1809.] 
quence of Demosthenes, recalling to the 
memory of the modern Romans the splen- 
dour of their ancient city, and the virtues 
of their ancestors, we might form an idea 
of the lyric poet, among the first inhabi- 
tants of Greece. Such was Epimenides 
in the middle of Athens, Thersander or 
Tyrteus in Sparta, Alceus in Lesbos. Not 
that the lyric bard always maintained this 
serious character—-but his language, 1 
every variation of his style, 
From grave to gay, from lively to severe, 
was always the language of nature, and 
adapted to the dignity of his subject, or 
suited to the peculiarity of his own feel- 
ings and situation, Anacreon sang the 
Joys of wine and pleasure, because he 
was a wine-drinker and a voluptuary,. 
Sappho was the poet of love, because 
she was herself the slave and the victim 
of lave. 
We have said, that the word ode is 
synovimous with song. It is from this 
circumstance, of the ode’s being supposed 
to retain its original union with music, 
that we are to deduce the proper idea, 
and the peculiar qualities of this kind of 
poetry. Music and song naturally add 
to the wannth of poetry. By them we 
can express all the various feelings of 
the soul. The enthusiasm of admiration, 
the delirium of joy and love, the agony 
of griet, or the milder emotions of melan- 
choly, are all equally within the power of 
song to delineate. In common life, the 
Sharpness of anguish may be softened, as 
well as the transports of joy exalted, by 
singing—and though the grief which is 
more fixed and settled in the mind; would 
appear to betray repugnance rather than. 
inclination for music, we know that it is 
often soothed by the same effects—as 
Orpheus is said to have calmed his sor- 
row for his loss, by the sound of his lyre: 
Te, dulcis conjux, te solo in litore secum, 
Te, veniente die, te decadente, canebat. 
tis easy, therefore, to distinguish what 
are the subjects which more immediately 
belong to the ode. Whatever raises or 
exalts the soul above itself; whatever 
excites it to heroism, or depresses it into 
tanguor ; whatever has a tendency to in- 
Spire emotions spirited, melancholy, or 
voluptuous; the interesting dreams which 
occupy the imagination, and the variety 
ot descriptions which it summons to its 
aid ;—-in a word, all the emotions of 
which the mind is susceptible and is ca- 
pable of describing, are favourable to 
this species of poetry. 
Lyceum of Ancient Literature—Lyric Poetry. 
21 
“ All odes,” says Dr. Blair, “ may be 
comprised under four denominations. 
First, sucred odes; hymns addressed to 
God, or composed on religious subjects. 
Of this nature are the psalms_of David, 
which exhibit to us this species of lyric 
poetry, in its highest degree of pertec- 
tion. Secondly, heroic odes, which are 
employed jn the praise of heroes, and in 
the celebration of martial exploits and 
great actions. Of this kind are all Pin- 
dar’s odes, and some few of Horace’s. 
These two kinds ought to have sublimity 
and elevation for their reigning character. 
Thirdly, moral and philosophical odes, 
where the sentiments are chiefly inspired 
by virtue, friendship and humanity. OF 
this kind are many of Horace’s odes, and 
several of our best modern lync produc- 
tions; and here the ode possesses that 
middle.region, which it sometimes occu~- 
pies. Fourthly, festwe and amorous odes, 
calculated merely for pleasure and amuses 
ment. Of this nature are all Anacreon’s; 
some of Horace’s; anda great number 
of songs and modern productions, that 
claim to be of the lyric species. The 
reigning character of these ought to be 
elegance, smoothness and gaiety.” 
A principal object in the consideration 
of the ode, will be an inguiry into that 
species of enthusiasm, which 1s supposed 
to be essential to its composition. An 
ode, professedly so, is expected to be 
written in a higher degree of elevation 
and spirit than any other. If the poet 
be possessed of genius, he is allowed to 
indulge it, in all its warmth and subli- 
mity. He is not checked by those severe 
principles of correctness and propriety 
which other poems demand. He may 
give free vent to all the fire and impetu- 
osity of his ideas, not controuled by the 
laws of metre, or restrained by the appa- 
rent incoherency of the thoughts. Thus, 
Boileau, speaking of the,ode, has ob- 
served, 
Son style impétueux souvent marche au 
hazard ; | 
Chez elle, un beau désordre est un effet de 
Dart. : 
But this observation can be true with 
respect to very few, and can be excused 
only by genius, What is inspiration in 
one, may be extravagance in a thousand 
others. ‘The freedoin of writing without 
order, method or connection, has infecte 
ed the ode more than any other species 
of poetry. It is inconceivable to what a 
pitch of absurdity this licentiousness has 
been carried. ‘The self-created Pindar 
imagines 
