Dr. Johnson has said, that "whoever wishes to attain an English style, familiar but not coarse, and elegant but not ostentatious, must give his days and nights to the volumes of Addison." He who has this object in view, may surely, with equal propriety, be counselled to study the pages of Dryden; for in them, with the ease, simplicity, and familiar language of Addison, will be found conjoined more fervour, more strength, and more variety. The great characteristick of Addison is his frequent use of vernacular idiom; of which Dryden was so fond, that having on one occasion employed the Anglo-Latin word, diction, he makes a kind of apology, by translating it: in this respect, therefore, he is entitled to the encomium given to the ancient bard whose TALES he has so happily modernized, and may with equal truth be called— "the well of English undefiled." But his best praise is found in the following observations of Dr. Johnson, which contain so judicious an account of the pieces comprised in these volumes, that not to prefix them to this Collection of his Prose Works, would be great injustice to our author.

"Dryden may be properly considered as the father of English criticism, as the writer who first taught us to determine upon principles the merit of composition. Of our former poets, the greatest

dramatist wrote without rules, conducted through life and nature by a genius that rarely misled, and rarely deserted him. Of the rest, those who knew the laws of propriety had neglected to teach them.

"Two ARTS OF ENGLISH POETRY were written in the days of Elizabeth by Webbe and Puttenham, from which something might be learned, and a few hints had been given by Jonson and Cowley; but Dryden's ESSAY ON DRAMATICK POESY was the first regular treatise on the art of writing.

"He who, having formed his opinions in the present age of English literature, turns back to peruse this Dialogue, will not perhaps find much increase of knowledge, or much novelty of instruction; but he is to remember that critical principles were then in the hands of a few, who had gathered them partly from the Ancients, and partly from the Italians and French. The structure of dramatick poems was not then generally understood. Audiences applauded by instinct, and poets perhaps often pleased by chance.

"A writer who obtains his full purpose, loses himself in his own lustre. Of an opinion which is no longer doubted, the evidence ceases to be examined. Of an art universally practised, the first teacher is forgotten. Learning once made popular is no longer learning; it has the appearance of something which we have bestowed upon

ourselves, as the dew appears to rise from the field which it refreshes.

"To judge rightly of an authour, we must transport ourselves to his time, and examine what were the wants of his contemporaries, and what were his means of supplying them. That which is easy at one time was difficult at another. Dryden at least imported his science, and gave his country what it wanted before; or rather, he imported only the materials, and manufactured them by his own skill.

"The Dialogue on the Drama was one of his first essays of criticism, written when he was yet a timorous candidate for reputation, and therefore laboured with that diligence which he might allow himself somewhat to remit, when his name gave sanction to his positions, and his awe of the publick was abated, partly by custom, and partly by success. It will not be easy to find, in all the opulence of our language, a treatise so artfully variegated with successive representations of opposite probabilities, so enlivened with imagery, so brightened with illustrations. His portraits of the English dramatists are wrought with great spirit and diligence. The account of Shakspeare may stand as a perpetual model of encomiastick criticism; exact without minuteness, and lofty without exaggeration. The praise lavished by Longinus on the attestation of the heroes of Marathon by Demosthenes, fades

away before it. In a few lines is exhibited a character, so extensive in its comprehension, and so curious in its limitations, that nothing can be added, diminished, or reformed; nor can the editors and admirers of Shakspeare, in all their emulation of reverence, boast of much more than of having diffused and paraphrased this epitome of excellence, of having changed Dryden's gold for baser metal, of lower value though of greater bulk.

"In this, and in all his other Essays on the same subject, the criticism of Dryden is the criticism of a poet; not a dull collection of theorems, nor a rude detection of faults, which perhaps the censor was not able to have committed; but a gay and vigorous dissertation, where delight is mingled with instruction, and where the authour proves his right of judgment, by his power of perform

ance.

"The different manner and effect with which critical knowledge may be conveyed, was perhaps never more clearly exemplified than in the performances of Rymer and Dryden. It was said of a dispute between two mathematicians, "malim cum Scaligero errare, quam cum Clavio rectè sapere;" that it was more eligible to go wrong with one, than right with the other. A tendency of the same kind every mind must feel at the perusal of

Dryden's prefaces and Rymer's discourses. With Dryden, we are wandering in quest of Truth; whom we find, if we find her at all, dressed in the graces of elegance; and if we miss her, the labour of the pursuit rewards itself; we are led only through fragrance and flowers: Rymer, without taking a nearer, takes a rougher way; every step is to be made through thorns and brambles; and Truth, if we meet her, appears repulsive by her mien, and ungraceful by her habit. Dryden's criticism has the majesty of a queen; Rymer's has the ferocity of a tyrant.

"As he had studied with great diligence the art of poetry, and enlarged or rectified his notions by experience perpetually increasing, he had his mind stored with principles and observations; he poured out his knowledge with great liberality, and seldom published any work without a critical dissertation, by which he increased the book and the price, with little labour to himself; for of labour, notwithstanding the multiplicity of his productions, there is sufficient reason to suspect that he was not a lover. To write con amore, with fondness for the employment, with perpetual touches and retouches, with unwillingness to take leave of his own idea, and an unwearied pursuit of unattainable perfection, was, I think, no part of his character.

"His Criticism may be considered as general or