"copiously enriched it: It speaks, but surely less feelingly than "the Bard, (still my favourite) to the heart. Can we in truth "be equally interested, for the fabulous exploded Gods of other "nations, (celebrated in the first half of this Ode) as by the 66 story of our own Edwards and Henrys, or allusions to it? Can a description, the most perfect language ever attained to, of tyranny expelling the muses from Parnassus, seize the mind equally with the horrors of Berkley Castle, with the apostrophe to the tower?

"And spare the meek Usurper's holy head!

"I do not mean, however, wholly to decry fabulous subjects or allusions, nor more than to suggest the preference due to his"torical ones, where happily the Poet's fertile imagination sup"plies him with a plentiful choice of both kinds, and he finds "himself capable of treating both, according to their respective "natures, with equal advantage."

17. It will not surely be improper at the conclusion of this Ode, so peculiarly admirable for the musical flow of its numbers, to mention one circumstance relative to English Lyric Poetry in general, and much to its honour, which has lately been commu nicated to me by an ingenious friend. It is this:-- That it can 'fully, at least when in the hands of such a Master, support its ' harmony without the assistance of Music. For there is great reason to believe, that in the Greek-Ode, of which we are 'taught to think so highly, the power of Numbers was little 'perceived without the effectual aid of a musical accompany'ment. And we have in proof of this supposition the express ' testimonies of Cicero and Quintilian. The first, in his Orator ' (a finished performance, and of which he speaks himself in the 'highest terms, ep. fam. vi. 18.) makes the following observation: "Sed in versibus res est apertior: quamquam etiam à " modis quibusdam, cantu remoto, soluta esse videatur oratio, "maximéque id in optimo quoque corum poëtarum, qui Augixol "à Græcis nominantur: quos cùm cantu spoliaveris, nuda pænè "remanet oratio."----Orator. N° 183.-He gives a farther in· stance from the Poets of his own Country, which I do not here

'cite as any additional proof of the point in question, but as the 'clearest illustration of his meaning in the foregoing quotation. "Quorum similia sunt quadam etiam apud nostros: velut illa ❝ in Thyeste,

Quemnam te esse dicam? qui tardâ in senectute:

"Et quæ sequuntur: quæ, nisi cùm tibicen accessit, orationi "sunt solutæ simillima."--Ibid.-- The second testimony, that ' of Quintilian, is also full to our present purpose. "Poëtas "certè legendos Oratori futuro concesserint: num igitur hi sine "Musice? at si quis tam cæcus animi est, ut de aliis dubitet; "illos certè, qui carmina ad lyram composuerunt."-Quintilianus, lib. 1. cap. 17.---Here we see, that, whatever might be the case ' with some other kinds of Poetry, in the Ode the want of an accompanying Lyre could not be dispensed with.

6

Thus then, if we rely on these classical authorities, stood the Greek-Ode; claiming, in the exhibition of a beauty so essen'tial to its perfection, the kind assistance of an inferior Art: 'while the Lyrics of Mr. Gray, with the richness of Imagery ' and the glow of Expression, breathe also the various modulations of an intrinsic and independent Melody.

'For this singular Advantage, so little known or considered, we are certainly indebted to Rhyme; and, whatever opinion may 'be formed of its use in other kinds of Poetry, we may con'clude from hence that it is a necessary support to the harmony ' of our Ode.'

ODE VI.

1. I promised the reader, in the Memoirs, (see a note between the 20th and 21st Letter, Sect. 4.) to give him, in this place, the original argument of this capital Ode, as its author had set it down on one of the pages of his common-place book. It is as follows: "The army of Edward I. as they march through a deep "valley, are suddenly stopped by the appearance of a venerable (6 figure seated on the summit of an inaccessible rock, who, with "a voice more than human, reproaches the King with all the "misery and desolation which he had brought on his country; "foretells the misfortunes of the Norman race, and with pro'phetic spirit declares, that all his cruelty shall never extinguish "the noble ardour of poetic genius in this island; and that men "shall never be wanting to celebrate true virtue and valour in "immortal strains, to expose vice and infamous pleasure, and "boldly censure tyranny and oppression. His song ended, he "precipitates himself from the mountain, and is swallowed up "by the river that rolls at its foot." Fine as the conclusion of this Ode is at present, I think it would have been still finer, if he could have executed it according to this plan; but unhappily for his purpose, instances of English Poets were wanting. Spenser had that enchanting flow of verse which was peculiarly calculated to celebrate Virtue and Valour; but he chose to celebrate them, not literally, but in allegory. Shakespeare, who had talents for every thing, was undoubtedly capable of exposing Vice and infamous Pleasure; and the drama was a proper vehicle for his satire: but we do not ever find that he professedly made this his object; nay, we know that, in one inimitable character, he has so contrived as to make vices of the worst kind, such as cowardice, drunkenness, dishonesty, and lewdness, not only laughable, but almost amiable; for with all these sins on his head, who can help liking Falstaff? Milton, of all our great

Poets, was the only one who boldly censured Tyranny and Oppres sion but he chose to deliver this censure, not in poetry, but in prose. Dryden was a mere court parasite to the most infamous of all courts. Pope, with all his laudable detestation of corruption and bribery, was a Tory; and Addison, though a Whig and a fine writer, was unluckily not enough of a Poet for his purpose. On these considerations Mr. Gray was necessitated to change his plan towards the conclusion: Hence we perceive, that in the last epode he praises Spenser only for his allegory, Shakespeare for his powers of moving the passions, and Milton for his epic excellence. I remember the Ode lay unfinished by him for a year or two on this very account; and I hardly believe that it would ever have had his last hand but for the circumstance of his hearing Parry play on the Welch Harp at a concert at Cambridge, (see Letter xxv. sect. iv.) which he often declared inspired him with the conclusion.

2. Mr. Smith, the Musical Composer and worthy pupil of Mr. Handel, had once an idea of setting this Ode, and of having it performed by way of serenata or oratorio. A common friend of his and Mr. Gray's interested himself much in this design, and drew out a clear analysis of the Ode, that Mr. Smith might more perfectly understand the Poet's meaning. He conversed also with Mr. Gray on the subject, who gave him an idea for the overture, and marked also some passages in the Ode in order to ascertain which should be recitative, which air, what kind of air, and how accompanied. The design was, however, not executed; and therefore I shall only (in order to give the reader a taste of Mr. Gray's musical feelings) insert in this place what his sentiments were concerning the overture. "It should be so "contrived as to be a proper introduction to the Ode; it might "consist of two movements, the first descriptive of the horror "and confusion of battle, the last a march grave and majestic, "but expressing the exultation and insolent security of conquest. This movement should be composed entirely of wind "instruments, except the kettle-drum heard at intervals. The "da capo of it must be suddenly broke in upon, and put to "silence by the clang of the harp in a tumultuous rapid move

"

66 ment, joined with the voice, all at once, and not ushered in "by any symphony. The harmony may be strengthened by

any other stringed instrument; but the harp should every "where prevail, and form the continued running accompanyment, submitting itself to nothing but the voice."

3. Ruin seize thee, ruthless King.

Strophe 1. l. 1.

On this noble exordium, the anonymous Critic before-mentioned, thus eloquently expresses his admiration: "This abrupt execra"tion plunges the reader into that sudden fearful perplexity "which is designed to predominate through the whole. The "irresistible violence of the prophet's passions bears him away, "who, as he is unprepared by a formal ushering in of the "speaker, is unfortified against the impressions of his poetical "phrenzy, and overpowered by them, as sudden thunders strike "the deepest." All readers of taste, I fancy, have felt this effect from the passage; they will be well pleased, however, to see their own feelings so well expressed as they are in this

5. Such were the sounds, that o'er the crested pride.