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dour, Ý 563. Modesty, x 566. Good-breeding,
x 572. Sincerity and Freedom of advice, x 578.
2. When one's Counsel is to be restrained, x 584. Cha-
rakter of an incorrigible Poet, x 600. And of an im-
pertinent Critic, x 610, etc. Charafler of a good
Critic, x 629. The History of Criticism, and Cha-
rasters of the best Critics, Aristotle, x 645. Horace,
x 653. Dionysius, x 665. Petronius, x 667.

Quintilian, 67o. Longinus, v 675. Of the De-
cay of Criticism, and its Revival. Erasınus, x 693.
Vida, ý noi. Boileau, k ?I4. Lord Recommon,
etc. * 725. Conclulon.

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T IS hard to say, if greater want of skill

1 Appear in writing or in judging ill; But of the two, less dang’rous is th’offence To tire our patience, than mislead our sense.

COMMENTARY. . An Esay.] The Poem is in one book, but divided into three principal parts or members. The first (to 8 201.] gives rules for the Study of the Art of Criticism: the second [from thence to x 560.] exposes the Causes of wrong Judgment; and the third [from thence to the end] marks out the Morals of the Critic.

In order to a right conception of this poem, it will be necessary to observe, that tho' it be intitled simply An Efay on Criticism, yet several of the precepts relate equally to the good writing as well as to the true judging of a poem. This is so far from violating the Unity of the Subject, that it preserves and compleats it: or from disordering the regularity of the Form, that it adds beauty to it, as will appear by the following considerations: 1. It was impossible to give a full and exact idea of the Art of Poetical Criticism, without considering at the same time the Art of Poetry; so far as Poetry is an Art. These therefore being closely connected in nature, the Author has with much judgment reciprocally interwoven the precepts of each thro' his

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