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harp. It must have been a simple, little varied, and probably spontaneous melody, to which so long a poem as the Iliad could be adapted. Doubtless the varieties chiefly resulted from the alternately softened tones, and heightened energies of the voice, and by the changes of the countenance. When the ancients spoke of music, they meant it generally as another term for poetry. So much yet of this equivocal expression remains, that we talk even of the modern poets striking the lyre. By that expression you know we do not mean that they are musicians.

Since the harmonic principles were discovered, music has been a great independent science, capable of a sublime union with fine poetry, and greatest when thus united; but capable also of giving fascinating grace and awful grandeur to the plainest and most unpoetic language, provided it is not so coarse or absurd as to force ludicrous images upon the mind, which must ever counteract all its elevating effects.

It is, therefore, improper, when we speak upon music as a science, which obtained in Handel the ne plus ultra of its excellence, when we seek to do honour to him, and its other great, though to him subordinate masters, at once the rivals and the friends of our poets; it is, I say, improper to confound the two arts by beginning with examples

so far back as that period, in which it is impossible to separate them.

Handel is as absolute a monarch of the human passions as Shakespeare, and his everyway various excellencies bear the same comparison to the pretty, sweet, lazy, unvaried compositions of the Italian school, breathing no other passions than love and jealousy, as the plays of Shakespeare bear to those of Racine, Otway, Dryden, Rowe, Voltaire, and our modern tragedies on the French model. Poetry itself, though so much the elder science, for music has been a science only since the harmonic combinations were discovered, possesses not a more inherent empire over the passions than music, of which Handel is the mighty master; than whom

"Nothing went before so great,
And nothing greater can succeed."

When I speak of that empire, it must be remembered, that a certain mal-conformation of the auricular membrane as inevitably frustrates this effect, upon even the most susceptible heart and clearest intellect, as mediocrity of talents, and dulness of perception, frustrate the effects of poetry. Where the ear does not readily distin

guish and recognize melodies, no sensibility of heart, no strength of imagination, will disclose the magic of the harmonic world. Milton knew music scientifically, and felt all its powers. To Sam Johnson, the sweetest airs and most superb harmonies were but unmeaning noise. I often regret that Milton and Handel were not contemporaries; that the former knew not the delight of hearing his own poetry heightened as Handel has heightened it. To produce the united effects resulting from the combination of perfect poetry with perfect music, it was necessary that Milton's strains should be set by Handel and sung by Saville. Of all our public singers, while many are masterly, many elegant, many astonishing, he only is sublime. A superiority given by his enthusiastic perception of poetic, as well as of harmonic, beauty. I should observe, that the Rev. Mr Benjamin Mence, ouce of St Paul's and the King's Chapel, was equally great in his expression of solemn music; but from the harmonic world that sun has long withdrawn its beams. From Mr Mence Mr Saville first caught his energies, or rather, by his example, obtained courage to express them. Mr Harrison has great correctness and delicacy, and some pathos; but he has no energy, and without energy Handel can have no justice from his performer.

Colonel Barry lately appeared amongst us, but instantly fleeted away. I was delighted to perceive that he had exchanged the languor of indisposition for the sprightliness of health. Adieu!

LETTER XXVI.

GEORGE HARDINGE, ESQ.

Lichfield, June 11, 1788.

How hopeless is it for you and me to dispute about style, when you think Johnson's detestable, and I think it matchless in grace and beauty, as well as in strength! Suffer me, however, to call to your recollection, that, on the sole ground of his superior eloquence, he is considered, by nine parts out of ten in the learned world, as one of the first writers of his age.

His dictionary is

confessed an affair of memory; his criticisms are monsters of sophistry, prejudice, and envy; his poetry, charming as it is, has been excelled by several of his contemporaries; his learning by several; but his language, his best prose language, by If you like, upon paper, the no-style no

none.

thingness of polite conversation better, I cannot help it; but then let us never talk about diction. Adieu!

LETTER XXVII.

COURT DEWES, Esq.

Lichfield, June 17, 1788.

REGRET, and the anxious perplexities of business, have done you a great deal of mischief, dear Sir, and my inmost heart deplores an influence so injurious; but, as you tell me that neither your appetite or rest suffer materially, I flatter myself, that the idea of a dangerous decline is but a gloomy vision, which a little time shall disperse.

You will regain your spirits I trust; and then Miss Port must be a fortunate young woman, in the protection of such a friend and monitor.

Amidst a scantiness of leisure, which recent indisposition has still farther abridged, I have lately amused myself with building more than 200 rhymes, upon a gothic foundation, which it amazes me that Gray did not take, in addition to his Runic Odes; since, however inferior my superstruc

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