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pleasure l observe, that these things now begin to be understood among ourselves; and that I can acquaint the publick we may foon expect very elegant editions of Fletcher, and Milton's Paradise Lost from gentlemen of distinguished abilities and learning. But this interval of good sense, as it may be short, is indeed but new. For I remember to haye heard of a very learned man, who, not long since, formed a design, of giving a more correct edition of Spenser; and, without doubt, would have performed it well; but he was dissuaded from his purpose by his friends, as beneath the dignity of a professor of the occult sciences. Yet these very friends, I suppose, would have thought it added lustre to his high station, to have new-furbished out some dull northern chronicle, or dark Sibylline ænigma. But let it not be thought that what is here faid infinuates any thing to the discredit of Greek and Latin criticism. If the follies of particular men were fufficient to bring any branch of learning into disrepute, I do not know any that would stand in a worse fituation than that for which I now apologize. For I hardly think there ever appeared, in any learned language, fo execrable a heap of nonsense, under the name of commentaries, as hath been lately given us on a certain satirick poet, of the last age, by his editor and coadjutor.?
I am sensible how unjustly the very best classical criticks have been treated. It is said, that our great philosopher' spoke with much contempt of
This alludes to Dr. Grey's edition of Hudibras published in 1744.
REED. · Sir Isaac Newton. See Whiston's Historical Memoirs of the Life of Dr. Clarke, 1748, 8vo. p. 113. REED.
the two finest scholars of this age, Dr. Bentley and Bishop Hare, for squabbling as he expressed it, about an old play-book; meaning, I suppose, Terence's comedies. But this story is unworthy of him; though well enough suiting the fanatick turn of the wild writer that relates it; such censures are amongst the follies of men immoderately given over to one science, and ignorantly undervaluing all the rest. Those learned criticks might, and perhaps did, laugh in their turn (though still, súre, with the same indecency and indiscretion) at that incomparable man, for wearing out a long life in poring through a telescope. Indeed, the weaknesses of such are to be mentioned with reverence, But who can bear, without indignation, the fashionble cant of every trifling writer, whose insipidity passes with himself, for politeness, for pretending to be shocked, forsooth, with the rude and savage airs of vulgar criticks; meaning such as Muretus, Scaliger, Casaubon, Salmafius, Spanheim, Bentley! When, had it not been for the deathless labours of such as these, the western world, at the revival of letters, had foon fallen back again into a state of ignorance and barbarity, as deplorable as that from which providence had just redeemed it.
To conclude with an observation of a fine writer and great philosopher of our own, which I would gladly bind, though with all honour, as a phyla&tery, on the brow of every awful grammarian, to teach him at once the use and limits of his art: WORDS ARE THE MONEY OF FOOLS, AND
THE COUNTERS OF WISE MEN.
HAT praises are without reason lavished on the dead, and that the honours due only to excellence are paid to antiquity, is a complaint likely to be always continued by those, who, being able to add nothing to truth, hope for eminence from the heresies of paradox; or those, who, being forced by disappointment upon consolatory expedients, are willing to hope from pofterity what the present age refuses, and flatter themselves that the regard which is yet denied by envy, will be at last bestowed by time.
Antiquity, like every other quality that attracts the notice of mankind, has undoubtedly votaries that reverence it, not from reafon, bat from prejudice. Some feem to admire indiscriminately whatever has been long preserved, without confidering that time has sometimes co-operated with chance; all perhaps are more willing to honour past than present excellence; and the mind contemplates genius through the shades of age, as the eye surveys the sun through artificial opacity. The great contention of criticism is to find the faults of the moderns, and the beauties of the ancients. While an author is yet living, we estimate his powers by his worst performance; and when he is dead, we rate them by his beft.
4 First printed in 1765.
To works, however, of which the excellence is not absolute and definite, but gradual and comparative; to works not raised upon principles demonstrative and scientifick, but appealing wholly to observation and experience, no other test can be applied than length of duration and continuance of esteem. What mankind have long possessed they have often examined and compared, and if they persist to value the possession, it is because frequent comparisons have confirmed opinion in its favour. As among the works of nature no man can properly call a river deep, or a mountain high, without the knowledge of many mountains, and many rivers ; so in the productions of genius, nothing can be ftiled excellent till it hath been compared with other works of the fame kind. Demonstration immediately displays its power, and has nothing to hope or fear from the flux of
years; works tentative and experimental must be estimated by their proportion to the general and collective ability of man, as it is discovered in a long fuccession of endeavours. Of the first building that was raised, it might be with certainty, determined that it was round or square; but whether it was spacious or lofty must have been referred to time. The Pythagorean scale of numbers was at once discovered to be perfect; but the poems of Homer we yet know not to transcend the common limits of human intelligence, but by remarking, that nation after nation, and century after century, has been able to do little more than transpose his incidents, new name his characters, and paraphrase his sentiments,
The reverence due to writings that have long fubfifted arises therefore not from any credulous confidence in the superior wisdom of past ages, or gloomy persuasion of the degeneracy of mankind, but is the consequence of acknowledged and indubitable positions, that what has been longest known has been most considered, and what is most confidered is best understood.
The poet, of whose works I have undertaken the revision, may now begin to assume the dignity of an ancient, and claim the privilege of established fame and prescriptive veneration. He has long outlived his century, the term commonly fixed as the test of literary merit.
Whatever advantages he might once derive from personal allusions, local customs, or temporary opinions, have for many years becn loft; Sand every topick of merriment, or motive of sorrow, which the modes of artificial life afforded him, now only obscure the scenes, which they once illuminated. The effects of favour and competition are at an end; the tradition of his friendships and his enmities has perished; his works fupport no opinion with arguments, nor supply any faction with invectives; they can neither indulge vanity, nor gratify malignity; but are read without any other reason than the desire of pleasure, and are therefore praised only as pleasure is obtained; yet thus unaslisted by interest or passion, they have past through variations of taste and changes of manners, and, as
as thy devolved from one generation to another, have received new honours at every transmillion.