No less peremptory is the censure of our hypercritical historian,
MR OLDMIXON.
'I dare not say anything of the Essay on Criticism in verse; but if any more curious reader has discovered in it something new which is not in Dryden's prefaces, dedications, and his Essay on Dramatic Poetry, not to mention the French critics, I should be very glad to have the benefit of the discovery.'[148]
He is followed (as in fame, so in judgment) by the modest and simple-minded
MR LEONARD WELSTED,
who, out of great respect to our poet not naming him, doth yet glance at his essay, together with the Duke of Buckingham's, and the criticisms of Dryden, and of Horace, which he more openly taxeth: 'As to the numerous treatises, essays, arts, &c., both in verse and prose, that have been written by the moderns on this ground-work, they do but hackney the same thoughts over again, making them still more trite. Most of their pieces are nothing but a pert, insipid heap of common-place. Horace has even, in his Art of Poetry, thrown out several things which plainly shew he thought an Art of Poetry was of no use, even while he was writing one.'[149]
To all which great authorities, we can only oppose that of
MR ADDISON.
'The Art of Criticism (saith he), which was published some months since, is a master-piece in its kind. The observations follow one another, like those in Horace's Art of Poetry, without that methodical regularity which would have been requisite in a prose writer. They are some of them uncommon, but such as the reader must assent to, when he sees them explained with that ease and perspicuity in which they are delivered. As for those which are the most known and the most received, they are placed in so beautiful a light, and illustrated with such apt allusions, that they have in them all the graces of novelty, and make the reader, who was before acquainted with them, still more convinced of their truth and solidity. And here give me leave to mention what Monsieur Boileau has so well enlarged upon in the preface to his works—that wit and fine writing doth not consist so much in advancing things that are new, as in giving things that are known an agreeable turn. It is impossible for us, who live in the latter ages of the world, to make observations in criticism, morality, or any art or science, which have not been touched upon by others; we have little else left us but to represent the common sense of mankind in more strong, more beautiful, or more uncommon lights. If a reader examines Horace's Art of Poetry, he will find but few precepts in it which he may not meet with in Aristotle, and which were not commonly known by all the poets of the Augustan age. His way of expressing and applying them, not his invention of them, is what we are chiefly to admire.'
'Longinus, in his Reflections, has given us the same kind of sublime which he observes in the several passages that occasioned them: I cannot but take notice that our English author has, after the same manner, exemplified several of the precepts in the very precepts themselves.' He then produces some instances of a particular beauty in the numbers, and concludes with saying, 'that there are three poems in our tongue of the same nature, and each a master-piece in its kind—the Essay on Translated Verse, the Essay on the Art of Poetry, and the Essay on Criticism.'[150]