WHEN such of the ODES in this publication as extend to greater length were composed, it was observed, that whatever art might be used to diversify the cadence, there was still somewhat wanting to the delight of the ear. This defect was perceived to be chiefly owing to uniformity of stanza, which protracted to any degree, must ever fatigue, as extinguishing the great source of all pleasure, variety.

To remedy this, a particular series of stanzas was adopted; in which the two first correspond, and are succeeded by a third of as different a measure as might be. This was thought to answer every intention proposed; and appearing to present as per­fect a succession of sounds as rime would admit, was called by way of eminence, MELODY.

It was not till this plan was chosen, after trying most modifications that rime could allow, that it [Page]was considered that the very model of Pindar was followed. Such authority added to the author's confidence in the perfection of his method, but de­tracted much from the pride of invention, by recal­ling to his memory the real truth, which was, that he had only revived the ancient term, MELOS.

Mr. Congreve has long since observed, in his dis­course on the Pindaric ode, that the use of the STROPHE, ANTISTROPHE, and EPODE is obsolete and impertinent. But such is the superstition for Antiquity that they are retained to this day, tho' even their ancient use and origin cannot be ascer­tained. That, as they are commonly used, they confine the spirit of the greater modern Ode, with­out adding to its melody must be confessed. Yet they must be retained, because they give it regularity! This is the only reason of most modern poets for retaining them. They seldom appear to have ob­served, that in a long or grand production of the lyric kind, the admission of a similar variety would contribute not a little to the riches of poetry.

To have their full effect the Strophe, Antistrophe, and Epode, or as they are here denominated, the CADENCE, ANTIPHONY, and UNISON, must have the property, either of distinct harmony, or brevity. Every one must have observed that in the more ele­gant [Page]French and Italian odes, there are two distinct parts in every stanza. These, like the parts of a Scots tune, vary the measure and contribute exceed­ingly to entertain the ear. For example in this stanza of Malherbe,

the first four lines are of a melody distinct from the six last. This plan was well followed by Mr. Gray in his odes on the Spring, and Eton College. And that he was very sensible of this beauty appears from his observation inserted among the Notes on Mr. Mason's edition of his Poems. "There is," says he, ‘a tout ensemble of sound as well as of sense in poetical composition always necessary to its per­fection. What is gone before, still dwells upon the ear, and insensibly harmonizes with the pre­sent line, as in that succession of fleeting notes [Page]which is called melody.’ So much for distinct­ness of harmony; as to brevity the other requisite, its effect is obvious.

From these observations the reader will expect that the author has paid a particular regard to his num­bers. He has so. He always considered harmony as the chief perfection of the ode. Music was in­deed the first companion of lyric poetry: and at this day, who would not prefer a careless production of Dryden, tho' void of every excellence but harmony, to the most laboured of Cowley, tho' rendered heavy with the very gold of fancy?

To the Melodies in this Collection succeed ano­ther species of lyric poetry here called SYMPHONIES. By which name it is to be understood, that the stanza is varied throughout, as the subject seemed to de­mand an answering mode.

Dithyrambic Odes, On Enthusiasm, and To Laughter, were likewise prepared, but are not here given, as there was no occasion to swell the Collec­tion, till the opinion of the public respecting its merit should be known.