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The attentive mind,

By this harmonious action on her powers,
Becomes herself harmonious: wont fo oft
In outward things to meditate the charm
Of facred order, foon fhe feeks at home
To find a kindred order, to exert
Within herfelf this elegance of love,

This fair infpir'd delight: but temper'd powers
Refine at length, and every paflion wears

A chaster, milder, more attractive mien.

AKENSIDE.

To all this must be added, as a material confideration in favour of the ftudy of polite literature, that it affords an agreeable and useful exercife of the judgment, in determining the degree of merit in literary productions; an exercise which tends to improve the taste, and to form a habit of correct and elegant expreffion, both in converfation and writing.

Ir is on these accounts, that the ftudy of polite literature in general, and of the ancient claffical writers in particular, is made a principal branch of liberal education: and for thefe reafons, fome attention may be due to the obfervations and precepts, relative to the reading of works of taste, which are to fill up the remainder of this Effay.

THE effect which is produced by writing is fimilar to that which is produced by painting, in this respect, among others; as in painting the fpectator firft enjoys the immediate pleasure of the emotion excited by the reprefentation, and then the fecondary gratification of exerci. fing his judgment upon the merit of the painter; fo in poetry, and other literary works of tafte, the reader first indulges his feelings in contemplating the objects, which, by means of a due choice and arrangement of words, are prefented before his imagination, and then proceeds

to

to a critical examination of the degree of invention, judg ment, and taste, which the production difcovers. The former is the fole object of attention in the yulgar fpe&ator, or uneducated reader: the latter is the chief occupation of those who, without natural delicacy of feeling, or vigour of fancy, coolly apply to works of genius the technical rules of art. To form the character of the real man of taste and the true critic, both must be united.

In order to enjoy in perfection the pleasure arifing from thefe employments of the mind upon literary works of taste, beside the foundation of good fenfe, and lively fenfibility, which must be laid by nature, feveral preparatory acquifitions are requifite.

THE first is, an accurate acquaintance with the LANGUAGE in which the works we read are written. It is very evident, that it is impoffible to feel the effect, or judge of the merit of any literary compofition, without knowing the meaning of the terms which the writer uses, and the ftructure and idiom of the language in which he writes. Hence arifes the neceffity of a correct and grammatical knowledge of Greek and Latin, in order to enable any one to relish the beauties of the ancients. And hence it becomes reasonable to fufpect fome deficiency in claffical learning, where thefe eftablished models of fine writing are made the fubject of indifcriminate cenfure. If verbal criticifm be thought in itself a trifling employment; yet, as an inftrument for discovering the true meaning, in order to perceive the excellencies or defects, and thus afcertain the merit of a writer, it must be acknowledged to be a useful art. A man of accurate tafte in works of literature must be a good grammarian.

BESIDE this, it is neceffary to be fo well acquainted with the SOURCES from which writers borrow their images and illustrations, as to be capable of feeling the effect, and judging of the propriety, of the application. Many

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poems of the firft merit appear obfcure, only because the reader is not fufficiently acquainted with the ancient fables, hiftorical facts, or natural objects, to which the poet refers. The mythology of the Greeks, however difficult it may be to explain it philofophically, muft at leaft be known as a fubject of narration and defeription, before the poetical writings of the ancients can be understood. And even modern poets, who frequently introduce thefe fables into their works-with little effect indeed, for, as Dr. Johnfon fays, "The attention naturally retires from a new tale of Venus, Diana, and "Minerva"-require, in their readers, fome portion of mythological knowledge. Since genius ranfacks every region of nature, fcience, and art, for materials upon which he may exercife her powers; a general acquaintance with things, as well as words, is neceffary, in order to form a true estimate of the merit of her productions. The beauties of poetry cannot be completely relished, without a habit of attending to thofe forms of nature, from which the poet borrows his conceptions, and obferving, with accuracy, the diftinct features, and peculiar characters, of objects in the vegetable and animal world *.

A GENERAL habit of CLOSE ATTENTION is another most important requifite, as in all other pursuits, fo par ticularly in the exercife of the imagination, or judgment, upon works of tafte. The difference between a languid and a vigorous exertion of the faculties forms the chief point of distinction between genius and dulnefs. No man, who was not capable of forming clear and vivid conceptions, ever wrote well. Nor can any one, with

* Sce th's fubject illuftrated by many pertinent examples and judicious obfervations, in Dr. Aikin's Effay on the application of Natural Hiflory to Poetry.

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out that degree of exertion, which preferves the mind awake to every impreffion, and ftrongly fixes its attention apon every object which comes under its notice, be in a proper ftate for enjoying the pleasures of taste, or for exercifing the functions of criticifm. He who has acquired this important habit of attention, has learned to fee and feel. The general picture presented before his fancy by the artist, will ftrike him with its full force; nor will any fingle touch, however minute, efcape his obfervation. The confequence must be, a perfect experience of the effect which it was intended to produce, and an accurate difcernment of all its beauties and blemishes. This remark is equally valid, whether the inftrument, which ge. nius employs, be the pencil or the pen.

THUS furnished with learning, knowledge, and attention, nothing further can be neceffary to put the reader of works of taste into immediate possession of the pleasures of imagination and fentiment, but a careful felection, and diligent perufal, of the most excellent productions. It is of great confequence to young perfons, at leaft at their entrance upon the study of polite literature, before their tafte is completely formed, that they confine themselves to writers of the firft merit in each branch of compofition. If, in making this choice, the advice of a judicious friend be wanting, they may fafely rely upon the voice of common fame: for on questions of taste and feeling, the general refult of public opinion is feldǝm wrong.

THE fecond object of attention in reading works of tafte, that of forming a judgment concerning their merit, require, befide the general preparation already fuggefted, a diftint examination of their feveral excellencies and defects. In order to execute the office of criticifm with tolerable fuccefs, the general principles of good writing muft be well underftood, and every piece which

is to be examined must be brought to the standard of these principles. Whatever ridicule fome witty writers may have caft upon this kind of admeasurement :-however delightful it may be thought, to "give up the reins of "one's imagination into an author's hands, and be pleased "one knows not why, and cares not wherefore"-there are, unquestionably, in nature, certain characters, by which works of true genius and tafte may be diftinguished from inferior productions. To be able, in all cafes, to determine with precifion how far a literary piece excels, or is deficient, in thefe characters, is a high attainment, which entitles the 'poffeffor to no inconfiderable fhare of diftinction, and will furnish him with an endless variety of pleafing employment. It is impoffible, in a fhort Effay, to enter into a particular difcuffion of the nature and foundation of those qualities which conftitute the merit of fine writing in general, or to delineate the peculiar features by which excellence is marked in the feveral fpecies of compofition. It may, however, be of fome use to enumerate feveral of the leading objects of attention in criticism..

CRITICISM examines the merit of literary productions under the three general heads of Thought, Arrangement, and Expreffion.

THE ESSENTIAL characters of good writing, refpecting the THOUGHTS, ideas, or fentiments, are, that they be confonant to nature, clearly conceived, agreeably diverfified, regularly connected, and adapted to fome good end. CONFORMITY TO NATURE is a quality, without which no writing, whatever other excellence it may poffefs, can obtain approbation in the court of goodfenfe, the court, to which the ultimate appeal must lie, in all difputes concerning literary merit *. A writer

* Scribendi rectè fapere eft et principium et fons.

HOR.

may

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