I have mentioned these examples, as they shew the light in which a great object will be contemplated by a man of genius; and as the reader will observe that our admiration is not merely excited by the dignity of the theme, but that it results from the great and uncommon circumstances which are happily thrown into the description. Pindar, no doubt, found it a much easier task to raise this passion in favour of Theron, whom he artfully introduceth to the reader’s attention, after enquiring of his Muse what God or what distinguished Heroe he should attempt to celebrate[66]. [Footnote 66: This is one of the most artful and best conducted of Pindar’s Odes. The introduction is abrupt and spirited, and the Heroe of the Poem is shown to great advantage. Αναξιφορμιγγες ὑμνοι τινα θεον, τιν’ ἡροα, τινα δ’ ανδρα κελαδησομεν; ητοι πισα μεν Διος‧ Ολυμπιαδα δ’ εστα- σεν Ηρακλεης, &c. Θηρωνα δε τετραοριας ἑνεκα νεκαφορου γεγωνητεον, οπε &c. Pind. Olym. 2da.] It is however obvious, from what hath been advanced on this subject, that whatever may be the nature of the theme on which the Poet insists, it is the business of Fancy to enliven the whole piece with those natural and animating graces which lead us to survey it with admiration. From the whole therefore it appears, that this Faculty of the mind claims an higher share of merit in the competition of the Ode than in any other species of Poetry; because in the other branches of this art different ends may be obtained, and different expedients may be fallen upon to gain them; but the most perfect kind of Lyric Poetry admits only of that end, to the attainment of which fertility of Imagination is indispensably requisite. You will recollect, my Lord, a petition laid down in the beginning of this Essay;--that “when Imagination is permitted to bestow the graces of ornament indiscriminately, sentiments are either superficial, and thinly scattered through a work, or we are obliged to search for them beneath a load of superfluous colouring.” I shall now endeavour to evince the truth of this reflection, by enquiring more particularly what are the faults into which the Lyric Poet is most ready to be betrayed, by giving a loose rein to that Faculty which colours and enlivens his composition. It may be observed then in general, that we usually judge of the Genius of a Lyric Poet by the variety of his _images_, the boldness of his _transitions_, and the picturesque vivacity of his _descriptions_. I shall under this head trouble your Lordship with a few reflections on each of these considered separately.