The Matter and Thoughts are sublime and elegant, the Transitions artful; and it is, in short, all over wonderful.
This, likewise, is a Peculiarity in Lyric Poetry, that (as the Name implies) it is attended with musical Instruments more than any other. More than any other, I say, because there's no Necessity that Odes should be always sung; they are often repeated: Nor is Music so peculiar to them, as to be suitable to no other Poems; for the Flute was anciently join'd with Elegy; and now a-days we see other Kinds of Poetry accompanied with Music, nay, even Prose itself; tho' anciently, I say, it was thought more peculiarly adapted to the Ode. Hence we find many Ideas among the Lyrics, that we meet with no where else; hence the frequent mention of musical Instruments, I may say the frequent Invocation of them.
[291] —Age dic Latinum, Barbite, carmen. [292] —Nec turpem senectam Degere, nec cithara carentem.
[293] ——Si neque tibias Euterpe cohibet, nec Polyhymnia Lesboum refugit tendere barbiton.
Which are Circumstances that often throw an additional Ornament on a Poem.
The Ancients have left us very imperfect Accounts of their Music. They that would see a Description of their chief Instruments, the Harp and Flute, may consult Vossius, and others. But the Manner of their Composing has been scarce touch'd upon by any. For my Part, I cannot but think it was more simple than our modern Way, and consisted of fewer Divisions. And my Reason is, because we meet with very few Encomiums of this Art, or of those that excell'd in it; nay, scarce any of their Names are handed down to Posterity. There's frequent mention, indeed, among the Lyrics, of musical Instruments, as Adjuncts of that Kind of Poetry; but it is scarce credible the Ancients should have said so little of this Art, if it had flourish'd as much in their Time, as it does in ours. As, therefore, we are much inferior to them in Lyric Poetry, so in its Sister Science we far exceed them. We have not their Horaces; nor had they those masterly Hands which are now, or lately have been the Admiration of all Europe; none to be compar'd with our British Orpheus[294], or his worthy Successor[295], that receives, on this Day, Academical Honours.
The proper Subjects for Odes, are almost all comprehended in the following Lines of Horace:
[296] Musa dedit fidibus divos, puerosque deorum, Et pugilem victorem, & equum certamine primum, Et juvenum curas, & libera vina referre.
Gods, Heroes, Conquerors, Olympic Crowns, Love's pleasing Cares, and the free Joys of Wine, Are proper Subjects for the Lyric Song. Roscom.
Heroes and Triumphs, we before observ'd to be the principal Subjects; and Horace, accordingly, places them first. But, in Course of Time, Love and Entertainments were likewise thought very suitable ones. Horace has left us several of both Sorts, writ with a Sweetness and Elegance that always distinguish him: Nay, he more than once insinuates, that light Subjects come peculiarly within his Province, and that he stands in need of Apology when he presumes to meddle with greater: