images, than this reciprocal reflection of light from the difpofition of the jewels.

O Humour, thou whofe name is known

To Briton's favour'd ifle alone!

The author could only mean to apply this to the time when he wrote, fince other nations had produced works of great humour as he himself acknowleges afterwards.

By old Miletus, etc.

By all you taught the Tuscan maids, etc.

The Milefian and Tuscan romances were by no means distinguished for humour; but as they were the models of that species of writing in which humour was afterwards employed, they are, probably for that reafon only, mentioned here.

THE PASSION S.

An Ode for Music.

F the mufic, which was compofed for this ode, had

equal merit with the ode itfelf, it must have been the most excellent performance of the kind, in which poetry and music have, in modern times, united. Other pieces of the fame nature have derived their greatest reputation from the perfection of the mufic that accompanied them, having in themselves little more merit than that of an ordinary ballad: but in this we have the whole foul and power of poetryExpreffion that, even without the aid of mufic, ftrikes to the heart; and imagery, of power enough to tran sport the attention without the forceful alliance of corresponding founds! what, then, must have been the effect of these united!

It is very obfervable that though the measure is the fame, in which the musical efforts of fear, anger and despair are described, yet by the variation of the cadence, the character and operation of each is strong. ly expreffed: thus particularly of despair:

With woeful measures wan Despair——
Low fullen founds his grief beguil'd,
A folemn, ftrange and mingled air,

'Twas fad by fits; by starts 'twas wild.

He must be a very unfkilful compofer who could not catch the power of imitative harmony from thefe lines.

THE picture of Hope that follows this is beautiful almoft beyond imitation. By the united powers of imagery and harmony, that delightful Being is exhibited with all the charms and graces that pleature and fancy have appropriated to her:

Relegat, qui femel percurrit;
Qui nunquam legit, legat.

But thou, O Hope! with eyes fo fair,
What was thy delighted meafure?
Still it whisper'd promis'd pleasure,

And bad the lovely fcenes at diftance hail!
Still would her touch the ftrain prolong,
And from the rocks, the woods, the vale,
She call'd on Echo ftill thro' all the fong;
And where her fweeteft theme fhe chofe,

A foft refponfive voice was heard at every clofe,
And Hope enchanted fmil'd, and wav'd her gold-
én hair.

R

In what an exalted light does the above stanza place

this great mafter of imagery and harmony! what varied sweetness of numbers! what delicacy of judgment and expreffion! how characteristically does Hope prolong her ftrain, repeat her foothing closes, call upon her affociate Echo for the fame purposes, and display every pleasing grace peculiar to her!

And Hope enchanted smil'd, and wav'd her golden hair.

Legat, qui nunquam legit;

Qui femel percurrit, relegat.

The descriptions of joy, jealousy and revenge are excellent, though not equally fo; those of melancholy and chearfulness are fuperior to every thing of the kind; and, upon the whole, there may be very little hazard in afferting that this is the fineft ode in the English language.

T

AN EPISTLE

Addreffed to Sir THOMAS HANMER, on his Edition of SHAKESPEAR's Works.

T

HIS poem was written by our author at the univerfity, about the time when Sir Thomas Hanmer's pompous edition of Shakespear was printed at Oxford. If it has not fo much merit as the rest of his poems, it has still more than the subject deserves. The verfification is eafy and genteel, and the allufions always poetical. The character of the poet Fletcher in particular is very justly drawn in this epiftle.

MR.

R. COLLINS had skill to complain. Of that mournful melody and those tender images which are the distinguishing excellencies of fuch pieçes as bewail departed friendship, or beanty, he was