necessary to avoid the incidental introduction of precepts concerning the subjectmatter as well as the manner of poetic criticism. It divides itself into three parts naturally and easily following one another: the foundation of true criticism; the causes preventing it; and the causes producing it and exemplified in its most eminent professors. But, as should always be the case in a readable essay whether in prose or verse, abruptness is avoided in the transitions, and the successive precepts are easily and happily linked together by examples which render this didactic work as entertaining as it is instructive. The errors of manner in composition, and particularly in versification, on which the Essay incidentally touches, are illustrated without effort in the verse itself; the open vowels, the monosyllables, the lagging Alexandrine, the regulation rhyme,-all these are not discussed at length, but each is instanced in passing with a single and effective touch.] CONTENTS OF THE ESSAY ON CRITICISM. PART I. Introduction. That 'tis as great a fault to judge ill, as to write ill, and a more dangerous one to the public, v. I. That a true Taste is as rare to be found, as a true Genius, v. 9 to 18. That most men are born with some Taste, but spoiled by false Education, v. 19 to 25. The multitude of Critics, and causes of them, v. 26 to 45. That we are to study our own Taste, and know the Limits of it, v. 46 to 67. Nature the best guide of Judgment, v. 68 to 87. Improv'd by Art and Rules, which are but methodis'd Nature, 88. Rules derived from the Practice of the Ancient Poets, v. id. to 110. That therefore the Ancients are necessary to be studyd, by a Critic, particularly Homer and Virgil, v. 120 to 138. Of Licenses, and the use of them by the Ancients, v. 140 to 180. Reverence due to the Ancients, and praise of them, v. 181, etc. PART II. Ver. 203, etc. Causes hindering a true Judgment. 1. Pride, v. 208. 2. Imperfect Learn ing, v. 215. 3. Judging by parts, and PART III. Ver. 560, etc. Rules for the Conduct of Manners in a Critic. 1. Candour, v. 563. Modesty, v. 566. Good-breeding, v. 572. Sincerity, and Freedom of advice, v. 578. 2. When one's Counsel is to be restrained, v. 584. Character of an incorrigible Poet, v. 6oo. And of an impertinent Critic, v. 610. etc. Character of a good Critic, v. 629. The History of Criticism, and Characters of the best Critics, Aristotle, v. 645. Horace, v. 653. Dionysius, v. 665. Petronius, v. 667. Quintilian, v. 670. Longinus, v. 675. Of the Decay of Criticism, and its Revival. Erasmus, v. 693. Vida, v. 705. Boileau, v. 714. Lord Roscommon, etc. v. 725. Conclusion. AN ESSAY ON CRITICISM, IS hard to say, if greater want of skill Yet if we look more closely, we shall find The lines, tho' touch'd but faintly, are drawn right. And some made coxcombs Nature meant but fools. In search of wit these lose their common sense, Let such teach others] 'Qui scribit artificiose, ab aliis commode scripta facile intelligere poterit.' Cic. ad Herenn. lib. iv. 'De pictore, sculptore, fictore, nisi artifex, judicare non potest.' Pliny. P. 2 [Warton, who quotes Dryden's remark that none but a poet is qualified to judge of a poet, has an excellent illustrative note, too long for insertion, on the amount of truth contained in the observation. The relations between the creative and the critical power have perhaps rarely been more clearly pointed out than in Mr Matthew Arnold's Essay on the Function of Criticism at the present Time.] 3 [The word 'wit' is said to be used in Pope's Essay on Criticism in seven different senses. Bain's Eng. Comp. and Rhetoric, p. 57. Here IO 20 30 it seems tantamount to 'creative power' or 'genius.'] 4 Most have the seeds] 'Omnes tacito quodam sensu, sine ulla arte, aut ratione, quæ sint in artibus ac rationibus recta et prava dijudicant.' Cic. de Orat. lib. III. P. So by false learning] 'Plus sine doctrina prudentia, quam sine prudentia valet doctrina.' Quint. P. 6 Some are bewilder'd, &c.] This thought is taken from Lord Rochester, but more decently expressed: God never made a coxcomb worth a groat, If Mævius scribble in Apollo's spite1, There are who judge still worse than he can write. To tell 'em, would a hundred tongues require, 40 And mark that point where sense and dulness meet. 50 And wisely curb'd proud man's pretending wit. First follow Nature, and your judgment frame 60 70 Some, to whom Heav'n in wit has been profuse2, 80 [Verg. Buc. III. 90. Hor. Epod. x. 2.] 2 Variation :) There are whom Heav'n has blest with store of wit, 'Tis more to guide, than spur the Muse's steed; The winged courser, like a gen'rous horse, Shows most true mettle when you check his course. By the same laws which first herself ordain'd. Hear how learn'd Greece her useful rules indites, Just precepts thus from great examples giv'n2, 90 She drew from them what they deriv'd from Heav'n. The gen'rous Critic fann'd the Poet's fire, 100 And taught the world with reason to admire. To dress her charms, and make her more belov'd: Sure to hate most the men from whom they learn'd. By Doctor's bills to play the Doctor's part, Prescribe, apply, and call their masters fools. Nor time nor moths e'er spoil'd so much as they. Some drily plain, without invention's aid, Write dull receipts how poems may be made. You then whose judgment the right course would steer, 1 Those Rules of old, &c.] Cicero has, best of any one I know, explained what that is which reduces the wild and scattered parts of human knowledge into arts. Nihil est quod ad artem redigi posset, nisi ille prius, qui illa tenet, quorum artem instituere vult, habeat illam scientiam, ut ex iis rebus, quarum ars nondum sit, artem efficere possit.-Omnia fere, quæ sunt conclusa nunc artibus, dispersa et dissipata quondam fuerunt, ut in musicis, etc. Adhibita est igitur ars quædam extrinsecus ex alio genere quodam, quod sibi totum PHILOSOPHI assumunt, quæ rem dissolutam divulsamque conglutinaret, et ratione quadam constringeret.' De Orat. lib. 1. c. 41, 2. Warburton. 2 Just precepts] 'Nec enim artibus editis factum est ut argumenta inveniremus, sed dicta sunt omnia antequam præciperentur; mox ea scriptores observata et collecta ediderunt.' Quintil. P. 3 [This familiar abbreviation is sanctioned in poetry by early dramatic usage. The Poticary is ΠΙΟ one of the 'Four P's' of John Heywood's Interlude.] 4 Some on the leaves-Some drily plain.] The first, the apes of those Italian critics, who at the restoration of letters having found the classic writers miserably mangled by the hands of monkish librarians, very commendably employed their pains and talents in restoring them to their native purity. The second, the plagiaries from the French, who had made some admirable commentaries on the ancient critics. Warburton. 5 [A forward Critic often dupes us Swift On Poetry.] His fable, subject, scope in ev'ry page; Be Homer's works your study and delight, Thence form your judgment, thence your maxims bring, And let your comment be the Mantuan Muse. And but from Nature's fountains scorn'd to draw: Some beauties yet no Precepts can declare, 120 130 140 Are nameless graces which no methods teach1, If, where the rules not far enough extend3, (Since rules were made but to promote ther end) 150 It is a tradition preserved by Servius, that Virgil began with writing a poem of the Alban and Roman affairs; which he found above his years, and descended first to imitate Theocritus on rural subjects, and afterwards to copy Homer in Heroic poetry. P. 3 [Dr Aikin, quoted by Warton, justly points out the inconsistency between this line and v. 272.] ▲ Non ratione aliquâ, sed motu nescio an inerrabili judicatur. Neque hoc ab ullo satis explicari puto licet multi tentaverint. Quintil. lib. vi. Warton. If, where the rules, &c.] Neque enim rogationibus plebisve scitis sancta sunt ista Præcepta, sed hoc, quicquid est, Utilitas excogitavit. Non negabo autem sic utile esse plerumque; verum si eadem illa nobis aliud suadebit Utilitas, hanc, relictis magistrorum autoritatibus, seque mur.' Quintil. lib. 11. cap. 13. P. |