No More Learning

All side in parties, and begin th' attack;
Fans clap, silks rustle, and tough whalebones crack; 40
Heroes' and Heroines' shouts confus'dly rise,
And bass, and treble voices strike the skies.
No common weapons in their hands are found,
Like Gods they fight, nor dread a mortal wound.

So when bold Homer makes the Gods engage, 45
And heav'nly breasts with human passions rage;
'Gainst Pallas, Mars; Latona, Hermes arms;
And all Olympus rings with loud alarms:
Jove's thunder roars, heav'n trembles all around,
Blue Neptune storms, the bellowing deeps resound: 50
Earth shakes her nodding tow'rs, the ground gives way.
And the pale ghosts start at the flash of day!

Triumphant Umbriel on a sconce's height
Clapp'd his glad wings, and sate to view the fight:
Propp'd on the bodkin spears, the Sprites survey 55
The growing combat, or assist the fray.

While thro' the press enrag'd Thalestris flies,
And scatters death around from both her eyes,
A Beau and Witling perish'd in the throng,
One died in metaphor, and one in song. 60
"O cruel nymph! a living death I bear,"
Cry'd Dapperwit, and sunk beside his chair.
A mournful glance Sir Fopling upwards cast,
"Those eyes are made so killing"--was his last.
Thus on Maeander's flow'ry margin lies 65
Th' expiring Swan, and as he sings he dies.

When bold Sir Plume had drawn Clarissa down,
Chloe stepp'd in, and kill'd him with a frown;
She smil'd to see the doughty hero slain,
But, at her smile, the Beau reviv'd again. 70

Now Jove suspends his golden scales in air,
Weighs the Men's wits against the Lady's hair;
The doubtful beam long nods from side to side;
At length the wits mount up, the hairs subside.

See, fierce Belinda on the Baron flies, 75
With more than usual lightning in her eyes:
Nor fear'd the Chief th' unequal fight to try,
Who sought no more than on his foe to die.
But this bold Lord with manly strength endu'd,
She with one finger and a thumb subdu'd: 80
Just where the breath of life his nostrils drew,
A charge of Snuff the wily virgin threw;
The Gnomes direct, to ev'ry atom just,
The pungent grains of titillating dust.
Sudden, with starting tears each eye o'erflows, 85
And the high dome re-echoes to his nose.

Now meet thy fate, incens'd Belinda cry'd,
And drew a deadly bodkin from her side.
(The same, his ancient personage to deck,
Her great great grandsire wore about his neck, 90
In three seal-rings; which after, melted down,
Form'd a vast buckle for his widow's gown:
Her infant grandame's whistle next it grew,
The bells she jingled, and the whistle blew;
Then in a bodkin grac'd her mother's hairs, 95
Which long she wore, and now Belinda wears. )

"Boast not my fall" (he cry'd) "insulting foe!
Thou by some other shalt be laid as low,
Nor think, to die dejects my lofty mind:
All that I dread is leaving you behind! 100
Rather than so, ah let me still survive,
And burn in Cupid's flames--but burn alive. "

"Restore the Lock! " she cries; and all around
"Restore the Lock! " the vaulted roofs rebound.
Not fierce Othello in so loud a strain 105
Roar'd for the handkerchief that caus'd his pain.
But see how oft ambitious aims are cross'd,
And chiefs contend 'till all the prize is lost!
The Lock, obtain'd with guilt, and kept with pain,
In ev'ry place is sought, but sought in vain: 110
With such a prize no mortal must be blest,
So heav'n decrees! with heav'n who can contest?

Some thought it mounted to the Lunar sphere,
Since all things lost on earth are treasur'd there.
There Hero's wits are kept in pond'rous vases, 115
And beau's in snuff-boxes and tweezer-cases.
There broken vows and death-bed alms are found,
And lovers' hearts with ends of riband bound,
The courtier's promises, and sick man's pray'rs,
The smiles of harlots, and the tears of heirs, 120
Cages for gnats, and chains to yoke a flea,
Dry'd butterflies, and tomes of casuistry.

But trust the Muse--she saw it upward rise,
Tho' mark'd by none but quick, poetic eyes:
(So Rome's great founder to the heav'ns withdrew, 125
To Proculus alone confess'd in view)
A sudden Star, it shot thro' liquid air,
And drew behind a radiant trail of hair.
Not Berenice's Locks first rose so bright,
The heav'ns bespangling with dishevell'd light. 130
The Sylphs behold it kindling as it flies,
And pleas'd pursue its progress thro' the skies.

This the Beau monde shall from the Mall survey,
And hail with music its propitious ray.
This the blest Lover shall for Venus take, 135
And send up vows from Rosamonda's lake.
This Partridge soon shall view in cloudless skies,
When next he looks thro' Galileo's eyes;
And hence th' egregious wizard shall foredoom
The fate of Louis, and the fall of Rome. 140

Then cease, bright Nymph! to mourn thy ravish'd hair,
Which adds new glory to the shining sphere!
Not all the tresses that fair head can boast,
Shall draw such envy as the Lock you lost.
For, after all the murders of your eye, 145
When, after millions slain, yourself shall die:
When those fair suns shall set, as set they must,
And all those tresses shall be laid in dust,
This Lock, the Muse shall consecrate to fame,
And 'midst the stars inscribe Belinda's name. 150





* * * * *





CONTENTS OF THE ESSAY ON CRITICISM


PART I


Introduction. That 'tis as great a fault to judge ill, as to write
v. 1. ill, and a more dangerous one to the public,


v. 9 to 18 That a true Taste is as rare to be found, as a true
Genius.

v. 19 to 25 That most men are born with some Taste, but spoiled by
false Education.

v. 26 to 45 The multitude of Critics, and causes of them.

v. 46 to 67. That we are to study our own Taste, and know the Limits
of it.

v. 68 to 87 Nature the best guide of Judgment.

v. 88 Improv'd by Art and Rules,--which are but methodis'd
Nature.

v. id, to 110 Rules derived from the Practice of the Ancient Poets.

v. 120 to 138 That therefore the Ancients are necessary to be studyd,
by a Critic, particularly Homer and Virgil.

v. 140 to 180 Of Licenses, and the use of them by the Ancients.

v. 181, etc. Reverence due to the Ancients, and praise of them.



PART II. Ver. 201, etc.

Causes hindering a true Judgment,

v. 208 1. Pride.
v. 215 2. Imperfect Learning.

v. 233 to 288 3. Judging by parts, and not by the whole.

v. 288, 305, Critics in Wit, Language, Versification, only.
399, etc.

v. 384 4. Being too hard to please, or too apt to admire.

v. 394 5. Partiality--too much Love to a Sect,--to the
Ancients or Moderns.

v. 408 6. Prejudice or Prevention.

v. 424 7. Singularity.

v. 430 8. Inconstancy.

v. 452 etc. 9. Party Spirit.

v. 466 10. Envy.

v. 508, etc. Against Envy, and in praise of Good-nature.

v. 526, etc. When Severity is chiefly to be used by Critics.



PART III. Ver. 560, etc.

v. 563 Rules for the Conduct of Manners in a Critic.

v. 566 1. Candour, Modesty.

v. 572 Good-breeding.

v. 578 Sincerity, and Freedom of advice.

v. 584 2. When one's Counsel is to be restrained.

v. 600 Character of an incorrigible Poet.

v. 610 And of an impertinent Critic, etc.

v. 629 Character of a good Critic.

v. 645. The History of Criticism, and Characters of the best
Critics,
Aristotle,

v. 653 Horace,

v. 665 Dionysius,

v. 667 Petronius,

v. 670 Quintilian,

v. 675 Longinus.

v. 693 Of the Decay of Criticism, and its Revival.
Erasmus,

v. 705 Vida,


v. 714 Boileau,

v. 725 Lord Roscommon, etc.

Conclusion.





AN ESSAY ON CRITICISM


'Tis hard to say, if greater want of skill
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.
Some few in that, but numbers err in this, 5
Ten censure wrong for one who writes amiss;
A fool might once himself alone expose,
Now one in verse makes many more in prose.

'Tis with our judgments as our watches, none
Go just alike, yet each believes his own. 10
In Poets as true genius is but rare,
True Taste as seldom is the Critic's share;
Both must alike from Heav'n derive their light,
These born to judge, as well as those to write.
Let such teach others who themselves excel, 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 sketch, if justly trac'd, }
Is by ill-colouring but the more disgrac'd, }
So by false learning is good sense defac'd: } 25
Some are bewilder'd in the maze of schools,
And some made coxcombs Nature meant but fools.

In search of wit these lose their common sense,
And then turn Critics in their own defence:
Each burns alike, who can, or cannot write, 30
Or with a Rival's, or an Eunuch's spite.
All fools have still an itching to deride,
And fain would be upon the laughing side.
If Maevius scribble in Apollo's spite,
There are who judge still worse than he can write. 35

Some have at first for Wits, then Poets past,
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 isle, 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

But you who seek to give and merit fame,
And justly bear a Critic's noble name,
Be sure yourself and your own reach to know,
How far your genius, taste, and learning go;
Launch not beyond your depth, but be discreet, 50
And mark that point where sense and dulness meet.

Nature to all things fix'd the limits fit,
And wisely curb'd proud man's pretending wit.
As on the land while here the ocean gains,
In other parts it leaves wide sandy plains; 55
Thus in the soul while memory prevails,
The solid pow'r of understanding fails;
Where beams of warm imagination play,
The memory's soft figures melt away.
One science only will one genius fit; 60
So vast is art, so narrow human wit:
Not only bounded to peculiar arts,
But oft in those confin'd to single parts.
Like kings we lose the conquests gain'd before,
By vain ambition still to make them more; 65
Each might his sev'ral province well command,
Would all but stoop to what they understand.

First follow Nature, and your judgment frame
By her just standard, which is still the same:
Unerring NATURE, still divinely bright, 70
One clear, unchang'd, and universal light,
Life, force, and beauty, must to all impart,
At once the source, and end, and test of Art.
Art from that fund each just supply provides,
Works without show, and without pomp presides: 75
In some fair body thus th' informing soul
With spirits feeds, with vigour fills the whole,
Each motion guides, and ev'ry nerve sustains;
Itself unseen, but in th' effects, remains.
Some, to whom Heav'n in wit has been profuse, 80
Want as much more, to turn it to its use;
For wit and judgment often are at strife,
Tho' meant each other's aid, like man and wife.
'T is more to guide, than spur the Muse's steed;
Restrain his fury, than provoke his speed; 85
The winged courser, like a gen'rous horse,
Shows most true mettle when you check his course.

Those RULES of old discovered, not devis'd,
Are Nature still, but Nature methodiz'd;
Nature, like liberty, is but restrain'd 90
By the same laws which first herself ordain'd.

Hear how learn'd Greece her useful rules indites,
When to repress, and when indulge our flights:
High on Parnassus' top her sons she show'd,
And pointed out those arduous paths they trod; 95
Held from afar, aloft, th' immortal prize,
And urg'd the rest by equal steps to rise.
Just precepts thus from great examples giv'n,
She drew from them what they deriv'd from Heav'n.
The gen'rous Critic fann'd the Poet's fire, 100
And taught the world with reason to admire.
Then Criticism the Muse's handmaid prov'd,
To dress her charms, and make her more belov'd:
But following wits from that intention stray'd,
Who could not win the mistress, woo'd the maid; 105
Against the Poets their own arms they turn'd,
Sure to hate most the men from whom they learn'd.
So modern 'Pothecaries, taught the art
By Doctor's bills to play the Doctor's part,
Bold in the practice of mistaken rules, 110
Prescribe, apply, and call their masters fools.
Some on the leaves of ancient authors prey,
Nor time nor moths e'er spoil'd so much as they.
Some drily plain, without invention's aid,
Write dull receipts how poems may be made. 115
These leave the sense, their learning to display,
And those explain the meaning quite away.

You then whose judgment the right course would steer,
Know well each ANCIENT'S proper character;
His fable, subject, scope in ev'ry page; 120
Religion, Country, genius of his Age:
Without all these at once before your eyes,
Cavil you may, but never criticize.
Be Homer's works your study and delight,
Read them by day, and meditate by night; 125
Thence form your judgment, thence your maxims bring,
And trace the Muses upward to their spring.
Still with itself compar'd, his text peruse;
And let your comment be the Mantuan Muse.

When first young Maro in his boundless mind 130
A work t' outlast immortal Rome design'd,
Perhaps he seem'd above the critic's law,
And but from Nature's fountains scorn'd to draw:
But when t' examine ev'ry part he came,
Nature and Homer were, he found, the same. 135
Convinc'd, amaz'd, he checks the bold design;
And rules as strict his labour'd work confine,
As if the Stagirite o'erlook'd each line.
Learn hence for ancient rules a just esteem;
To copy nature is to copy them. 140

Some beauties yet no Precepts can declare,
For there's a happiness as well as care.
Music resembles Poetry, in each
Are nameless graces which no methods teach,
And which a master-hand alone can reach. 145
If, where the rules not far enough extend,
(Since rules were made but to promote their end)
Some lucky Licence answer to the full
Th' intent propos'd, that Licence is a rule.
Thus Pegasus, a nearer way to take, 150
May boldly deviate from the common track;
From vulgar bounds with brave disorder part,
And snatch a grace beyond the reach of art,
Which without passing thro' the judgment, gains
The heart, and all its end at once attains. 155
In prospects thus, some objects please our eyes,
Which out of nature's common order rise,
The shapeless rock, or hanging precipice.
Great wits sometimes may gloriously offend,
And rise to faults true Critics dare not mend. 160
But tho' the Ancients thus their rules invade,
(As Kings dispense with laws themselves have made)
Moderns, beware! or if you must offend
Against the precept, ne'er transgress its End;
Let it be seldom, and compell'd by need; 165
And have, at least, their precedent to plead.
The Critic else proceeds without remorse,
Seizes your fame, and puts his laws in force.
I know there are, to whose presumptuous thoughts
Those freer beauties, ev'n in them, seem faults. 170
Some figures monstrous and mis-shap'd appear,
Consider'd singly, or beheld too near,
Which, but proportion'd to their light, or place,
Due distance reconciles to form and grace.
A prudent chief not always must display 175
His pow'rs in equal ranks, and fair array.
But with th' occasion and the place comply,
Conceal his force, nay seem sometimes to fly.
Those oft are stratagems which error seem,
Nor is it Homer nods, but we that dream. 180

Still green with bays each ancient Altar stands,
Above the reach of sacrilegious hands;
Secure from Flames, from Envy's fiercer rage,
Destructive War, and all-involving Age.
See, from each clime the learn'd their incense bring! 185
Hear, in all tongues consenting Paeans ring!
In praise so just let ev'ry voice be join'd,
And fill the gen'ral chorus of mankind.
Hail, Bards triumphant! born in happier days;
Immortal heirs of universal praise! 190
Whose honours with increase of ages grow,
As streams roll down, enlarging as they flow;
Nations unborn your mighty names shall sound,
And worlds applaud that must not yet be found!
Oh may some spark of your celestial fire, 195
The last, the meanest of your sons inspire,
(That on weak wings, from far, pursues your flights;
Glows while he reads, but trembles as he writes)
To teach vain Wits a science little known,
T' admire superior sense, and doubt their own! 200

Of all the Causes which conspire to blind
Man's erring judgment, and misguide the mind,
What the weak head with strongest bias rules,
Is _Pride_, the never-failing voice of fools.
Whatever nature has in worth denied, 205
She gives in large recruits of needful pride;
For as in bodies, thus in souls, we find
What wants in blood and spirits, swell'd with wind:
Pride, where wit fails, steps in to our defence,
And fills up all the mighty Void of sense. 210
If once right reason drives that cloud away,
Truth breaks upon us with resistless day.
Trust not yourself; but your defects to know,
Make use of ev'ry friend--and ev'ry foe.

A _little learning_ is a dang'rous thing; 215
Drink deep, or taste not the Pierian spring.
There shallow draughts intoxicate the brain,
And drinking largely sobers us again.
Fir'd at first sight with what the Muse imparts,
In fearless youth we tempt the heights of Arts, 220
While from the bounded level of our mind
Short views we take, nor see the lengths behind;
But more advanc'd, behold with strange surprise
New distant scenes of endless science rise!
So pleas'd at first the tow'ring Alps we try, 225
Mount o'er the vales, and seem to tread the sky,
Th' eternal snows appear already past,
And the first clouds and mountains seem the last;
But, those attain'd, we tremble to survey
The growing labours of the lengthen'd way, 230
Th' increasing prospect tires our wand'ring eyes,
Hills peep o'er hills, and Alps on Alps arise!

A perfect Judge will read each work of Wit
With the same spirit that its author writ:
Survey the WHOLE, nor seek slight faults to find 235
Where nature moves, and rapture warms the mind;
Nor lose, for that malignant dull delight,
The gen'rous pleasure to be charm'd with Wit.
But in such lays as neither ebb, nor flow,
Correctly cold, and regularly low, 240
That shunning faults, one quiet tenour keep,
We cannot blame indeed--but we may sleep.
In wit, as nature, what affects our hearts
Is not th' exactness of peculiar parts;
'Tis not a lip, or eye, we beauty call, 245
But the joint force and full result of all.
Thus when we view some well-proportion'd dome,
(The world's just wonder, and ev'n thine, O Rome! )
No single parts unequally surprize,
All comes united to th' admiring eyes; 250
No monstrous height, or breadth, or length appear;
The Whole at once is bold, and regular.

Whoever thinks a faultless piece to see,
Thinks what ne'er was, nor is, nor e'er shall be.
In every work regard the writer's End, 255
Since none can compass more than they intend;
And if the means be just, the conduct true,
Applause, in spight of trivial faults, is due;
As men of breeding, sometimes men of wit,
T' avoid great errors, must the less commit: 260
Neglect the rules each verbal Critic lays,
For not to know some trifles, is a praise.
Most Critics, fond of some subservient art,
Still make the Whole depend upon a Part:
They talk of principles, but notions prize, 265
And all to one lov'd Folly sacrifice.

Once on a time, La Mancha's Knight, they say,
A certain bard encount'ring on the way,
Discours'd in terms as just, with looks as sage,
As e'er could Dennis of the Grecian stage; 270
Concluding all were desp'rate sots and fools,
Who durst depart from Aristotle's rules.
Our Author, happy in a judge so nice,
Produc'd his Play, and begg'd the Knight's advice;
Made him observe the subject, and the plot, 275
The manners, passions, unities; what not?
All which, exact to rule, were brought about,
Were but a Combat in the lists left out.
"What! leave the Combat out? " exclaims the Knight;
Yes, or we must renounce the Stagirite. 280
"Not so, by Heav'n" (he answers in a rage),
"Knights, squires, and steeds, must enter on the stage. "
So vast a throng the stage can ne'er contain.
"Then build a new, or act it in a plain. "

Thus Critics, of less judgment than caprice, 285
Curious not knowing, not exact but nice,
Form short Ideas; and offend in arts
(As most in manners) by a love to parts.

Some to _Conceit_ alone their taste confine,
And glitt'ring thoughts struck out at ev'ry line; 290
Pleas'd with a work where nothing's just or fit;
One glaring Chaos and wild heap of wit.
Poets like painters, thus, unskill'd to trace
The naked nature and the living grace,
With gold and jewels cover ev'ry part, 295
And hide with ornaments their want of art.
True Wit is Nature to advantage dress'd,
What oft was thought, but ne'er so well express'd;
Something, whose truth convinc'd at sight we find,
That gives us back the image of our mind. 300
As shades more sweetly recommend the light,
So modest plainness sets off sprightly wit.
For works may have more wit than does 'em good,
As bodies perish thro' excess of blood.

Others for Language all their care express, 305
And value books, as women men, for Dress:
Their praise is still--the Style is excellent:
The Sense, they humbly take upon content.
Words are like leaves; and where they most abound,
Much fruit of sense beneath is rarely found, 310
False Eloquence, like the prismatic glass,
Its gaudy colours spreads on ev'ry place;
The face of Nature we no more survey,
All glares alike, without distinction gay:
But true expression, like th' unchanging Sun, 315
Clears and improves whate'er it shines upon,
It gilds all objects, but it alters none.
Expression is the dress of thought, and still
Appears more decent, as more suitable;
A vile conceit in pompous words express'd, 320
Is like a clown in regal purple dress'd:
For diff'rent styles with diff'rent subjects sort,
As several garbs with country, town, and court.

Some by old words to fame have made pretence,
Ancients in phrase, mere moderns in their sense; 325
Such labour'd nothings, in so strange a style,
Amaze th' unlearn'd, and make the learned smile.
Unlucky, as Fungoso in the play, }
These sparks with awkward vanity display }
What the fine gentleman wore yesterday; } 330
And but so mimic ancient wits at best,
As apes our grandsires, in their doublets drest.
In words, as fashions, the same rule will hold;
Alike fantastic, if too new, or old:
Be not the first by whom the new are try'd, 335
Nor yet the last to lay the old aside.

But most by Numbers judge a Poet's song;
And smooth or rough, with them is right or wrong:
In the bright Muse though thousand charms conspire,
Her voice is all these tuneful fools admire; 340
Who haunt Parnassus but to please their ear, }
Not mend their minds; as some to Church repair, }
Not for the doctrine, but the music there. }
These equal syllables alone require,
Tho' oft the ear the open vowe's tire; 345
While expletives their feeble aid do join;
And ten low words oft creep in one dull line:
While they ring round the same unvary'd chimes,
With sure returns of still expected rhymes;
Where-e'er you find "the cooling western breeze," 350
In the next line, it "whispers through the trees:"
If crystal streams "with pleasing murmurs creep,"
The reader's threaten'd (not in vain) with "sleep:"
Then, at the last and only couplet fraught
With some unmeaning thing they call a thought, 355
A needless Alexandrine ends the song
That, like a wounded snake, drags its slow length along.
Leave such to tune their own dull rhymes, and know
What's roundly smooth or languishingly slow;
And praise the easy vigour of a line, 360
Where Denham's strength, and Waller's sweetness join.
True ease in writing comes from art, not chance,
As those move easiest who have learn'd to dance.
'Tis not enough no harshness gives offence,
The sound must seem an Echo to the sense: 365
Soft is the strain when Zephyr gently blows,
And the smooth stream in smoother numbers flows;
But when loud surges lash the sounding shore,
The hoarse, rough verse should like the torrent roar:
When Ajax strives some rock's vast weight to throw, 370
The line too labours, and the words move slow;
Not so, when swift Camilla scours the plain,
Flies o'er th' unbending corn, and skims along the main.
Hear how Timotheus' varied lays surprize,
And bid alternate passions fall and rise! 375
While, at each change, the son of Libyan Jove
Now burns with glory, and then melts with love,
Now his fierce eyes with sparkling fury glow,
Now sighs steal out, and tears begin to flow:
Persians and Greeks like turns of nature found, 380
And the world's victor stood subdu'd by Sound!
The pow'r of Music all our hearts allow,
And what Timotheus was, is DRYDEN now.

Avoid Extremes; and shun the fault of such,
Who still are pleas'd too little or too much. 385
At ev'ry trifle scorn to take offence,
That always shows great pride, or little sense;
Those heads, as stomachs, are not sure the best,
Which nauseate all, and nothing can digest.
Yet let not each gay Turn thy rapture move; 390
For fools admire, but men of sense approve:
As things seem large which we thro' mists descry,
Dulness is ever apt to magnify.

Some foreign writers, some our own despise;
The Ancients only, or the Moderns prize. 395
Thus Wit, like Faith, by each man is apply'd
To one small sect, and all are damn'd beside.
Meanly they seek the blessing to confine,
And force that sun but on a part to shine,
Which not alone the southern wit sublimes, 400
But ripens spirits in cold northern climes;
Which from the first has shone on ages past,
Enlights the present, and shall warm the last;
Tho' each may feel increases and decays,
And see now clearer and now darker days. 405
Regard not then if Wit be old or new,
But blame the false, and value still the true.

Some ne'er advance a Judgment of their own,
But catch the spreading notion of the Town;
They reason and conclude by precedent, 410
And own stale nonsense which they ne'er invent.
Some judge of author's names, not works, and then
Nor praise nor blame the writings, but the men.
Of all this servile herd the worst is he
That in proud dulness joins with Quality, 415
A constant Critic at the great man's board,
To fetch and carry nonsense for my Lord.
What woful stuff this madrigal would be,
In some starv'd hackney sonneteer, or me?
But let a Lord once own the happy lines, 420
How the wit brightens! how the style refines!
Before his sacred name flies ev'ry fault,
And each exalted stanza teems with thought!

The Vulgar thus through Imitation err;
As oft the Learn'd by being singular; 425
So much they scorn the crowd, that if the throng
By chance go right, they purposely go wrong;
So Schismatics the plain believers quit,
And are but damn'd for having too much wit.
Some praise at morning what they blame at night; 430
But always think the last opinion right.
A Muse by these is like a mistress us'd,
This hour she's idoliz'd, the next abus'd;
While their weak heads like towns unfortify'd,
'Twixt sense and nonsense daily change their side. 435
Ask them the cause; they're wiser still, they say;
And still to-morrow's wiser than to-day.
We think our fathers fools, so wise we grow,
Our wiser sons, no doubt, will think us so.
Once School-divines this zealous isle o'er-spread; 440
Who knew most Sentences, was deepest read;
Faith, Gospel, all, seem'd made to be disputed,
And none had sense enough to be confuted:
Scotists and Thomists, now, in peace remain,
Amidst their kindred cobwebs in Duck-lane. 445
If Faith itself has diff'rent dresses worn,
What wonder modes in Wit should take their turn?
Oft', leaving what is natural and fit,
The current folly proves the ready wit;
And authors think their reputation safe, 450
Which lives as long as fools are pleas'd to laugh.
Some valuing those of their own side or mind,
Still make themselves the measure of mankind:
Fondly we think we honour merit then,
When we but praise ourselves in other men. 455

Parties in Wit attend on those of State,
And public faction doubles private hate.
Pride, Malice, Folly, against Dryden rose,
In various shapes of Parsons, Critics, Beaus;
But sense surviv'd, when merry jests were past; 460
For rising merit will buoy up at last.
Might he return, and bless once more our eyes,
New Blackmores and new Milbourns must arise:
Nay should great Homer lift his awful head,
Zoilus again would start up from the dead. 465
Envy will merit, as its shade, pursue;
But like a shadow, proves the substance true;
For envy'd Wit, like Sol eclips'd, makes known
Th' opposing body's grossness, not its own,
When first that sun too pow'rful beams displays, 470
It draws up vapours which obscure its rays;
But ev'n those clouds at last adorn its way,
Reflect new glories, and augment the day.

Be thou the first true merit to befriend;
His praise is lost, who stays, till all commend. 475
Short is the date, alas, of modern rhymes,
And 'tis but just to let them live betimes.
No longer now that golden age appears,
When Patriarch-wits surviv'd a thousand years:
Now length of Fame (our second life) is lost, 480
And bare threescore is all ev'n that can boast;
Our sons their fathers' failing language see,
And such as Chaucer is, shall Dryden be.
So when the faithful pencil has design'd
Some bright Idea of the master's mind, 485
Where a new world leaps out at his command,
And ready Nature waits upon his hand;
When the ripe colours soften and unite,
And sweetly melt into just shade and light;
When mellowing years their full perfection give, 490
And each bold figure just begins to live,
The treach'rous colours the fair art betray,
And all the bright creation fades away!

Unhappy Wit, like most mistaken things,
Atones not for that envy which it brings. 495
In youth alone its empty praise we boast,
But soon the short-liv'd vanity is lost:
Like some fair flow'r the early spring supplies.
That gaily blooms, but ev'n in blooming dies.
What is this Wit, which must our cares employ? 500
The owner's wife, that other men enjoy;
Then most our trouble still when most admir'd,
And still the more we give, the more requir'd;
Whose fame with pains we guard, but lose with ease,
Sure some to vex, but never all to please; 505
'Tis what the vicious fear, the virtuous shun,
By fools't is hated, and by knaves undone!

If Wit so much from Ign'rance undergo,
Ah let not Learning too commence its foe!
Of old, those met rewards who could excel, 510
And such were prais'd who but endeavour'd well:
Tho' triumphs were to gen'rals only due,
Crowns were reserv'd to grace the soldiers too,
Now, they who reach Parnassus' lofty crown,
Employ their pains to spurn some others down; 515
And while self-love each jealous writer rules,
Contending wits become the sport of fools:
But still the worst with most regret commend,
For each ill Author is as bad a Friend.
To what base ends, and by what abject ways, 520
Are mortals urg'd thro' sacred lust of praise!
Ah ne'er so dire a thirst of glory boast,
Nor in the Critic let the Man be lost.
Good-nature and good-sense must ever join;
To err is human, to forgive, divine. 525

But if in noble minds some dregs remain
Not yet purg'd off, of spleen and sour disdain;
Discharge that rage on more provoking crimes,
Nor fear a dearth in these flagitious times.
No pardon vile Obscenity should find, 530
Tho' wit and art conspire to move your mind;
But Dulness with Obscenity must prove
As shameful sure as Impotence in love.
In the fat age of pleasure wealth and ease
Sprung the rank weed, and thriv'd with large increase: 535
When love was all an easy Monarch's care;
Seldom at council, never in a war:
Jilts rul'd the state, and statesmen farces writ;
Nay wits had pensions, and young Lords had wit:
The Fair sate panting at a Courtier's play, 540
And not a Mask went unimprov'd away:
The modest fan was lifted up no more,
And Virgins smil'd at what they blush'd before.
The following licence of a Foreign reign
Did all the dregs of bold Socinus drain; 545
Then unbelieving priests reform'd the nation,
And taught more pleasant methods of salvation;
Where Heav'n's free subjects might their rights dispute,
Lest God himself should seem too absolute:
Pulpits their sacred satire learn'd to spare, 550
And Vice admir'd to find a flatt'rer there!
Encourag'd thus, Wit's Titans brav'd the skies,
And the press groan'd with licens'd blasphemies.
These monsters, Critics! with your darts engage,
Here point your thunder, and exhaust your rage! 555
Yet shun their fault, who, scandalously nice,
Will needs mistake an author into vice;
All seems infected that th' infected spy,
As all looks yellow to the jaundic'd eye.

Learn then what MORALS Critics ought to show, 560
For't is but half a Judge's task, to know.
'Tis not enough, taste, judgment, learning, join;
In all you speak, let truth and candour shine:
That not alone what to your sense is due
All may allow; but seek your friendship too. 565

Be silent always when you doubt your sense;
And speak, tho' sure, with seeming diffidence:
Some positive, persisting fops we know,
Who, if once wrong, will needs be always so;
But you, with pleasure own your errors past, 570
And make each day a Critic on the last.

'T is not enough, your counsel still be true;
Blunt truths more mischief than nice falsehoods do;
Men must be taught as if you taught them not,
And things unknown propos'd as things forgot. 575
Without Good Breeding, truth is disapprov'd;
That only makes superior sense belov'd.

Be niggards of advice on no pretence;
For the worst avarice is that of sense.
With mean complacence ne'er betray your trust, 580
Nor be so civil as to prove unjust.
Fear not the anger of the wise to raise;
Those best can bear reproof, who merit praise.

'T were well might critics still this freedom take,
But Appius reddens at each word you speak, 585
And stares, tremendous, with a threat'ning eye,
Like some fierce Tyrant in old tapestry.
Fear most to tax an Honourable fool,
Whose right it is, uncensur'd, to be dull;
Such, without wit, are Poets when they please, 590
As without learning they can take Degrees.
Leave dang'rous truths to unsuccessful Satires,
And flattery to fulsome Dedicators,
Whom, when they praise, the world believes no more,
Than when they promise to give scribbling o'er. 595
'T is best sometimes your censure to restrain,
And charitably let the dull be vain:
Your silence there is better than your spite,
For who can rail so long as they can write?
Still humming on, their drowsy course they keep, 600
And lash'd so long, like tops, are lash'd asleep.
False steps but help them to renew the race,
As, after stumbling, Jades will mend their pace.
What crowds of these, impenitently bold,
In sounds and jingling syllables grown old, 605
Still run on Poets, in a raging vein,
Ev'n to the dregs and squeezings of the brain,
Strain out the last dull droppings of their sense,
And rhyme with all the rage of Impotence.

Such shameless Bards we have; and yet't is true, 610
There are as mad abandon'd Critics too.
The bookful blockhead, ignorantly read,
With loads of learned lumber in his head,
With his own tongue still edifies his ears,
And always list'ning to himself appears. 615
All books he reads, and all he reads assails.
From Dryden's Fables down to Durfey's Tales.
With him, most authors steal their works, or buy;
Garth did not write his own Dispensary.

Name a new Play, and he's the Poet's friend, 620
Nay show'd his faults--but when would Poets mend?
No place so sacred from such fops is barr'd,
Nor is Paul's church more safe than Paul's churchyard:
Nay, fly to Altars; there they'll talk you dead:
For Fools rush in where Angels fear to tread. 625
Distrustful sense with modest caution speaks, }
It still looks home, and short excursions makes; }
But rattling nonsense in full volleys breaks, }
And never shock'd, and never turn'd aside,
Bursts out, resistless, with a thund'ring tide. 630

But where's the man, who counsel can bestow,
Still pleas'd to teach, and yet not proud to know?
Unbiass'd, or by favour, or by spite;
Not dully prepossess'd, nor blindly right;
Tho' learn'd, well-bred; and tho' well-bred, sincere, 635
Modestly bold, and humanly severe:
Who to a friend his faults can freely show,
And gladly praise the merit of a foe?
Blest with a taste exact, yet unconfin'd;
A knowledge both of books and human kind: 640
Gen'rous converse; a soul exempt from pride;
And love to praise, with reason on his side?

Such once were Critics; such the happy few,
Athens and Rome in better ages knew.
The mighty Stagirite first left the shore, 645
Spread all his sails, and durst the deeps explore:
He steer'd securely, and discover'd far,
Led by the light of the Maeonian Star.
Poets, a race long unconfin'd, and free,
Still fond and proud of savage liberty, 650
Receiv'd his laws; and stood convinc'd 't was fit,
Who conquer'd Nature, should preside o'er Wit.

Horace still charms with graceful negligence,
And without method talks us into sense,
Will, like a friend, familiarly convey 655
The truest notions in the easiest way.
He, who supreme in judgment, as in wit,
Might boldly censure, as he boldly writ,
Yet judg'd with coolness, tho' he sung with fire;
His Precepts teach but what his works inspire. 660
Our Critics take a contrary extreme,
They judge with fury, but they write with fle'me:
Nor suffers Horace more in wrong Translations
By Wits, than Critics in as wrong Quotations.

See Dionysius Homer's thoughts refine, 665
And call new beauties forth from ev'ry line!
Fancy and art in gay Petronius please,
The scholar's learning, with the courtier's ease.

In grave Quintilian's copious work, we find
The justest rules, and clearest method join'd: 670
Thus useful arms in magazines we place,
All rang'd in order, and dispos'd with grace,
But less to please the eye, than arm the hand,
Still fit for use, and ready at command.

Thee, bold Longinus! all the Nine inspire, 675
And bless their Critic with a Poet's fire.
An ardent Judge, who zealous in his trust,
With warmth gives sentence, yet is always just;
Whose own example strengthens all his laws;
And is himself that great Sublime he draws. 680

Thus long succeeding Critics justly reign'd,
Licence repress'd, and useful laws ordain'd.
Learning and Rome alike in empire grew;
And Arts still follow'd where her Eagles flew;
From the same foes, at last, both felt their doom, 685
And the same age saw Learning fall, and Rome.
With Tyranny, then Superstition join'd,
As that the body, this enslav'd the mind;
Much was believ'd, but little understood,
And to be dull was constru'd to be good; 690
A second deluge Learning thus o'er-run,
And the Monks finish'd what the Goths begun.

At length Erasmus, that great injur'd name,
(The glory of the Priesthood, and the shame! )
Stemm'd the wild torrent of a barb'rous age, 695
And drove those holy Vandals off the stage.

But see! each Muse, in LEO'S golden days,
Starts from her trance, and trims her wither'd bays,
Rome's ancient Genius, o'er its ruins spread,
Shakes off the dust, and rears his rev'rend head. 700
Then Sculpture and her sister-arts revive;
Stones leap'd to form, and rocks began to live;
With sweeter notes each rising Temple rung;
A Raphael painted, and a Vida sung.
Immortal Vida: on whose honour'd brow 705
The Poet's bays and Critic's ivy grow:
Cremona now shal ever boast thy name,
As next in place to Mantua, next in fame!

But soon by impious arms from Latium chas'd,
Their ancient bounds the banish'd Muses pass'd; 710
Thence Arts o'er all the northern world advance,
But Critic-learning flourish'd most in France:
The rules a nation, born to serve, obeys;
And Boileau still in right of Horace sways.
But we, brave Britons, foreign laws despis'd, 715
And kept unconquer'd, and unciviliz'd;
Fierce for the liberties of wit, and bold,
We still defy'd the Romans, as of old.
Yet some there were, among the sounder few
Of those who less presum'd, and better knew, 720
Who durst assert the juster ancient cause,
And here restor'd Wit's fundamental laws.
Such was the Muse, whose rules and practice tell,
"Nature's chief Master-piece is writing well. "

Such was Roscommon, not more learn'd than good, 725
With manners gen'rous as his noble blood;
To him the wit of Greece and Rome was known,
And ev'ry author's merit, but his own.
Such late was Walsh--the Muse's judge and friend,
Who justly knew to blame or to commend; 730
To failings mild, but zealous for desert;
The clearest head, and the sincerest heart.
This humble praise, lamented shade! receive,
This praise at least a grateful Muse may give:
The Muse, whose early voice you taught to sing, 735
Prescrib'd her heights, and prun'd her tender wing,
(Her guide now lost) no more attempts to rise,
But in low numbers short excursions tries:
Content, if hence th' unlearn'd their wants may view,
The learn'd reflect on what before they knew: 740
Careless of censure, nor too fond of fame;
Still pleas'd to praise, yet not afraid to blame,
Averse alike to flatter, or offend;
Not free from faults, nor yet too vain to mend.





* * * * *





AN ESSAY ON MAN



TO H. ST. JOHN LORD BOLINGBROKE



THE DESIGN


Having proposed to write some pieces on Human Life and Manners, such as
(to use my Lord Bacon's expression) _come home to Men's Business and
Bosoms_, I thought it more satisfactory to begin with considering _Man_
in the abstract, his _Nature_ and his _State_; since, to prove any moral
duty, to enforce any moral precept, or to examine the perfection or
imperfection of any creature whatsoever, it is necessary first to know
what _condition_ and _relation_ it is placed in, and what is the proper
end and purpose of its _being_.

The science of Human Nature is, like all other sciences, reduced to a
_few clear points_: There are not _many certain truths_ in this world.
It is therefore in the Anatomy of the mind as in that of the Body; more
good will accrue to mankind by attending to the large, open, and
perceptible parts, than by studying too much such finer nerves and
vessels, the conformations and uses of which will for ever escape our
observation. The _disputes_ are all upon these last, and, I will venture
to say, they have less sharpened the _wits_ than the _hearts_ of men
against each other, and have diminished the practice, more than advanced
the theory of Morality. If I could flatter myself that this Essay has
any merit, it is in steering betwixt the extremes of doctrines seemingly
opposite, in passing over terms utterly unintelligible, and in forming a
_temperate_ yet not _inconsistent_, and a _short_ yet not _imperfect_
system of Ethics.

This I might have done in prose, but I chose verse, and even rhyme, for
two reasons. The one will appear obvious; that principles, maxims, or
precepts so written, both strike the reader more strongly at first, and
are more easily retained by him afterwards: The other may seem odd, but
is true, I found I could express them more _shortly_ this way than in
prose itself; and nothing is more certain, than that much of the _force_
as well as _grace_ of arguments or instructions, depends on their
_conciseness_. I was unable to treat this part of my subject more in
_detail_, without becoming dry and tedious; or more _poetically_,
without sacrificing perspicuity to ornament, without wandring from the
precision, or breaking the chain of reasoning: If any man can unite all
these without diminution of any of them, I freely confess he will
compass a thing above my capacity.

What is now published, is only to be considered as a _general Map_ of
MAN, marking out no more than the _greater parts_, their _extent_, their
_limits_, and their _connection_, and leaving the particular to be more
fully delineated in the charts which are to follow. Consequently, these
Epistles in their progress (if I have health and leisure to make any
progress) will be less dry, and more susceptible of poetical ornament. I
am here only opening the _fountains_, and clearing the passage. To
deduce the _rivers_, to follow them in their course, and to observe
their effects, may be a task more agreeable.

P.





ARGUMENT OF EPISTLE I


Of the Nature and State of Man, with respect to the UNIVERSE.


_Of_ Man _in the abstract_.


I. v. 17 &c. _That we can judge only with regard to our_ own
system, _being ignorant of the_ relations _of
systems and things_.

II. v. 35, &c. _That Man is not to be deemed_ imperfect, _but a Being
suited to his_ place _and_ rank _in the creation,
agreeable to the_ general Order _of things, and
conformable to_ Ends _and_ Relations _to him unknown_.

III. v. 77, &c. _That it is partly upon his_ ignorance _of_ future
_events, and partly upon the_ hope _of a_ future
_state, that all his happiness in the present
depends_.

IV. v. 109, &c. _The_ pride _of aiming at more knowledge, and
pretending to more Perfections, the cause of Man's
error and misery. The_ impiety _of putting himself in
the place of_ God, _and judging of the fitness or
unfitness, perfection or imperfection, justice or
injustice of his dispensations_.

V. v. 131, &c. _The_ absurdity _of conceiting himself the _final cause
_of the creation, or expecting that perfection in the_
moral _world, which is not in the_ natural.

VI. v. 173, &c. _The_ unreasonableness _of his complaints against_
Providence, _while on the one hand he demands the
Perfections of the Angels, and on the other the bodily
qualifications of the Brutes; though, to possess any of
the_ sensitive faculties _in a higher degree, would
render him miserable_.

VII. v. 207. _That throughout the whole visible world, an universal_
order _and_ gradation _in the sensual and mental
faculties is observed, which causes a_ subordination
_of creature to creature, and of all creatures to Man.
The gradations of_ sense, instinct, thought,
reflection, reason; _that Reason alone countervails
fill the other faculties_.

VIII.