the anxious lives of mortals, but always prone to pass the bounds of moderation. Music has lent a willing aid to these incitements; and the classes of amorous and drinking songs have in all languages been the most copiously furnished. There is, however, a great difference in the variety and compass of intellectual ideas afforded by these two sources of enjoyment. The bacchanalian has little more scope in his lyric effusions, than to ring changes upon hilarity, or rather delirium, inspired by his favourite, indulgence, which puts to flight all the suggestions of care and melancholy, and throws the soul into that state of felicity which springs from exalted animal spirits, and a temporary suspension of the reasoning faculties. The essence, therefore, of this kind of pleasure, if such it can be called, is an excess→→→ something gross and degrading, adverse to thought, and therefore barren of sen timent. timent. The ingenuity of poets has, indeed, connected it with a vivacity of imagination that is very captivating, especially when enforced by the presence of the flowing bowl and jovial companions; and it must be confessed that actual singing is seldom so heartily enjoyed as in the chorus of a convivial party. But, without such an accompaniment, the drinking-song flattens upon the perusal, and its glowing expressions appear little better than extravagant. It is likewise apt to sink into coarseness and vulgarity; so that the more select collections of vocal poetry will bear but a small admixture of these compositions, which succeed so well in setting the table in a roar." Love, on the other hand, is an inexhaustible source of description and sentiment, in which all the faculties of the soul may be displayed in their operations, and almost every object in nature may find find w a place as an image of comparison or illustration. It can assume every dif ferent colour: it can be rapturous, tender, gay and ingenious; and under all these appearances can happily ally itself with the language of poetry and the tones of music. Love, therefore, in all ages and countries has afforded the most copious store of matter to song-writers; and there is no circumstance belonging to this pas sion which has not been made the subject of either the grave or the lively strains of the lyrical Muse. There is, however, a great difference in the manner in which different poets have treated on amatory topics. In early times, when poetry was the genuine and direct expression of the feelings of the heart, to give to this expression all the force of glowing language and imagery, united with the melody of versification, was the study of the poet, whether speaking in his own person, or in that of another, The admired specimen remaining of the strains in which Sappho poured forth the breathings of a soul devoted to the amorous passion is an example of the earnestness which nature, cultivated, but not. distorted, dictates to those who really feel the emotions they undertake to describe. This natural mode of writing has been, and ever will be, adopted by ardent and sensible minds, and will excite sympa, thetic feelings in kindred bosoms, whatever may be the changes of fashion or the refinements of art. It is limited to no age or country; and its ideas are transferable from one language to another without alteration. A version from Sappho or Horace may appear as an English lovesong; and in fact, such versions, or imitations of them, have stood at the head of those songs which, in an arrangement formed upon manner rather than subject, " C 2 would would class among the passionate and descriptive. In these pieces love appears in its various forms of desire, admiration, jealousy, hope, despair, suggesting a language warm, rich and figurative. But in the progress of mental cultivation, it is always found that the love of refinement or the ambition of novelty causes various individuals in all the arts to desert the plain and original mode of exercising them, and substitute something of greater curiosity. Thus, in poetry, uncommon thoughts and fanciful conceptions have at certain periods taken place of natural description; and metaphysical subtleties have been pursued, to the neg lect of the simple expressions of feeling. In no poetical department has this change of manner been more conspicuous than in Song-writing. Already, in the sonnets and canzone of Petrarch and other Italians, had love assumed the character of an assem |