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"Unerring NATURE, still divinely bright, One clear, unchanged, and universal light;

Life, force, and beauty, must to all impart,

At once the source, and end, and test of art."

Warburton has remarked, that the

two last verses run parallel to one another, inasmuch as "source" respects "life," the ever-welling-"end" reflects "force," for the force of any thing arises from its being directed to its end-and "test" looks back to "beauty," for every thing acquires beauty by its being reduced to its true standard. Very well said.

But in what sense is nature the "end" of art? Warburton explains the word, by "the design of poetry being to convey knowledge of nature in the most agreeable manner." Might

not one think that nature is this "end" rather, inasmuch as art aims at reaching nature in our bosoms? In this acceptation, "end" and "force" would precisely belong to one another.

In the mean time, "life" and "source" distinctly concern the creative power in the soul of the poet; art's "end" must be known, and fixedly looked at, as the lodestar by the mariner, by presiding criticism in the same soul; and the "test" of art must evidently be applied by the critic discharging his peculiar functions; whilst unerring nature," imaged as the sun, enlightens, of course, both poet and critic.

And now the critic, who was at the outset of the strain-six verses agoalone in contemplation, is dismissed for good or for ill. The poet is on Pegasus's back; the lashing out of a heel kicks the unfortunate devil to the devil; and away we go.

For one verse, the creative power, and the presiding criticism in the mind of the poet, are confounded together under the freshly suggested

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In the next line, this same art, signifies this presiding criticism only. "Works without show, and without pomp presides."

Clearly, the intent, inostensive, virtuous faculty of criticism alone, in

fluencing, guarding, leading, and rul

ing.

Then out of the four lines, which elaborate an excellent simile, due in propriety to the presiding criticism, two are chequered with a lingering recollection of the creative power

"In some fair body thus the informing soul

With spirit feeds, with vigour fills the whole,

Each motion guides, and every nerve sustains;

Itself unseen, but in th' effect remains." What feeds? What fills? You can

not help looking back to that provision of "supplies;" and yet a profounder truth would be disclosed, another brilliancy imparted, and an unperplexed significancy given to the fine image, if Criticism alone might be the informing soul-if the delicate Reason of Art in the accomplished poetical spirit, had been boldly and frankly represented as inspiriting and invigorating, no less than as guiding and supporting; for criticism is the virtue of art, ruling the passions, and surely neither orator, nor answering, that virtue "feeds" with poet, nor philosopher, will pause in "spirits," and "fills with vigour." That which, itself unseen, remains in its effect, is clearly that authorized criticism which genius, in the poet's soul, obeys.

In the next verse wit signifies the creative power alone.

"Some to whom Heaven in wit has been profuse."

In the next, wit is the presiding criticism alone.

"Want as much more to turn it to its use."

In the two following, wit is the creative power only, and judgment is the presiding criticism.

"For wit and judgment often are at strife,

Though meant each other's aid, like man

and wife."

The four closing verses, which de

servedly ring in every ear, and grace every tougue-lucid and vigorous born of the true poetical self-understanding extol duly the presiding criticism, of which only they speak.

""Tis more to guide than spur the muse's steed,

Restrain his fury, than provoke his speed;

The winged courser, like a generous horse,

Shows most his mettle when

his course."

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A happy commentary on the "feeding with spirits," and "filling with vigour," as we would accept them. The rein provokes into action the plenitude of life that else lies unused.

By the by, Gilbert Wakefield, not the happiest of critics in his services to Pope, here rightly warns against the unskilful and indolent error of apprehending from the word "like" a most inapt simile, which would explain a horse by a horse, and exalt Pegasus by cutting off his wings. The words are clearly to be understood, "like a generous horse-AS HE IS."

We have seen, then, instructed reader, that the poet begins giving advice to the critic. Then he entangles for a moment the critic and poet together. Then he discards the critic wholly, and takes the poet along with him to the end. Do not forget, we beseech you, that there are, in the soul of the poet, two great distinct powers. There is the primary creative power, which, strong in love and passion and imagination, converses with nature, draws thence its heaped intellectual wealth, and transmutes it all into poetical

substance. Then there is the great presiding power of criticism, which sits in sovereignty, ruling the work of the poet engaged in exercising his art. These two are confounded and confused by Pope once and again. They are so, under the name of Art!— which, at first, comprehends the two; and then suddenly means only the power of criticism in the poet. Again, they shift place confusedly under the name "Wit"-which at first means the creative power only then, the critical power only. Then, once more, the creative power only; in which sense it is here at last opposed explicitly to judgment. The close is, under a fit and gallant figure, a spirited description of the creative power firily working under the control of criticism.

These deceiving interchanges run through a passage otherwise of great lucidity and beauty, and of sterling strength and worth. Probably, most attentive of readers, though possibly not the least perplexed, thou wilt not rest with less satisfaction upon what is truly good in the passage, now thou hast with us taken the trouble of detecting the slight disorder which overshadows it. The possibility of the first confusion which slips from the critic to the poet, attests the strength of the opinion in Pope's mind, that the poet must entertain as an intellectual inmate a spirit of criticism, as learned and severe as that of the mere critic. Perhaps the latter infers how close the cognation of the creative and the critical faculty.

And now for another striking instance of sliding, unconsciously, from critic to poet.

"But most by numbers judge a poet's song,
And smooth or rough, with them is right or wrong:
In the bright muse, though thousand charms conspire,
Her voice is all these tuneful fools admire;

Who haunt Parnassus but to please their ear,

Not mend their minds; as some to church repair,

Not for the doctrine, but the music, there.

These equal syllables alone require,

Though oft the ear the open vowels tire;
While expletives their feeble aid do join,
And ten low words oft creep in one dull line.
While they ring round the same unvaried chimes,
With sure returns of still expected rhymes;
Where'er you find the cooling western breeze,'
In the next line, it' whispers through the trees;'
If crystal streams with pleasing murmurs creep,"
The reader's threaten'd (not in vain) with 'sleep ;'

Then, at the last and only couplet fraught

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With some unmeaning thing they call a thought,

A needless Alexandrine ends the song,

That, like a wounded snake, drags its slow length along.
Leave such to tune their own dull rhymes!"-

Who are the "MOST" that "JUDGE a poet's song by numbers?" with whom "smooth or rough is RIGHT or WRONG?" Who are the tuneful fools," who, of the Muse's thousand charms, ADMIRE her tuneful voice" only? The haunters of Parnassus, whose attraction thither is the "PLEASURE" of their ear, not the instruction of their mind; who "REQUIRE" nothing more than "equal syllables?"-For these first eight lines, you have the bad critic, and the bad critic only.

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But who are "THEY" that "ring round the same unvaried chimes" of rhymes; who bestow upon "you," "the reader,"" breeze," "trees; 66 creep," and "sleep;" whose one thought has no meaning; who have scotched the snake, not killed it; and who are to be abandoned to the solitary delight of their own bad verses? In these last ELEVEN lines, you have the bad poet, and the bad poet only. Whilst in the three intermediate verses, "Though oft the ear," &c., you have the imperceptible slide effected from critic to poet. Did Pope know and intend this? We think not; and we think there is in the construction itself proof positive to the inadvertency. For where is the antecedent referred to in

"While THEY ring round?" He who looks for it will arrive first at the " THESE," who "equal syllables alone require." But he has now escaped from the bad poet's into almost worse company. The said

"THESE" are clearly a

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SECOND

smaller division of the condemned
EAR-CRITICS. The greater division,
the
66 MOST, " have ears, forsooth,
and can distinguish "smooth" and
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But
"rough.”
THESE WOULD
HAVE ears. They have none; they
have only FINGERS. They can tell
that the syllables keep the RULE of
the measure, and that is all. They
stand on the lowest round of the
ladder, or on the ground at the foot
of the ladder.

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tire,

Tho' oft the ear the open vowels tire,

is to them "excellent music," an unimpeachable verse, for it COUNTS RIGHT. They are the arithmeticians of the Muse-no musicians.

We agree with Warburton, who says that it is "impossible to give a full and exact idea of poetical criticism without considering at the same time the art of poetry, so far as poetry is an ART." But we must contend, that a poet who addresses or discourses of two such distinct species as the writer who criticizes, and the writer who is criticized-two human beings, at least, placed in such very different predicaments-is bound continually to know and to keep his reader aware, which he exhorts and which he smites-the sacrificer or the victim.

You have in your memory, and a thousand times recollected, the following fine passage; but are you sure that you have fully and clearly understood, as well as felt it?

"A little learning is a dangerous thing;
Drink deep, or taste not the Pierian spring;
There shallow drafts intoxicate the brain,
And drinking largely sobers us again.
Fired at first sight with what the Muse imparts,
In fearless youth we tempt the heights of arts,
While from the bounded level of our mind
Short views we take, nor see the length behind;
But more advanced, behold with strange surprise,
Far distant views of endless science rise!
So pleased at first the towering Alps we try,
Mount o'er the vales, and seem to tread the sky,
Th' eternal snows appear already past,

And the first clouds and mountains seem the last.
VOL. LVII. NO. CCCLIII.

2 D

But those attain'd, we tremble to survey
The growing labours of the lengthen'd way,
Th' increasing prospect tires our wondering eyes,
Hills peep o'er hills, and Alps on Alps arise."

The precept must be given to somebody. To whom? The whole Essay addresses itself to two descriptions of persons-to those who will be critics, and to those who will be poets. Both are here addressed, and indistinctively. But we may distinguish-nay, mustin turning verse into prose. What is the counsel bestowed? "Meddle not with criticism, as a professed or unprofessed critic, unless you are prepared to invade the depths of criticism." "Touch not the lyre of Apollo to call forth a tone, unless you are willing to put your hand under the most rigorous discipline in the school of the musicians." What is the motive, the reason of the counsel? The twofold monitory and hortatory counsel, proceeds upon a twofold contemplation; upon the view of the beginning, and upon that of the end.

A taste of criticism-the possession of half a dozen rules-the sitting, for a few furtive and perilous instants, upon that august seat of high judgment, before which the great wits of all ages and nations come to receive their award-infatuates the youthful untempered brain with dazzling, bewildering, and blinding self-opinion. Enough to mislead is easily learned. Right dictates of clearest minds oracles of the old wisdom-crudely misunderstood. Rules of general enunciation made false in the applying, by the inability of perceiving in the instance the differencing conditions which qualify the rule, or suspend it. So, on the other hand, canons of a narrower scope, stretched beyond their true intent. And last, and worst of all, in the ignorance and in the disdain of statutes, and sanctions, and preceding authoritative judgments-the humours and fancies, the

likings and the mislikings, the incapable comprehension and the precipitate misapprehensions of an untrained, uninstructed, inexperienced, self-unknowing spirit, howsoever of Nature gifted or ungifted, to be taken for the standard of the worth which the generations of mankind have approved, or which has newly risen up to enlighten the generations of mankind!

Abstain, then, from judging, O Critic that wilt be! Humble thine understanding in reverence! Open thy soul to beliefs! Yield up thy heart, dissolving and overcome, to love! Cultivate self-suspicion! and learn! learn! learn! The bountiful years that lift up the oak to maturity, shall rear, and strengthen, and ripen thee! Knowledge of books, knowledge of men, knowledge of Nature-and solicited, and roused, and sharpened, in the manifold and studious conversation with books, and with men, and with Nature-last and greatest-the knowledge of thyself-shall bring thee out a large-hearted, high-minded, sensitive, apprehensive, comprehensive, informed and original, clear and profound, genial and exact, scrutinizing and pardoning, candid, and generous, and just—in a word, a finished CRITIC. The steadfast and mighty laws of the moral and intellectual world have taken safe care and tutelage of thee, and confer upon thee, in thy now accomplished powers, the natural and well-earned remuneration of honestly, laboriously, and pertinaciously dedicated powers!

And as for thee, O Poet that wilt be, con thou, by night and by day, the biography of JOHN MILTON !

And now-in conclusion-for the very noblest strain in didactic poetry.

"Those Rules of old discover'd, not devised,
Are Nature still, but Nature methodised;
Nature, like Liberty, is but restrain'd
By the same laws which first herself ordain'd.

"Hear how learn'd Greece her useful rules indites,
When to repress, and when indulge our flights:
High on Parnassus' top her sons she show'd,

And pointed out those arduous paths they trod;
Held from afar, aloft, th' immortal prize,
And urged the rest by equal steps to rise:

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"You, then, whose judgment the right course would steer,
Know well each Ancient's proper character:
His fable, subject, scope in ev'ry page;
Religion, country, genius of his age:
Without all these at once before your eyes,
Cavil you may, but never criticise.

Be Homer's works your study and delight,
Read them by day, and meditate by night;

Thence form your judgment, thence your maxims bring,
And trace the muses upward to their spring.
Still with itself compared, his text peruse;

And let your comment be the Mantuan muse.
"When first young Maro in his boundless mind
A work t' outlast immortal Rome design'd,
Perhaps he seem'd above the critic's law,

And but from Nature's fountains scorn'd to draw:
But when t' examine ev'ry part he came,
Nature and Homer were, he found, the same.
Convinced, amazed, he checks the bold design;
And rules as strict his labour'd work confine,
As if the Stagyrite o'erlook'd each line.
Learn hence for ancient rules a just esteem;
To copy nature is to copy them.

Some beauties yet no precepts can declare,
For there's a happiness as well as care.
Music resembles poetry; in each

Are nameless graces which no methods teach,
And which a master-hand alone can reach.

If, where the rules not far enough extend,

(Since rules were made but to promote their end,)
Some lucky license answer to the full
Th' intent proposed, that license is a rule.
Thus Pegasus, a nearer way to take,
May boldly deviate from the common track;
Great wits sometimes may gloriously offend,
And rise to faults true critics dare not mend.
From vulgar bounds with brave disorder part,
And snatch a grace beyond the reach of art,
Which, without passing through the judgment, gains
The heart, and all its end at once attains.

In prospects thus, some objects please our eyes,
Which out of nature's common order rise,

The shapeless rock, or hanging precipice.

But though the ancients thus their rules invade,

(As kings dispense with laws themselves have made,)
Moderns, beware! or if you must offend

Against the precept, ne'er transgress its end;
Let it be seldom, and compell'd by need,
And have, at least, their precedent to plead.
The critic else proceeds without remorse,
Seizes your fame, and puts his laws in force.

I know there are, to whose presumptuous thoughts
Those freer beauties, ev'n in them, seem faults.
Some figures monstrous and mis-shaped appear,
Consider'd singly, or beheld too near;

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