English has also been corrupted by London emphasis and accent—I will not tire you by quoting examples, of which a long list might be made to prove the great propensity of the common people to those defects; and would be a farther confirmation of what I just now advanced, that men of learning really commit improprieties, because their ear is familiarized to them.
I have yet something to add on this subject—but I must caution you from imagining that because I find out the faults of others, I pretend to perfection myself. Hogarth says very properly in his Analysis of Beauty, “do not look for good drawing in those examples which I bring of grace and beauty—they are purposely neglected—attend to the precept.”
LETTER XII.
I Sometimes provoke you by sporting with what you deem sacred matters. Homer I know is one of your divinities—may I venture to tell you that I never could find that scale of heroes in the Iliad which critics admire as such a beauty?
Hector is supposed in valour superior to all but Achilles—upon what authority? Ajax certainly beat him in the single combat between them; and there are some instances, tho’ I cannot recollect the passages, of his inferiority to others of the Greeks.
It is surely a blindness worse than Homerican, not to see many inconsistencies in the Iliad, and it is ridiculous to attempt to make beauties of them. From many which might easily be pointed out, take one or two as they occur to my memory. After describing Mars as the most terrible of beings, and to whom whole armies are as nothing; what poetical belief is strong enough to suppose he could be made to retire by Diomed? If Minerva’s shield is so vast (the shell of a Kraken, I suppose), can one help wondering why she does not use it as the King of Laputa does his island, when his subjects on Terra-firma rebel? I do not recollect parallel instances in Milton.
LETTER XIII.
YOU have not done me justice—read the memoirs I sent you properly before they are condemned:—what is any book if it be not read in that manner by which it may best be understood? A novel, whose merit lies chiefly in the story, should be quickly passed through; for the closer you can bring the several circumstances together, the better. If its merit consists in character and sentiment, it should be read much slower; for the least obvious parts of a character are frequently the most beautiful, and the propriety of a sentiment may easily escape in a hasty perusal. Detached thoughts ought to be dwelt on longer than any other manner of writing; for different subjects following close, do rather confound than instruct; but if we allowed ourselves time to reflect, we should understand the author and perhaps improve ourselves. Each thought should be considered as a text, upon which we ought to make a commentary.