[93.] Id. ibid.
[94.] Car. Lib. III. Od. 3.
[95.] Id. ibid.
[96.] Car. Lib. IV. Od. 2.
[97.] The Reader will observe, that nothing has been said in this Essay on the regularity of the measure of Pindar’s Odes. This subject is treated so fully in the preface of Mr. West’s Translation, that we need only here to refer the curious to his remarks. The Ancient Odes are always to be considered as songs which were set to musick, and whose recital was generally accompanied with dancing. If we may be permitted to form an idea of this music, from the nature and composition of the Ode, it must have been a matter of great difficulty to excel in it, as it is certain that poems which abound with sentiments are more proper to be set to music, than those which are ornamented with imagery. These sister-arts usually keep pace with each other, either in their improvement or decay. Ne ci dobbiamo (says an ingenious Foreigner, speaking of the modern Italian music) maravigliare, ce corrotta la Poesia, s’e anche corrotta la musica; perche come nella ragior poetica accennammo, tutte le arti imitative hanno una idea commune, dalla cui alterazione si alterano tutte, e particolarmenti la musica dall alterazion del la poesia si cangia come dal corpo l’ombra. Onde corrotta la poesia da e soverchi ornamenti e dalla copia delle figure, ha communicato anche il suo morbo alla musica, ormai tanto sfigurata, che ha perduta quasi la natural est pressione. Gavina della Traged. p. 70.[B]
[ Supplementary Notes]
(added by transcriber)
[Handwriting]
The facsimile of the [title page] includes two handwritten lines between “Lord Deskfoord” and the author’s name:
The last Earl of Findlater who died 1812 without iſsue