It is, by no means, our design to detract from the merit of our Author's present attempt: we would only intimate, that an English Poet,--one whom the Muse has _mark'd for her own_, could produce a more luxuriant bloom of flowers, by cultivating such as are natives of the soil, than by endeavouring to force the exotics of another climate: or, to speak without a metaphor, such a genius as Mr. Gray might give greater pleasure, and acquire a larger portion of fame, if, instead of being an imitator, he did justice to his talents, and ventured to be more an original. These two Odes, it must be confessed, breath[e] much of the spirit of Pindar, but then they have caught the seeming obscurity, the sudden transition, and hazardous epithet, of his mighty master; all which, though evidently intended for beauties, will, probably, be regarded as blemishes, by the generality of his Readers. In short, they are in some measure, a representation of what Pindar now appears to be, though perhaps, not what he appeared to the States of Greece, when they rivalled each other in his applause, and when Pan himself was seen dancing to his melody. 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, In loose numbers wildly sweet Their feather-cinctured Chiefs, and dusky loves. Her track, where'er the Goddess roves, Glory pursue, and generous shame, Th' unconquerable Mind, and Freedom's holy flame.