a higher finishing? Is this lefs numerous? Perhaps the poet fo defigned it, to raise the imagi nation still higher, when we and more fonorous fubjects. riety, which goes fo far to come to fublimer Does not even vaconftitute what is beautiful, carry with it a fuppofal of inferiority and fubordination? Nay, where no other confideration can be prefumed, fome allowances furely are to be given to the infirmity of human nature. 'Tis the artist of a lower clafs who finishes all alike. If you examine the defigns of a mafterly hand, you'll perceive how rough these colours are laid on, how flightly that is touched, in order to carry on your view to what is principal, and deserves the chief attention for by this correfpondence and relation, and by thus making each part fubfervient to the other, a whole is formed. And were it not a degree of prophanation, I might here mention the great Defigner, who has flung fome things into fuch ftrong fhades, that 'tis no wonder so much gloominefs and melancholy is raised in rude and undisciplined minds. the fublime Maker, who has fet this universe before us as a book; yet what fuperficial readers Milton VIII, 67. are 135 are we in this volume of nature? Here I am certain we must become good men, before we become good critics, and the first step to wisdom is humility. In a word, the most judicious critics, as well as the most approved authors are fallible; the former therefore fhould have fome modefty, the latter fome allowances. But modefty is of the highest importance, when a critical inquirer is examining writings which are truly originals; fuch as Homer among the ancients, Milton and Shakespeare among the moderns. Here we are to proceed with caution, with doubt and hesitation. Such authors are really Makers, as the original word Poet imports. In their extensive minds 5 5 Sir Philip Sydney in his defence of poefie," The "Greekes named him ПQIHTHN, which name hath, as the "moft excellent, gone through other languages: it com"meth of this word ПOIEIN, which is to make: wherein "I know not whether by lucke or wifdome wee Englishmen "have met with the Greekes in calling him a Maker.” Johnson in his Discoveries, "A poet is that which by the "Greeks is called xar' iέx, O пOIнтнƐ, a maker, "a feigner, &c." And in Every Man out of his Humour. A& III. Sc. VI." Cor. I would fain hear one of these "autumne judgments define once, Quid fit Comoedia? If he "cannot, let him content himself with Cicero's definition, "('till he have ftrength to propose to himself a better) "who would have a comedy to be Imitatio vitæ, fpeculum "confuetudinis, K 4 or minds the forms and fpecies of things lie in embryo, 'till call'd forth into being by expreffions answering their great idea. "confuetudinis, imago veritatis; a thing throughout plea"fant, and ridiculous, and accommodated to the correction "of manners: if the Maker have failed in any particle "of this, they may worthily tax him." So in his tranflation of Hor. art. poet. Doctum imitatorem: "the learned "Maker." So Spencer ufes the verb, to make, in his Fairy Queen, B. 3. c. 2. ft. 3. "But ah! my rhimes too rude and rugged are, By Tityrus, he means Chaucer. So too B. Johnson in his Epigrammes. To John Donne. "Who fhall doubt, Donne, where I a poet be "When I dare send my epigrammes to thee? "That fo alone canft judge, fo' alone dost make. Пose, verfus facere. Julian in his Caefars, "nomie "Oμn glas ПOIN pn. Xenophon. in Sympof. "Ire Yap Sne ὅτι ὁ Ὅμηρο ὁ σοφώτα] ΠΕΠΟΙΗΚΕ σχεδόν περὶ πάντων τῶν ἀνθρωπίνων. Plato in Ione, ̓Αλλὰ θείᾳ μοίρα τέτο μόνον οἷός τε ἕκαςΘ ΠΟΙΕΙΝ καλῶς, ἐφ ̓ ὃ ἡ μέσα αὐτὸν ὥρμησαν. • "The "The poet's eye in a fine frenzy rowling, "Doth glance from heav'n to earth, from earth "to heav'n: "And, as imagination bodies forth "The forms of things unknown, the poet's pen "Turns them to fhape, and gives to aiery no<<thing "A local habitation, and a name." 'Twere well therefore if a careful and critical reader would first form to himself some plan, when he enters upon an author deferving a ftricter inquiry: if he would confider that originals have a manner always peculiar to themfelves; and not only a manner, but a language: if he would compare one paffage with another; for fuch authors are the best interpreters of their own meaning: and would reflect, not only what allowances may be given for obfolete modes of speech, but what a venerable caft this alone often gives a writer. I omit the previous knowledge in ancient customs and manners, in grammar and construction; the knowledge of these is presupposed; to be caught tripping here is an ominous stumble at the very threshold and entrance upon criticism; 'tis ignorance, which no 6 A Midfummer-Night's Dream, A& V. guefs Book II, guefs-work, no divining faculty, however ingenious, can atone and commute for. A learned wit of France mentions a certain giant, who could eafily fwallow windmills, but was at last choak'd with a lump of fresh butter. Was not this exactly the cafe of Bentley, that giant in criticism, who having at one mouthful fwallowed his learned antagonists, yet could not digeft an English author, but exposed himself to the cenfure of boys and girls? Indeed 'tis but a filly figure the best make, when they get beyond their sphere; or when with no fettled scheme in view, with no compafs or card to direct their little fkiff, they launch forth on the immenfe ocean of criticism. 7 Rabelais, B. IV. c. xvii. SECT. II. are fo F all the various tribes of critics and commentators, there are none to be led into errors, as those who, quitting the plain road of common fenfe, will be continually hunting after paradoxes, and spinning cobwebs out of their own brains. To pafs over the caba- |