The Works of Samuel Johnson, LL.D. in Eleven Volumes, Volume 06. Samuel Johnson

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СКАЧАТЬ object; but, as he grew hot in his career, his enthusiasm began to sparkle; and, in the vehemence of his postscript, he charges my assertions, and my reasons for advancing them, with folly and malice. His argumentation, being somewhat enthusiastical, I cannot fully comprehend, but it seems to stand thus: my insinuations are foolish or malicious, since I know not one of the governours of the hospital; for, he that knows not the governours of the hospital, must be very foolish or malicious.

      He has, however, so much kindness for me, that he advises me to consult my safety, when I talk of corporations. I know not what the most important corporation can do, becoming manhood, by which my safety is endangered. My reputation is safe, for I can prove the fact; my quiet is safe, for I meant well; and for any other safety, I am not used to be very solicitous.

      I am always sorry, when I see any being labouring in vain; and, in return for the journalist's attention to my safety, I will confess some compassion for his tumultuous resentment; since all his invectives fume into the air, with so little effect upon me, that I still esteem him, as one that has the merit of meaning well; and still believe him to be a man, whose failings may be justly pardoned for his virtues 6.

      REVIEW 7 OF AN ESSAY ON THE WRITINGS AND GENIUS OF POPE

      This is a very curious and entertaining miscellany of critical remarks and literary history. Though the book promises nothing but observations on the writings of Pope, yet no opportunity is neglected of introducing the character of any other writer, or the mention of any performance or event, in which learning is interested. From Pope, however, he always takes his hint, and to Pope he returns again from his digressions. The facts, which he mentions, though they are seldom anecdotes, in a rigorous sense, are often such as are very little known, and such as will delight more readers than naked criticism.

      As he examines the works of this great poet, in an order nearly chronological, he necessarily begins with his pastorals, which, considered as representations of any kind of life, he very justly censures; for there is in them a mixture of Grecian and English, of ancient and modern images. Windsor is coupled with Hybla, and Thames with Pactolus. He then compares some passages, which Pope has imitated, or translated, with the imitation, or version, and gives the preference to the originals, perhaps, not always upon convincing arguments.

      Theocritus makes his lover wish to be a bee, that he might creep among the leaves that form the chaplet of his mistress. Pope's enamoured swain longs to be made the captive bird that sings in his fair one's bower, that she might listen to his songs, and reward him with her kisses. The critick prefers the image of Theocritus, as more wild, more delicate, and more uncommon.

      It is natural for a lover to wish, that he might be any thing that could come near to his lady. But we more naturally desire to be that which she fondles and caresses, than that which she would avoid, at least would neglect. The snperiour delicacy of Theocritus I cannot discover, nor can, indeed, find, that either in the one or the other image there is any want of delicacy. Which of the two images was less common in the time of the poet who used it, for on that consideration the merit of novelty depends, I think it is now out of any critick's power to decide.

      He remarks, I am afraid, with too much justice, that there is not a single new thought in the pastorals; and, with equal reason, declares, that their chief beauty consists in their correct and musical versification, which has so influenced the English ear, as to render every moderate rhymer harmonious.

      In his examination of the Messiah, he justly observes some deviations from the inspired author, which weaken the imagery, and dispirit the expression.

      On Windsor Forest, he declares, I think without proof, that descriptive poetry was by no means the excellence of Pope; he draws this inference from the few images introduced in this poem, which would not equally belong to any other place. He must inquire, whether Windsor forest has, in reality, any thing peculiar.

      The Stag-chase is not, he says, so full, so animated, and so circumstantiated, as Somerville's. Barely to say, that one performance is not so good as another, is to criticise with little exactness. But Pope has directed, that we should, in every work, regard the author's end. The stag-chase is the main subject of Somerville, and might, therefore, be properly dilated into all its circumstances; in Pope, it is only incidental, and was to be despatched in a few lines.

      He makes a just observation, "that the description of the external beauties of nature, is usually the first effort of a young genius, before he hath studied nature and passions. Some of Milton's most early, as well as mos't exquisite pieces, are his Lycidas, l'Allegro, and il Penseroso, if we may except his ode on the Nativity of Christ, which is, indeed, prior in order of time, and in which a penetrating critick might have observed the seeds of that boundless imagination, which was, one day, to produce the Paradise Lost."

      Mentioning Thomson, and other descriptive poets, he remarks, that writers fail in their copies, for want of acquaintance with originals, and justly ridicules those who think they can form just ideas of valleys, mountains, and rivers, in a garret in the Strand. For this reason, I cannot regret, with this author, that Pope laid aside his design of writing American pastorals; for, as he must have painted scenes, which he never saw, and manners, which he never knew, his performance, though it might have been a pleasing amusement of fancy, would have exhibited no representation of nature or of life.

      After the pastorals, the critick considers the lyrick poetry of Pope, and dwells longest on the ode on St. Cecilia's day, which he, like the rest of mankind, places next to that of Dryden, and not much below it. He remarks, after Mr. Spence, that the first stanza is a perfect concert: the second he thinks a little flat; he justly commends the fourth, but without notice of the best line in that stanza, or in the poem:

      "Transported demi-gods stood round,

      And men grew heroes at the sound."

      In the latter part of the ode, he objects to the stanza of triumph:

      "Thus song could prevail," &c.

      as written in a measure ridiculous and burlesque, and justifies his answer, by observing, that Addison uses the same numbers in the scene of Rosamond, between Grideline and sir Trusty:

      "How unhappy is he," &c.

      That the measure is the same in both passages, must be confessed, and both poets, perhaps, chose their numbers properly; for they both meant to express a kind of airy hilarity. The two passions of merriment and exultation are, undoubtedly, different; they are as different as a gambol and a triumph, but each is a species of joy; and poetical measures have not, in any language, been so far refined, as to provide for the subdivisions of passion. They can only be adapted to general purposes; but the particular and minuter propriety must be sought only in the sentiment and language. Thus the numbers are the same in Colin's Complaint, and in the ballad of Darby and Joan, though, in one, sadness is represented, and, in the other, tranquillity; so the measure is the same of Pope's Unfortunate Lady, and the Praise of Voiture.

      He observes, very justly, that the odes, both of Dryden and Pope, conclude, unsuitably and unnaturally, with epigram.

      He then spends a page upon Mr. Handel's musick to Dryden's ode, and speaks of him with that regard which he has generally obtained among the lovers of sound. He finds something amiss in the air "With ravished ears," but has overlooked, or forgotten, the grossest fault in that composition, which is that in this line:

      "Revenge, revenge, Timotheus cries,"

      He has laid much stress upon the two latter words, which are merely words of connexion, and ought, in musick, to be considered as parenthetical.

      From this ode СКАЧАТЬ