OLY thoughts clothed in beauteous words form the effence of all true Poetry.

It muft, however, be admitted that two qualifications are effentially neceffary for a right understanding of this, viz. fpirituality of mind, and a due cultivation of the intellectual powers. Cowper has well obferved respecting him who confeffedly ranks fupreme in the realm of fong-far above all Poets, ancient and modern, fave the infpired finger of Ifrael,- that "none but Christians can fully enter into the beauties of Milton." Of Milton's poetry we must confefs that it would require an intellect of fimilar capacity adequately to comprehend it, and a tongue like his own fuitably to speak the praife. The effect of a proper reception of the breathings of this mafter mind is to invigorate the understanding, purify the affection uplift the heart, and lead

the mind a willing captive, fkyward, homeward, and to God. Ever will it endure, as a noble effort of intellectual power of the highest order, fanctified by forrow, to put to shame those who pervert the nobleft gift of Heaven to low and fenfual abufe. Ever will it remain a triumphant memorial, as it has been somewhere remarked that "the lamp of genius fhines with the brightest luftre when it is fed with the pureft oil."

Hence in the Lyra Sacra extracts from the chief of England's moft gifted Bards will naturally find their place in each divifion of the Hymns, Odes, and Fragments of Sacred Poetry. The Editor ventures to invite special attention to Milton's Ode with regard to himself, written manifeftly when he was "old and blind," and confcious of being on the verge of eternity, because it is less well-known than any of his other grand compositions, and indeed it is rarely, if ever, to be found in the usual collection of his Poems and Works.* Nevertheless, the internal evidence fufficiently befpeaks the Author, and it may be safely affumed, that if exquisite beauty of expreffion, and fublime loftiness of thought are

to

* It is right to state that the authorship of this very beautiful ode has been attributed by a writer in "Notes and Queries Mifs Lloyd of Philadelphia. The internal evidence, however, appears fufficient to make us ftill confider that it was one of the final efforts of our own Milton.

permitted to decide the question, this Ode may appropriately be placed with those that are confessedly his productions, and may take rank, like fo many others of his immortal pen, in the very first class of uninspired compofitions.

With regard to that portion of the Lyra Sacra, entitled Hymns, Ancient and Modern, the Editor wishes it to be understood that the term Ancient is used with some latitude, including Authors from times previous to the Christian era down to the beginning of the last century; his object being to combine fome of Zion's Songs, wherewith the faithful of Christ's Holy Catholic Church were wont in ancient days to fing the praises of "Christ our King," with the choiceft fpecimens of Hymns, which the compofitions of modern times afford.

As all Ancient Hymns muft neceffarily be translations, the Editor defires to acknowledge that he is chiefly indebted to "the Rev. J. Neale" and to "Catherine Winkworth," for their admirable rendering of the Medieval and German Hymns refpectively, which are introduced into this work. In the following collection of Hymns, Odes, and Fragments of Sacred Poetry, the Editor indulges himself in the hope that there will be found other Poems, fome of which have never before been seen in print, which are not unworthy of appearing in such sacred companion

fhip as that of the feraphic Milton.

And if it be lawful to make a selection, where all by their names may be confidered more or less worthy of approval, he would fpecify in particular the opening Hymn in the Lyra Sacra, compofed more than four centuries before the Chriftian era by Eupolis, one of "great Socrates'" pupils, fo remarkable as being the production of one who enjoyed not the advantage of a Revelation from on High, though evidently of that class of heathen fo forcibly described by the Apostle, as "feeking the Lord, if haply they might feel after Him, and find Him though He be not far from every one of us;" that thrilling Hymn of Medieval times, by Peter Damian, on "The Last Day," so awfully descriptive of the Judgment to come; the noble Morning Hymn before Sunrise, by Coleridge; the magnificent Hymn in praise of God, by Derzhazen, a Ruffian poet of no mean celebrity; a translation of the 148th Pfalm, by Ogilvie, faid to have been composed when only fixteen, and very superior to those verfions of the Pfalms which are fung in our Churches; and last but not least, a most remarkable Ode on "The Burial of Mofes " (whose author the Editor has attempted in vain to dif cover), which, for the beauty of its compofition, is equal, while, for the loftiness of its subject, it is neceffarily fuperior, to the well-known and