judgment and expression! how characteristically does Hope prolong her strain ! repeat her soothing closes! call upon her associate Echo for the same purposes! and display every pleasing grace peculiar to her!

And hope enchanted smil'd, and wav'd her golden hair.

Legat, qui nunquam legit,

Qui semel percurrit relegat.

The descriptions of Joy, Jealousy, and Revenge, are excellent, though not equally so: those of Melancholy and Cheerfulness are superior to every thing of the kind: and upon the whole, there may be very little hazard in asserting that this is the finest Ode in the English language.

ODE XIII. ON THOMSON's DEATH.

The Ode on the Death of Thomson seems to have been written in an excursion to Richmond by water. The rural scenery has a proper effect in an Ode to the memory of a poet, much of whose merit lay in descriptions of the same kind, and the appellations of Druid and meek Nature's Child are happily characteristic. For the better understanding of this Ode, it is necessary to remember that Mr. Thomson lies buried in the church of Richmond.

THE END.

J. Seeley, Printe, Buckingham.