I shall only observe further on this subject, that nothing is more contrary to the end of Lyric Poetry, than that habit of spinning out a metaphor which a Poet sometimes falls into by indulging the sallies of imagination. This will be obvious, when we reflect that every branch of the Ode is characterised by a peculiar degree of vivacity and even vehemence both of sentiment and expression. It is impossible to preserve this distinguishing character, unless the thoughts are diversified, and the diction is concise. When a metaphor is hunted down (if I may use that expression) and a description overwrought, its force and energy are gradually lessened, the object which was originally new becomes familiar, and the mind is satiated instead of being inflamed. We must not think that this method of extending an illustration discovers always a defect or sterility of the inventive Faculty. It is, in truth, the consequence of that propensity which we naturally feel to consider a favourite idea in every point of light, and to render its excellence as conspicuous to others as it is to ourselves. By this means sentiments become _superficial_, because the mind is more intent upon their _external dress_, that their _real importance_. They are likewise _thinly scattered through a work_, because each of them receives an higher proportion or ornament than justly belongs to it. We frequently judge of them likewise, in the same manner as a birthday suit is estimated by its purchaser, not by the standard of intrinsic value, but by the opinion of the original proprietor. Thus to superficial readers, ------ _verbum emicuit si forte decorum, Si versus paulo concinnior unus aut alter Injuste totum ducit, venditque poema[70]._ One simile that solitary shines In the dry desart of a thousand lines, Or lengthen’d thought that gleams thro’ many a page, Has sanctified whole poems for an age. POPE. [Footnote 70: Hor. Epist. Lib. II. Epist. 1.] Custom, my Lord, that sovereign arbiter, from whose decision in literary as well as in civil causes, there frequently lies no appeal, will lead us to consider boldness of transition as a circumstance which is peculiarly characteristic of the Ode. Lyric Poets have in all ages appropriated to themselves the liberty of indulging imagination in her most irregular excursions; and when a digression is remotely similar to the subject, they are permitted to fall into it at any time by the invariable practice of their Predecessors. Pindar expressly lays claim to this privilege. Εγκαμιων γαρ αωτες Υυμνων επ’ αλλοτ’ αλλον ως τε με- λισσα θυνει λογον.[71] The song that spreads some glorious name Shifts its bold wing from theme to theme; Roves like the bee regardless o’er, And culls the spoils of every flower. [Footnote 71: Pin. Pyth. Ode X.]