If such, at that distant period, was the numerical condemnation of this species of writing, which circumscribed the first published tour of Dr. Burney to its own professional subject, what would be now the doom of the endless herd of tourists of all ranks, qualifications, or deficiencies, who, in these later times, have sent forth their divers effusions, without sparing an idea, a recollection, or scarcely a dream, to work their way in the world, through that general master of the ceremonies, the press? whose portals, though guarded by two vis à vis sentinels in eternal hostility with each other, Fame and Disgrace, open equally to publicity.
Mr. Crisp, nevertheless, saw in a totally different light the miscellaneous part of the French and Italian tours, and reprehended its rejection with the high and spirited energy that always marked his zeal, whether of censure or approbation, for whatever affected the welfare of his favourites. But Dr. Burney, having first consulted these celebrated critics, who lived in the immediate world, was too timid to resist their representations of the taste of the moment; though in all that belonged not to the modesty of apprehended partiality, he had the firmest persuasion that the judgment of Mr. Crisp was unrivalled.
The work was entitled:
THE PRESENT STATE OF MUSIC
Il Canterono allor si dolcemonte
Che la dolcerra ancor destra mi suona.
Dante.
The motto was thus translated, though not printed, by Dr. Burney.
“They sung their strains in notes so sweet and clear
The sound still vibrates on my ravished ear.”
The reception of this first acknowledged call for public attention from Dr. Burney, was of the most encouraging description; for though no renown had yet been fastened upon his name, his acquirements and his character, wherever he had been known, had excited a general goodwill that prepared the way to kindly approbation for this, and indeed for every work that issued from his pen.