Thus numerous are the dangers to which the converse of mankind exposes us, and which can be avoided only by prudent distrust. He therefore that, remembering this salutary maxim, learns early to withhold his fondness from fair appearances, will have reason to pay some honours to Bias of Priene, who enabled him to become wise without the cost of experience.

NUMB. 176. SATURDAY, November 23, 1751.

Naso suspendere adunco.

HOR.

On me you turn the nose.—

THERE are many vexatious accidents and uneasy situations which raise little compassion for the sufferer, and which no man but those whom they immediately distress can regard with seriousness. Petty mischiefs, that have no influence on futurity, nor extend their effects to the rest of life, are always seen with a kind of malicious pleasure. A mistake or embarrassment, which for the present moment fills the face with blushes, and the mind with confusion, will have no other effect upon those who observe it, than that of convulsing them with irresistible laughter. Some circumstances of misery are so powerfully ridiculous, that neither kindness nor duty can withstand them; they bear down love, interest, and reverence, and force the friend, the dependent, or the child, to give way to instantaneous motions of merriment.

Among the principal of comick calamities, may be reckoned the pain which an author, not yet

hardened into insensibility, feels at the onset of a furious critick, whose age, rank, or fortune, gives him confidence to speak without reserve; who heaps one objection upon another, and obtrudes his remarks, and enforces his corrections, without tenderness

or awe.

The author, full of the importance of his work, and anxious for the justification of every syllable, starts and kindles at the slightest attack; the critick, eager to establish his superiority, triumphing in every discovery of failure, and zealous to impress the cogency of his arguments, pursues him from line to line without cessation or remorse. The critick, who hazards little, proceeds with vehemence, impetuosity, and fearlessness; the author, whose quiet and fame, and life and immortality, are involved in the controversy, tries every art of subterfuge and defence; maintains modestly what he resolves never to yield, and yields unwillingly what cannot be maintained. The critick's purpose is to conquer, the author only hopes to escape; the critick therefore knits his brow, and raises his voice, and rejoices whenever he perceives any tokens of pain excited by the pressure of his assertions, or the point of his sarcasms. The author, whose endeavour is at once to mollify and elude his persecutor, composes his features and softens his accent, breaks the force of assault by retreat, and rather steps aside than flies or advances.

As it very seldom happens that the rage of extemporary criticism inflicts fatal or lasting wounds, I know not that the laws of benevolence entitle this distress to much sympathy. The diversion of baiting

an author has the sanction of all ages and nations, and is more lawful than the sport of teasing other animals, because, for the most part, he comes voluntarily to the stake, furnished, as he imagines, by the patron powers of literature, with resistless weapons, and impenetrable armour, with the mail of the boar of Erymanth, and the paws of the lion of Nemea.

But the works of genius are sometimes produced by other motives than vanity; and he whom necessity or duty enforces to write, is not always so well satisfied with himself, as not to be discouraged by censorious impudence. It may therefore be necessary to consider, how they whom publication lays open to the insults of such as their obscurity secures against reprisals, may extricate themselves from unexpected

encounters.

Vida, a man of considerable skill in the politicks of literature, directs his pupil wholly to abandon his defence, and even when he can irrefragably refute all objections, to suffer tamely the exultations of his antagonist.

This rule may perhaps be just, when advice is asked, and severity solicited, because no man tells his opinion so freely as when he imagines it received with implicit veneration; and criticks ought never to be consulted, but while errors may yet be rectified or insipidity suppressed. But when the book has once been dismissed into the world, and can be no more retouched, I know not whether a very different conduct should not be prescribed, and whether firmness and spirit may not sometimes be of use to overpower arrogance and repel brutality.

Softness, diffidence, and moderation, will often be mistaken for imbecility and dejection; they lure cowardice to the attack by the hopes of easy victory, and it will soon be found that he whom every man thinks he can conquer, shall never be at peace.

The animadversions of criticks are commonly such as may easily provoke the sedatest writer to some quickness of resentment and asperity of reply. A man who by long consideration has familiarized a subject to his own mind, carefully surveyed the series of his thoughts, and planned all the parts of his composition into a regular dependance on each other, will often start at the sinistrous interpretations or absurd remarks of haste and ignorance, and wonder by what infatuation they have been led away from the obvious sense, and upon what peculiar principles of judgment they decide against him.

The eye of the intellect, like that of the body, is not equally perfect in all, nor equally adapted in any to all objects; the end of criticism is to supply its defects; rules are the instruments of mental vision, which may indeed assist our faculties when properly used, but produce confusion and obscurity by unskilful application.

Some seem always to read with the microscope of criticism, and employ their whole attention upon minute elegance, or faults scarcely visible to common observation. The dissonance of a syllable, the recurrence of the same sound, the repetition of a particle, the smallest deviation from propriety, the slightest defect in construction or arrangement, swell before their eyes into enormities. into enormities. As they discern with

great exactness, they comprehend but a narrow compass, and know nothing of the justness of the design, the general spirit of the performance, the artifice of connexion, or the harmony of the parts; they never conceive how small a proportion that which they are busy in contemplating bears to the whole, or how the petty inaccuracies, with which they are offended, are absorbed and lost in general excellence.

Others are furnished by criticism with a telescope. They see with great clearness whatever is too remote to be discovered by the rest of mankind, but are totally blind to all that lies immediately before them. They discover in every passage some secret meaning, some remote allusion, some artful allegory, or some occult imitation, which no other reader ever suspected; but they have no perception of the cogency of arguments, the force of pathetick sentiments, the various colours of diction, or the flowery embellishments of fancy; of all that engages the attention of others, they are totally insensible, while they pry into worlds of conjecture, and amuse themselves with phantoms in the clouds.

In criticism, as in every other art, we fail sometimes by our weakness, but more frequently by our fault. We are sometimes bewildered by ignorance, and sometimes by prejudice, but we seldom deviate, far from the right, but when we deliver ourselves up to the direction of vanity.