nd. The other, which, for
want of a proper English word, I must call the _songish part_, must
abound in the softness and variety of numbers; its principal intention
being to please the hearing, rather than to gratify the understanding.
It appears, indeed, preposterous at first sight, that rhyme, on any
consideration, should take place of reason; but, in order to resolve
the problem, this fundamental proposition must be settled, that the
first inventors of any art or science, provided they have brought it
to perfection, are, in reason, to give laws to it; and, according to
their model, all after-undertakers are to build. Thus, in epic poetry,
no man ought to dispute the authority of Homer, who gave the first
being to that masterpiece of art, and endued it with that form of
perfection in all its parts, that nothing was wanting to its
excellency. Virgil therefore, and those very few who have succeeded
him, endeavoured not to introduce, or innovate, any thing in a design
already perfected, but imitated the plan of the inventor; and are only
so far true heroic poets, as they have built on the foundations of
Homer. Thus, Pindar, the author of those Odes, which are so admirably
restored by Mr Cowley in our language, ought for ever to be the
standard of them; and we are bound, according to the practice of
Horace and Mr Cowley, to copy him. Now, to apply this axiom to our
present purpose, whosoever undertakes the writing of an opera, which
is a modern invention, though built indeed on the foundation of ethnic
worship, is obliged to imitate the design of the Italians, who have
not only invented, but brought to perfection, this sort of dramatic
musical entertainment. I have not been able, by any search, to get any
light, either of the time when it began, or of the first author; but I
have probable reasons, which induce me to believe, that some Italians,
having curiously observed the gallantries of the Spanish Moors at
their zambras, or royal feasts, where music, songs, and dancing, were
in perfection, together with their machines, which are usual at their
_sortija_, or running at the ring, and other solemnities, may possibly
have refined upon those moresque divertisements, and produced this
delightful entertainment, by leaving out the warlike part of the
carousals, and forming a poetical design for the use of the machines,
the songs, and dances. But however it began, (for this is only
conjectural,) we know, that, for some centuries