ILLUSTRATIVE AND PRACTICAL EXERCISES
The following critiques should be studied with the view of answering such questions as these:
Does the critic seek the truth? Is he prejudiced? Is he chiefly concerned with matter or form? Is his judgment sound? Is he broad or narrow in his sympathies? Does he judge by mere impressions? Is he superficial or thorough? Does he belong to a particular school? Is his criticism in any way helpful? Does he try to interpret the author? Is he chiefly concerned to show his own learning or brilliancy? Is he genial and tolerant? Is he dogmatic and intolerant? Is he courteous and kind? Is he ill-mannered and unkind? What points are criticised?
HEADLEY'S "SACRED MOUNTAINS"
The Reverend Mr. Headley (why will he not put his full title in his title-pages?) has in his "Sacred Mountains" been reversing the facts of the old fable about the mountains that brought forth the mouse—parturiunt montes; nascitur ridiculus mus—for in this instance it appears to be the mouse—the little ridiculus mus—that has been bringing forth the "mountains," and a great litter of them, too.—Poe.
BYRON'S "HOURS OF IDLENESS"
The poesy of this young Lord belongs to the class which neither gods nor men are said to permit. Indeed, we do not recollect to have seen a quantity of verse with so few deviations in either direction from that exact standard. His effusions are spread over a dead flat, and can no more get above or below the level, than if they were so much stagnant water. As an extenuation of this offence, the noble author is peculiarly forward in pleading minority. We have it in the title-page, and on the very back of the volume; it follows his name like a favorite part of his style. Much stress is laid upon it in the preface, and the poems are connected with this general statement of his case, by particular dates, substantiating the age at which each was written.—Lord Brougham in Edinburgh Review.
KEATS'S "ENDYMION"