mr. burney now, greatly lightened, and somewhat brightened in spirits, returned to his country and his home. his mind seemed no longer left in desolating inertness to prey upon itself. nutriment

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of an invigorating nature was in view, though not yet of a consistence to afford spontaneous refreshment. on the contrary, it required taste for selection, labour for culture, and skill for appropriation. but such nutriment, if attainable, was precisely that which best could re-inforce the poor “tenement of clay,”[26] which the lassitude of unbraced nerves had nearly “fretted to decay.”

sketches, hints, notes, and scattered ideas of all sorts, began to open the way to some original composition; though the timidity of his muse, not the dearth of his fancy, long kept back the force of mind for meeting the public eye, that now, in these more easy, dauntless times, urges almost every stripling to present his mental powers to the world, nearly ere his physical ones have emerged from leading-strings in the nursery.

the first, because the least responsible, method of facing the critic eye, that occurred to him, was that of translation; and he began with acutely studying d’alembert’s elémens de musique théorique et pratique, selon les principes de rameau; in which he was assiduously engaged, when the appearance of the celebrated musical dictionaire of the

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still more celebrated rousseau, from its far nearer congeniality to his taste, surprised him into inconstancy.

yet this also, from circumstances that intervened, was laid aside; and his first actual essay was a trifle, though a pleasing one, from which no real fame could either accrue, or be marred; it was translating, and adapting to the stage, the little pastoral afterpiece of rousseau, le devin du village.