e shall take a view of him afterwards, when we come to examine
the works of that great Original, whose example he follows.

The Reader will observe, that in the shorter Odes of Horace there is
commonly one leading thought, which is finely enlivened with the graces
of description. A constant Unity of sentiment is therefore preserved in
each of them, and the abrupt starts and sallies of passion are so
artfully interwoven with the principal subject, that upon a review of
the whole piece, we find it to be a perfect imitation of Nature. This
Poet (whose judgment appears to have been equal to his imagination) is
particularly careful to observe propriety in his most irregular
excursions, and the vivacity of his passion is justified by the
circumstances in which he is supposed to be placed. The diction of these
poems is likewise adapted with great accuracy to the sentiment, as it is
generally concise, forcible, and expressive. Brevity of language ought
indeed particularly to characterise this species of the Ode, in which
the Poet writes from immediate feeling, and is intensely animated by his
subject. Delicacy is likewise indispensibly requisite, because the
reader is apt to be disgusted with the least appearance of constraint or
harshness in a poem, whose principal excellence lies in the happy and
elegant turn of a pointed reflection. In short, little sallies and
picturesque epithets have a fine effect in pieces of this kind, as by
the former the passions are forcibly inflamed, and by the latter their
effects are feelingly exposed.

Of all these delicate beauties of composition, the Odes of Horace abound
with pregnant and striking examples. Sometimes he discovers the strength
of his passion, when he is endeavouring to forget it, by a sudden and
lively turn which is wholly unexpected. Thus he tells Lydia,

_Non si me satis audias,
Speres perpetuum dulcia barbare
Laedentem oscula, quae Venus
Quinta parte sui nectaris imbuit[45]._

[Footnote 45: Carm. Lib. I. Od. 13.]

Sometimes his pictures are heightned with beautiful imagery, and he
seizeth the imagination before he appeals to reason. Thus, when he is
advising his friend not to mourn any longer for a man who was dead,
instead of proposing the subject immediately he says,

_Non semper imbres nubibus hispidos
Manant in agros_, &c.[46]
Not always snow, and hail, and rain
Defend, and beat the fruitful plain. CREECH.

[Footnote 46: Carm. Lib. II.