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Improved by Art and Rules, which are but methodis’d Nature,
Reverence due to the Ancients, and praise of them, $ 181,
PART II. Ver. 203, etc. Causes bindering a true Judgment. 1. Pride, $ 208.
perfect Learning, $ 215. 3. Judging by parts, and not by the whole, $ 233 to 288. Critics in Wit, Language, Ver. lification, only, x 288. 305. 339, etc. 4. Being too bard to please, or too apt to admire, $ 384. 5. Partiality—too much love to a Sect, - to tbe Ancients or Moderns, Ý 394. 6. Prejudice or Prevention, $ 408. 7. Singularity, Ý 424. 8. Inconftancy, ở 43o. 9. Party Spirit, ỷ 452, tt, 10. Envy, x 466. Against Envy and in praise of Goodnature, x 508, etc. Wben Severity is cbiefly to be used by Critics, x 526, etc.
PART III. Ver. 560, etc. Rules for the Conduct and Manners in a Critic, 1. Candour,
$ 563. Modesty, $ 566. Good-breeding, $ 572. Sincerity and Freedom of advice, $ 578. 2. Wben one's Counfel is to be restrained, $ 584. Character of an incorrigible Poet, $ 600. And of an impertinent Critic, ý 610, etc. Character of a good Critic, $ 629. The History of Criticism, and Characters of the best Critics, Aristotle, $ 645. Horace, $ 653. Dionyfius, $ 665. Petronius, ý 667. Quintilian, x 670. Longinus, x 675. Of the Decay of Criticism, and its Revival. Erasmus, 693. Vida, x 705. Boileau, x 714. Lord Roscommon, etc. $725. Conclusion,
IS hard to say, if greater want of skill
Appear in writing or in judging ill ;
wrong for one who writes amiss ;
An Essay] The Poem is in one book, but divided into three principal parts or members. The first (to y 201.) gives rules for the Study of the Art of Criticism: the second [from thence to $ 560.] exposes the Causes of wrong Judgment; and the third [from thence to the end) marks out the Morals of the Critic. When the Reader hath well considered the whole, and hath observed the regularity of the plan, the masterly conduct of the several parts, the penetration into Nature, and the compass of Learning so conspicuous throughout, he should then be told that it was the work of an Author who had not attained the twentieth Year of his age.
A fool might once himself alone expose,
'Tis with our judgments as our watches, none
15 And censure freely who have written well. Authors are partial to their wit, 'tis true, But are not Critics to their judgment too?
Yet if we look more closely, we shall find Most have the seeds of judgment in their mind : 20 Nature affords at least a glimm'ring light; The lines, tho' touch'd but faintly, are drawn right. But as the slightest ketch, if justly tracd, Ís by ill-colouring but the more disgrac'd, So by false learning is good fenfe defac'd :
Ver. 15. Let such teach others] “ Qui scribit artificiose, ab “ aliis commode scripta facile intelligere poterit.” Cic. ad Heren. lib. iv, “ De pictore, sculptore, fictore, nifi artifex, judicare
non poteft.” Pliny.
VER. 20. Mot have the seeds] “ Omnes tacito quodam fenfus « fine ulla arte, aut ratione, quæ fint in artibus ac rationibus " recta et prava dijudicant.” Cic. de Orat. lib. iii. VER. 25. So by false learning]
« Plus fine doctrina prudentia, quam fine prudentia valet doctrina. Quint.
Some are bewilder'd in the maze of fchools, 26
Some have at first for Wits, then Poets paft, 36 Turn'd Critics next, and prov'd plain fools at last. Some neither can for Wits nor Critics pass, As heavy mules are neither horse nor ass. Those half-learn'd witlings, num'rous in our ille, 40 As half-form'd insects on the banks of Nile; Unfinish'd things, one knows not what to call, Their generation's so equivocal : To tell 'em, would a hundred tongues require, Or one vain wit’s, that might a hundred tire. 45
Between * 25 and 26 were these lines, since omitted by the author :
Many are spoil'd by that pedantic throng,