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I.

ESSAY

O N

SONG-WRITING

IN GENERAL.

W

HILE the two capital species of poetry, the epic and dramatic, have long engaged the niceft attention of tafte and criticism, the humbler but not less pleafing productions of the Mufe have not obtained that notice from the critic to which the exertions of the poet would feem to entitle them. This will appear the more extraordinary when we reflect that fome of the most excellent productions in the former have been the fpontaneous growth

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growth of a rude and uncultivated foil, whereas the latter have never flourished without acquired richness in the foil and the foftering hand of art. This critical neglect has given rise to uncertainty in the distinctions, and irregularity in the compofition of most of the minor claffes of poetry; and while the long established divifions of ode, elegy and epigram are involved in thefe difficulties, it is not a matter of wonder to meet with them in the modern pieces which range under the general title of Songs.

ALTHOUGH many

of our most celebrated poets have exercised their talents in compofing these little pieces, and their pleafing effect is univerfally known and acknowledged, yet have we but one profeffed criticism on their compofition; and this, though elegant and ingenious, is both too fhort and too fuperficial to give precision

and

and accuracy to our ideas on this fubject. It is contained in a paper of the Guardian written by Mr. Phillips.

In attempting the task of determining with exactness the nature of fong-writing, and the various distinctions of which it is fufceptible, together with the specific excellence of each, I find it therefore neceffary to go far back into the origin of poetry in general, and to recur to those first principles exifting in the human mind, which alone can give a firm foundation to our deductions.

THE original poetry of all nations must have been very much confined to the defcription of external objects, and the narration of events. This is a neceffary confequence of the barrenness of infant language with regard to abftract ideas, and is confirmed by the remains of antiquity

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which have reached us. Among a fierce and warlike people conftantly engaged in enterprizes of arms, poetry was folely employed in rehearfing the valorous deeds of their heroes; and the horrid pictures of war and defolation were enlivened by the kindred imagery of whatever nature afforded of the awful, terrific and ftupendous. In happier regions, where the mild inhabitants were fuited to the foftnefs and luxury of the climate, the business of poetry was to paint the furrounding profufion of beautiful objects, the pleasing incidents of a paftoral life, the tender cares and ravishing delights of love. This paffion found as apt a comparison with the beautiful scenes of nature, as war and destruction could do with its glooms and horrors.

OSSIAN and Theocritus will afford compleat inftances of the first poetry in its two different branches. Mingling

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ftorms, roaring torrents, fwelling oceans, lightning and thunder, paint the dreadful battle pieces of the Caledonian ; while the murmuring brook, the green meadow, the bleating flock, the fimple fhepherd and his artless fair, deck out the rural landscape of the Grecian. Thus heroic and paftoral poetry are at first formed, confifting chiefly of description and imagery. The passion of military glory in the one, and of love in the other, would indeed add fentiment to the picture, but even these sentiments must be expreffed by a reference to external objects. The lover who had fought for natural comparisons to paint the charms of his mistress, muft feek for others to exprefs the emotions of his mind. He muft burn with defire, and freeze with disdain; rage with the ocean, and figh with the zephir; hope must enlighten him with its rays, and despair darken him with its

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