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and gratified resentment by the just censure of something hated. But the book which was once quoted by princes, and which supplied conversation to all the assemblies of the gay and witty, is now seldom mentioned, and even by those that affect to inention, it is seldom read. So vainly is wit lavished upon fugitive topics, so little can architecture secure duration when the ground is false.
No. 60. SATURDAY, June 9, 1759.
CRITICISM is a study by which men grow important and formidable at a very small expense. The power of invention has been conferred by nature upon few, and the labour of learning those sciences which may by mere labour be obtained is too great to be willingly endured; but every man can exert such judgment as he has upon the works of others : and he whom nature has made weak, and idleness keeps ignorant, may yet support his vanity by the name of a critic.
I hope it will give comfort to great numbers who are passing through the world in obscurity, when I inform them how easily distinction may be obtained. All the other powers of literatųre are coy and haughty; they must be long courted, and at last are not always gained : but criticism is a goddess easy of access, and forward of advance, who will meet the slow, and encourage the timorous; the want of meaning she supplies with words, and the want of spirit she recompenses with malignity
This profession has one recommendation peculiar to itself, that it gives vent to malignity without real mischief. No genius was ever blasted by the breath of critics. The poison which, if confined, would have burst the heart, fumes away in empty hisses, and malice is set at ease with very little danger to merit. The critic is the only man whose triumph is without another's pain, and whose greatness does not rise upon another's ruin.
To a study at once so easy and so reputable, so malicious and so harmless, it cannot be necessary to invite my readers by a long or laboured exhortation; it is sufficient since all would be critics if they could, to show by one eminent example that all can be critics if they will.
Dick Minim, after the common course of puerile studies, in which he was no great proficient, was put apprentice to a brever, with whom he had lived two years, when his uncle died in the city, and left him a large fortune in the stocks. Dick had for six months before used the company of the lower players, of whom he had learned to scorn a trade, and being now at liberty to follow his genius, he resolved to be a man of wit and humour. That he might be properly initiated in his new character, he frequented the coffee-houses near the theatres, where he listened very diligently, day after day, to those who talked of language and sentiment, and unities and catastrophes, till by slow degrees he began to think that he understood something of the stage, and hoped in time to talk himself.
But he did not trust so much to natural sagacity, as wholly to neglect the help of books. When the theatres were shut, he retired to Richmond with a few select writers, whose opinions he impressed upon his memory by unwearied diligence; and, when he returned with other wits to the town, was able to tell, in very proper phrases, that the chief business of art is to copy nature; that a perfect writer is not to be expected, because genius decays as judgment increases; that the great art is the art of blotting; and that, according to the rule of Horace, every piece should be kept nine years.
Of the great authors he now began to display the characters, laying down, as an universal position, that all had beauties and defects. His opinion was, that Shakspeare, committing bimself wholly to the impulse of nature, wanted that correctness which learning would have given him; and that Jonson, trusting to learning, did not suficiently cast his eye on nature. He blamed the stanza of Spenser, and could not bear the hexameters of Sidney. Denham and Waller he held the first reformers of English numbers; and thought that if Waller could have obtained the strength of Denham, or Denham the sweetness of Waller, there had been nothing wanting to complete a poet. He often expressed his commiseration of Dryden's poverty, and his indignation at the age which suffered him to write for bread; he repeated with rapture the first lines of All for Love, but wondered at the corruption of taste which could bear any thing so unnatural as rhyming tragedies. In Otway he found uncommon powers of moving the passions, but was disgusted by his general negligence, and blamed him for making a conspirator his hero; and never concluded his disquisition, without remarking how happily the sound of the clock is made to alarm the audience.. Southern would have been his favourite, but that he mixes comic with tragic scenes, intercepts the natural course of the passions, and fills the mind with a wild confusion of mirth and melancholy. The versification of Rowe he thought too me
lodious for the stage, and too little varied in different passions. He made it the great fault of Congreve, that all his persons were wits, and that he always wrote with more art than nature. He considered Cato rather as a poem than a play, and allowed Addison to be the complete master of allegory and grave humour, but paid no great deference to him as a critic. He thought the chief merit of Prior was in his easy tales and lighter poems, though he allowed that his SoJomon had many noble sentiments elegantly expressed. In Swift he discovered an inimitable vein of irony, and an easi. ness which all would hope, and few would attain. Pope he was inclined to degrade from a poet to a versifier, and thought his numbers rather luscious than sweet. He often lamented the neglect of Phædra and Hippolitus, and wished to see the stage under better regulations.
These assertions passed commonly uncontradicted; and if now and then an opponent started up, he was quickly repressed by the suffrages of the company, and Minim went away from every dispute with elation of heart and increase of confidence.
He now grew conscious of his abilities, and began to talk of the present state of dramatic poetry: wondered what was become of the comic genius which supplied our ancestors with wit and pleasantry, and why no writer could be found that durst now venture beyond a farce. He saw no reason for thinking that the vein of humour was exhausted, since we live in a country where liberty suffers every character to spread itself to its utmost bulk, and which therefore produces more originals than all the rest of the world together. Of tragedy he concluded business to be the soul, and yet often hinted that love predominates too much upon the modern stage.
He was now an acknowledged critick, and had his own scat in a coffee-house, and headed a party in the pit. Minim has more vanity than ill nature, and seldom desires to do much mischief; he will perhaps murmur a little in the ear of him that sits next him, but endeavours to influence the audience to favour, by clapping when an actor exclaims “ye Gods,” or laments the misery of his country.
By degrees he was admitted to rehearsals; and many of his friends are of opinion, that our present poets are indebted to him for their happiest thoughts; by his contrivance the bell was rung twice in Barbarossa; and by his persuasion the author of Cleone concluded his play without a couplet ; for what can be more absurd, said Minim, than that part of a play should be rhymed, and part written in blank verse and by what acquisition of faculties is the speaker, who never could find rhymes before, enabled to rhyme at the conclusion of an act ?
He is the great investigator of hidden beauties, and is particularly delighted when he finds " the sound an echo to the sense." He has read all our poets with particular attention to this delicacy of versification, and wonders at the supineness with which their works have been hitherto perused, so that no man has found the sound of a drum in this distich :
“When pulpit, drum ecclesiastic,
and that the wonderful lines upon honour and a bubble have hitherto passed without notice:
“Honour is like the glassy bubble,
In these verses says Minim, we have two striking accommodations of the sound to the sense. It is impossible to utter the two lines emphatically without an act like that which they describe ; bubble and trouble causing a momentary inflation of the cheeks by the retention of the breath, which is afterwards forcibly emitted, as in the practice of blowing bubbles. But the greatest excellence is in the third line, which is crack’d in the middle to express a crack, and then shivers into monosyllables. Yet has this diamond lain neglected with common stones; and among the innumerable admirers of Hudibras, the observation of this superlative passage has been reserved for the sagacity of Minim.
No. 61. SATURDAY, June 16, 1759.
Mr. Minim had now advanced himself to the zenith of, critical reputation; when he was in the pit, every eye in the boxes was fixed upon him; when he entered his coffee-house, he was surrounded by circles of candidates, who passed their noviciate of literature under his tuition ; his opinion was asked by all who had no opinion of their own, and yet loved to debate and decide ; and no composition was supposed to pass in safety to posterity, till it had been secured by Minim's appobation.
Minim professes great admiration of the wisdom and munificence by which the academies of the continent were raised, and often wishes for some standard of taste, for some tribunal, to which merit may appeal from caprice, prejudice, and malignity. He has formed a plan for an academy of criticism, where every work of imagination may be read before it is printed, and which shall authoritatively directed the theatres what pieces to receive or reject, to exclude or to revive.
Such an institution would, in Dick's opinion, spread the fame of English literature over Europe, and make London the metropolis of elegance and politeness, the place to which the learned and ingenious of all countries would repair for instruction and improvement, and where nothing would any longer be applauded or endured that was not conformed to the nicest rules, and finished with the highest elegance.
Till some happy conjunction of the planets shall dispose our princes or ministers to make themselves immortal by such an academy, Minim contents himself to preside four nights in a week in a critical society selected by himself, where he is heard without contradiction, and whence his judgment is disseminated through the great vulgar and the small.
When he is placed in the chair of criticism, he declares loadly for the noble simplicity of our ancestors, in opposition to the petty refinements, and ornamental luxuriance. Sometimes he is sunk in despair, and perceives false delicacy daily gaining ground ; and sometimes brightens his countenance with a gleam of hope, and predicts the revival of the true sublime. He then fulminates his loudest censures against the monkish barbarity of rhyme; wonders how beings that pretend to reason can be pleased with one line always ending like another; tells how unjustly and unnaturally sense is sacrificed to sound; how often the best thoughts are mangled by the necessity of confining or extending them to the dimensions of a couplet; and rejoices that genius has, in our days, shaken off the shackles which had encumbered it so long. Yet he allows that rhyme may sometimes be born, if the lines be often broken, and the pauses judiciously diversified.
From blank verse he makes an easy transition to Milton, whom he produces as an example of the slow advance of lasting reputation. Milton is the only writer in whose books Minim can read for ever without weariness. What cause it is that exempts this pleasure from satiety he has long and diligently inquired, and believes it to consist in the perpetual variation of the numbers by which the ear is gratified and the attention awakened. The lines that are commonly