To sum the whole: ode should be peculiar, but not strained; moral, but not
flat; natural, but not obvious; delicate, but not affected; noble, but not
ambitious; full, but not obscure; fiery, but not mad; thick, but not
loaded in its numbers, which should be most harmonious, without the least
sacrifice of expression, or of sense. Above all, in this, as in every work
of genius, somewhat of an original spirit should be, at least attempted;
otherwise the poet, whose character disclaims mediocrity, makes a
secondary praise his ultimate ambition; which has something of a
contradiction in it. Originals only have true life, and differ as much
from the best imitations, as men from the most animated pictures of them.
Nor is what I say at all inconsistent with a due deference for the great
standards of antiquity; nay, that very deference is an argument for it,
for doubtless their example is on my side in this matter. And we should
rather imitate their example in the general motives, and fundamental
methods of their working, than in their works themselves.
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