In conformity to the antients, these Odes consist of the _Strophe_,
_Antistrophe_, and _Epode_, which, in each Ode, are thrice repeated. The
Strophes have a correspondent resemblance in their str[u]cture and
numbers: and the Antistrophe and Epode also bear the same similitude.
The Poet seems, in the first Ode particularly, to design the Epode as a
complete air to the Strophe and Antistrophe, which have more the
appearance of Recitative. There was a necessity for these divisions
among the antients, for they served as directions to the dancer and
musician; but we see no reason why they should be continued among the
moderns; for, instead of assisting, they will but perplex the Musician,
as our music requires a more frequent transition from the Air to the
Recitative than could agree with the simplicity of the antients.

The first of these Poems celebrates the Lyric Muse. It seems the most
laboured performance of the two, but yet we think its merit is not equal
to that of the second. It seems to want that regularity of plan upon
which the second is founded; and though it abounds with images that
strike, yet, unlike the second, it contains none that are affecting.

In the second Antistrophe the Bard thus marks the progress of Poetry.

II. [2.]

In climes beyond the solar road,
Where shaggy forms o'er ice-built mountains roam,
The Muse has broke the twilight-gloom
To cheer the shivering natives dull abode
And oft beneath the od'rous shade
Of Chili's boundless forests laid,
She deigns to hear the savage youth repeat,