With majick sounds, like these, did Orpheus’ lyre, Motion, Sense, and Life inspire; When, as he play’d, the list’ning flood Still’d its loquacious waves, and silent stood; The Trees swift-bounding danc’d with loosen’d stumps, And sluggish stones caper’d in active jumps. _Air._ Each ruddy-breasted Robin The concert bore a Bob in, And ev’ry hooting Owl around; The croaking Frogs, The grunting Hogs, All, all conspir’d to raise th’ enliv’ning Sound. _Recitative._ Now to Cecilia, heav’nly maid, Your loud united voices raise: With solemn hymns to celebrate her Praise, Each instrument shall lend it’s aid. The Salt Box with clattering and clapping shall sound, The Iron lyre Buzzing twang with wav’ring wire, With heavy hum The Sober Hurdy-Gurdy thrum, And the Merry Merry Marrow-Bones ring round. _Last Grand Chorus._ Such matchless strains Cecilia knew, When audience from their heavenly sphere, By Harmony’s Strong Power, she drew, Whilst list’ning angels gladly stoop’d to hear. BONNELL THORNTON, 1749. ――――:o:―――― MOCK HEROIC POEMS. Numerous imitations exist of Pope’s _Dunciad_, and the poets of the last century, and the early years of this, exercised considerable ingenuity in ringing the changes on the title, as will be seen from the following list. It must not, however, be concluded that the works mentioned are all _parodies_, except in the cases where the opening lines are quoted. One of the most scholarly of these productions was “_The Scribleriad_,” written by Richard Owen Cambridge, and published in 1751. In his preface he mentions Boileau’s _Lutrin_, Garth’s _Dispensary_, and Pope’s _Rape of the Lock_ and _Dunciad_, each of which, he considers, have a thousand beauties, but neither of which comes up to the true idea of a Mock-Heroic Poem. In fact he does not believe it was the _primary idea_ of either of the authors to write a Mock-Heroic, whereas that was the task he set himself in composing The _Scribleriad_. He gives the following apposite remarks on _Parody_:――