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 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) 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, |