III. is, they are not formed by a train of abstract L E C T. reasoning, independent of facts and obfervations. Criticifm is an art founded wholly on experience; on the observation of fuch beauties as have come neareft to the ftandard which I before established; that is, of fuch beauties as have been found to please mankind most generally. For example; Ariftotle's rules. concerning the unity of action in dramatic and epic compofition, were not rules firft difcovered by logical reasoning, and then applied to poetry; but they were drawn from the practice of Homer and Sophocles: they were founded upon obferving the fuperior pleasure which we receive from the relation of an action which is one and entire, beyond what we receive from the relation of scattered and unconnected facts. Such obfervations taking their rise at first from feeling and experience, were found on examination to be fo confonant to reason, and to the principles of human nature, as to pafs into established rules, and to be conveniently applied for judging of the excellency of any performance. This is the most natural account of the origin of Criticism. A MASTERLY genius, it is true, will of himself, untaught, compofe in fuch a manner as fhall be agreeable to the most material rules. of Criticifm; for as thefe rules are founded in nature, III. LECT. nature, nature will often fuggeft them in practice. Homer, it is more than probable, was acquainted with no fyftems of the art of poetry. Guided by genius alone, he composed in verfe a regular ftory, which all posterity has admired. But this is no argument against the usefulness of Criticifm as an art. For as no human genius is perfect, there is no writer but may receive affiftance from critical obfervations upon the beauties and faults of those who have gone before him. No obfervations or rules can indeed supply the defect of genius, or infpire it where it is wanting. But they may often direct it into its proper channel; they may correct its extravagancies, and point out to it the most just and proper imitation of nature. Critical rules are defigned chiefly to fhew the faults that ought to be avoided. To nature we must be indebted for the production of eminent beauties. FROM what has been faid, we are enabled to form a judgment concerning those complaints which it has long been fashionable for petty authors to make against Critics and Criticifm. Critics have been reprefented as the great abridgers of the native liberty of genius; as the impofers of unnatural shackles and bonds upon writers, from whofe cruel. perfecution they must fly to the Public, and implore its protection. Such fupplicatory prefaces prefaces are not calculated to give very favour- LECT. able ideas of the genius of the author. For every good writer will be pleased to have his work examined by the principles of found understanding, and true Tafte. The declamations against Criticifm commonly proceed upon this fuppofition, that Critics are fuch as judge by rule, not by feeling; which is fo far from being true, that they who judge after this manner are pedants, not Critics. For all the rules of genuine Criticifm I have fhewn to be ultimately founded on feeling; and Taste and Feeling are neceffary to guide us in the application of these rules to every particular inftance. As there is nothing in which all forts of perfons more readily affect to be judges than in works of Tafte, there is no doubt that the number of incompetent Critics will always be great. But this affords no more foundation for a general invective against Criticism, than the number of bad philofophers or reasoners affords against reason and philosophy. An objection more plausible may be formed against Criticism, from the applause that some performances have received from the Public, which, when accurately confidered, are found to contradict the rules established by Criticisin. Now, according to the principles laid down in the last Lecture, the Public is the fupreme VOL. I. E judge III. LECT. judge to whom the laft appeal must be made in every work of Tafte; as the standard of Tafte is founded on the fentiments that are natural and common to all men. But with respect to this, we are to observe, that the fense of the Public is often too hastily judged of. The genuine public Taste does not always appear in the first applause given upon the publication of any new work. There are both a great vulgar and a fmall, apt to be catched and dazzled by very fuperficial beauties, the admiration of which, in a little time paffes away and fometimes a writer may acquire great temporary reputation merely by his compliance with the paffions or prejudices, with the party-fpirit or fuperftitious notions, that may chance to rule for a time almost a whole nation. In fuch cafes, though the Public may feem to praise, true Criticifm may with reafon. condemn; and it will in progrefs of time gain the afcendant for the judgment of true Criticism, and the voice of the Public, when once become unprejudiced and difpaffionate, will ever coincide at last. INSTANCES, I admit, there are, of some works that contain grofs tranfgreffions of the laws of Criticism, acquiring, nevertheless, a general, and even a lafting admiration. Such are the plays of Shakespeare, which, confidered as dramatic poems, are irregular in the highest 8 degree. degree. But then we are to remark, that LECT. they have gained the public admiration, not by their being irregular, not by their tranfgreffions of the rules of art, but in fpite of fuch tranfgreffions. They poffefs other beauties which are conformable to just rules; and the force of these beauties has been fo great as to overpower all cenfure, and to give the Public a degree of fatisfaction fuperior to the disgust arifing from their blemishes. Shakespeare pleases, not by his bringing the transactions of many years into one play; not by his grotesque mixtures of Tragedy and Comedy in one piece, nor by the ftrained thoughts, and affected witticifms, which he fometimes employs. These we confider as blemishes, and impute them to the groffness of the age in which he lived. But he pleases by his animated and mafterly representations of characters, by the livelinefs of his defcriptions, the force of his fentiments, and his poffeffing, beyond all writers, the natural language of paffion: Beauties which true Criticifm no less teaches us to place in the highest rank, than nature teaches us to feel. I PROCEED next to explain the meaning of another term, which there will be frequent occafion to employ in thefe Lectures; that is, Genius. |