Ubi plura nitent in carmine, non ego paucis
Offendor maculis, quas aut Incuria fudit,
Aut Humana parum cavit Natura.
Hor.
I have now considered Milton's Paradise Lost under those four great Heads of the Fable, the Characters, the Sentiments, and the Language; and have shewn that he excels, in general, under each of these Heads. I hope that I have made several Discoveries which may appear new, even to those who are versed in Critical Learning. Were I indeed to chuse my Readers, by whose Judgment I would stand or fall, they should not be such as are acquainted only with the French and Italian Criticks, but also with the Ancient and Moderns who have written in either of the learned Languages. Above all, I would have them well versed in the Greek and Latin Poets, without which a Man very often fancies that he understands a Critick, when in Reality he does not comprehend his Meaning.
It is in Criticism, as in all other Sciences and Speculations; one who brings with him any implicit Notions and Observations which he has made in his reading of the Poets, will find his own Reflections methodized and explained, and perhaps several little Hints that had passed in his Mind, perfected and improved in the Works of a good Critick; whereas one who has not these previous Lights is very often an utter Stranger to what he reads, and apt to put a wrong Interpretation upon it.
Nor is it sufficient, that a Man who sets up for a Judge in Criticism, should have perused the Authors above mentioned, unless he has also a clear and Logical Head. Without this Talent he is perpetually puzzled and perplexed amidst his own Blunders, mistakes the Sense of those he would confute, or if he chances to think right, does not know how to convey his Thoughts to another with Clearness and Perspicuity. Aristotle, who was the best Critick, was also one of the best Logicians that ever appeared in the World.
The Truth of it is, there is nothing more absurd, than for a Man to set up for a Critick, without a good Insight into all the Parts of Learning; whereas many of those who have endeavoured to signalize themselves by Works of this Nature among our English Writers, are not only defective in the above-mentioned Particulars, but plainly discover, by the Phrases which they make use of, and by their confused way of thinking, that they are not acquainted with the most common and ordinary Systems of Arts and Sciences. A
One great Mark, by which you may discover a Critick who has neither Taste nor Learning, is this, that he seldom ventures to praise any Passage in an Author which has not been before received and applauded by the Publick, and that his Criticism turns wholly upon little Faults and Errors. This part of a Critick is so very easie to succeed in, that we find every ordinary Reader, upon the publishing of a new Poem, has Wit and Ill-nature enough to turn several Passages of it into Ridicule, and very often in the right Place.
Errors, like Straws, upon the Surface flow;
He who would search for Pearls must dive below3.
A true Critick ought to dwell rather upon Excellencies than Imperfections, to discover the concealed Beauties of a Writer, and communicate to the World such things as are worth their Observation. The most exquisite Words and finest Strokes of an Author are those which very often appear the most doubtful and exceptionable to a Man who wants a Relish for polite Learning; and they are these, which a sower undistinguishing Critick generally attacks with the greatest Violence.
Such a Mirth as this is always unseasonable in a Critick, as it rather prejudices the Reader than convinces him, and is capable of making a Beauty, as well as a Blemish, the Subject of Derision. A Man, who cannot write with Wit on a proper Subject, is dull and stupid, but one who shews it in an improper Place, is as impertinent and absurd. Besides, a Man who has the Gift of Ridicule is apt to find Fault with any thing that gives him an Opportunity of exerting his beloved Talent, and very often censures a Passage, not because there is any Fault in it, but because he can be merry upon it. Such kinds of Pleasantry are very unfair and disingenuous in Works of Criticism, in which the greatest Masters, both Ancient and Modern, have always appeared with a serious and instructive Air.
As I intend in my next Paper to shew the Defects in Milton's Paradise Lost, I thought fit to premise these few Particulars, to the End that the Reader may know I enter upon it, as on a very ungrateful Work, and that I shall just point at the Imperfections, without endeavouring to enflame them with Ridicule. I
I
L.
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'he has long dictated in this part of letters. He is acknowledged as the great arbitrator between the merits of the best writers; and during the course of almost thirty years there have been few appeals from his sentence.'
(See also a note on p. 168, vol. i. [Volume 1 links:Footnote 3 of No. 44]) RenÉ le Bossu, the great French authority on Epic Poetry, born in 1631, was a regular canon of St. Genevieve, and taught the Humanities in several religious houses of his order. He died, subprior of the Abbey of St. Jean de Cartres, in 1680. He wrote, besides his Treatise upon Epic Poetry, a parallel between the philosophies of Aristotle and Descartes, which appeared a few months earlier (in 1674) with less success. Another authority was Father Bouhours, of whom see note on p. 236, vol. i. [Volume 1 links:Footnote 4 of No. 62. ] Another was Bernard le Bovier de Fontenelle. called by Voltaire the most universal genius of his age. He was born at Rouen in 1657, looking so delicate that he was baptized in a hurry, and at 16 was unequal to the exertion of a game at billiards, being caused by any unusual exercise to spit blood, though he lived to the age of a hundred, less one month and two days. He was taught by the Jesuits, went to the bar to please his father, pleaded a cause, lost it, and gave up the profession to devote his time wholly to literature and philosophy. He went to Paris, wrote plays and the 'Dialogues of the Dead,' living then with his uncle, Thomas Corneille. A discourse on the Eclogue prefixed to his pastoral poems made him an authority in this manner of composition. It was translated by Motteux for addition to the English translation of Bossu on the Epic, which had also appended to it an Essay on Satire by another of these French critics, AndrÉ Dacier. Dacier, born at Castres in 1651, was educated at Saumur under Taneguy le FÉvre, who was at the same time making a scholar of his own daughter Anne. Dacier and the young lady became warmly attached to one another, married, united in abjuring Protestantism, and were for forty years, in the happiest concord, man and wife and fellow-scholars. Dacier and his wife, as well as Fontenelle, were alive when the Spectator was appearing; his wife dying, aged 69, in 1720, the husband, aged 71, in 1722. AndrÉ Dacier translated and annotated the Poetics of Aristotle in 1692, and that critical work was regarded as his best performance.
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'Facile est enim verbum aliquod ardens (ut ita dicam) notare, idque restinctis jam animorum incendiis, irridere.'
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