"In what way," said another, "has the denouncer of SALMASIUS become entitled to complain of rough attacks? Nor has his character been assailed. In that he remains episcopal. Only in his poetry is he made to suffer."
"But he is made to suffer pretty heavily," said a third. "Hear what JOHNSON said with regard to our friend's Lycidas:—
"'One of the poems on which much praise has been bestowed is Lycidas; of which the diction is harsh, the rhymes uncertain and the numbers unpleasing. What beauty there is we must therefore seek in the sentiments and images. It is not to be considered as the effusion of real passion; for passion runs not after remote allusions and obscure opinions. Passion plucks no berries from the myrtle and ivy, nor calls upon Arethuse and Mincius, nor tells of rough satyrs and fauns with cloven heel. Where there is leisure for fiction there is little grief.
"'In this poem there is no nature for there is no truth; there is no art for there is nothing new. Its form is that of a pastoral: easy, vulgar and therefore disgusting.'
"Do you call that criticism?"
"Ah, but listen," said another and much agitated Shade, "to what he says of our respected THOMAS GRAY. The Committee must have forgotten how it goes:—
"These odes are marked by glittering accumulation of ungraceful ornaments; they strike rather than please; the images are magnified by affectation, the language is laboured into harshness. The mind of the writer seems to work with unnatural violence. Double, double, toil and trouble. He has a kind of strutting dignity and is tall by walking on tiptoe."
The agitated Shade was about to proceed further with his protest when a sound of cheering stopped him. And lo and behold! an approving throng was circling round the new member, and in the thick of it were JOHN MILTON and THOMAS GRAY.