[3] Golden tone, &c.] The epithet may seem at first more proper for the instrument, but it applies here with great propriety to the sound. In the strictest-sense, what is golden sound but the sound of gold? and what could arise more naturally in the writer’s mind upon the present occasion?
[4] Phrenzy-rapt, &c.] Auditis? An me ludit amabilis Insania?——
[5] By thee inspir’d, &c.] In the first manuscript:
“While yet a cradled child, he conquer’d shame,
And lisp’d in fables, for the fables came.” See POPE.
[6] Sin from his forehead sprung.]
“A goddess armed
Out of thy head I sprung.”
See MILTON’s Birth of Sin.
[7] The quick transition of persons must have struck the reader in the first part of this Ode, and it will be observable throughout: Now Poet, now Muse, now Chorus; then Spinner, Blacksmith, &c. &c. The Doctor, skips from point to point over Parnassus, with a nimbleness that no modern imitator of Pindar ever equalled.—Catch him, even under a momentary shape, who can. I was always an admirer of tergiversation (and as my flatterers might say), no bad practitioner; but it remained for my friend to shew the sublimity to which the figure lam alluding to (I do not know the learned name of it) might be carried.
[8] Wrinkle-twinkle, &c.] It must have been already observed by the sagacious reader, that our author can coin an epithet as well as a fable. Wrinkles are as frequently produced by the motion of the part as by the advance of age. The head of the distinguished personage here described, though in the prime of his faculties, he had more exercise in every sense than any head in the world. Whether he means any illusion to the worship of the rising sun, and imitates the Persian priests, whose grand act of devotion is to turn round; or whether he merely thinks that the working of the head in circles will give analogous effect to the species of argument in which he excels, we must remain in the dark; but certain it is, that whenever he reasons in public, the capital and wonderful part of the frame I am alluding to, is continually revolving upon its axis: and his eyes, as if dazzled with rays that dart on him exclusively, twinkle in their orbs at the rate of sixty twinks to one revolution. I trust I have given a rational account, and not far-fetched, both of the wrinkle and twinkle in this ingenious compound.
[9] No rogue that goes, &c.] The candid reader will put no improper interpretation on the word rogue. Pretty rogue, dear rogue, &c. are terms of endearment to one sex; pleasant rogue, witty rogue, apply as familiar compliments to the other: Indeed facetious rogue is the common table appellation of this gentleman in Downing-street.
[10] It will be observed by the attentive reader, that the thought of mounting the Hanoverian Horse, as a Pegasus, has been employed by Mr. Dundas, in his Ode preserved in this collection. It is true, the Doctor has taken the reins out of his hands, as it was time somebody should do. But I hereby forewarn the vulgar Critic, from the poor joke of making the Doctor a horse-stealer.
[11] Hither, brethren, &c.] When this Ode is performed in Westminster Abbey (as doubtless it will be) this Air is designed for the Reverend, or rather the Right Reverend Author. The numerous bench (for there will hardly be more than three absentees) who will begin to chaunt the subsequent chorus from their box at the right hand of his most sacred Majesty, will have fine effect both on the ear and eye.
[12] Lords of the bed-chamber, &c.] Candour obliges us to confess, that this designation of the performers, and in truth the following stanza, did not stand in the original copy, delivered into the Lord Chamberlain’s Office. Indeed, Signor Delpini had his doubts as to the legality of admitting it, notwithstanding Mr. Rose’s testimony, that it was actually and bona fide composed with the rest of the Ode, and had only accidentally fallen into the same drawer of Mr. Pitt’s bureau in which he had lately mislaid Mr. Gibbins’s note. Mr. Banks’s testimony was also solicited to the same effect; but he had left off vouching for the present session. Mr. Pepper Arden, indeed, with the most intrepid liberality, engaged to find authority for it in the statutes at large; on which Signor Delpini, with his usual terseness of repartee, instantly exclaimed, Ha! ha! ha! However, the difficulty was at length obviated by an observation of the noble Lord who presided, that in the case of the King versus Arkinson, the House of Lords had established the right: of judges to amend a record, as Mr. Quarme had informed his Lordship immediately after his having voted for that decision. Here end Mr. Robinson’s notes. “A present God, Heavy Hanover, Abject Commons,” &c. The imitation will be obvious to the classical reader, ———Præsens divus habebitur Augustus, _ab_jectis Britannis, Imperio, gravibusque Persis. HOR. All the editors of Horace have hitherto read _ad_jectis Britannis. Our author, as sound a critic as a divine, suo periculo, makes the alteration of a single letter, and thereby gives a new and peculiar force to the application of the passage.——N.B. Abject, in the author’s understanding of the word, means that precise degree of submission due from a free people to monarchy. It is further worthy remark, that Horace wrote the Ode alluded to; before Britain was subjected to absolute sway; and consequently the passage was meant as a prophetic compliment to Augustus. Those who do not think that Britain is yet sufficiently abject, will regard the imitation in the same light. We shall close this subject by observing, how much better GRAVIBUS applies in the imitation than in the original; and how well the untruth of Ierne’s volunteers joining in the deification, exemplifies the dedicatory address of the lie SUBLIME!