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Exceedingly striking it is, that a thought should have prospered for one hundred and seventy years, which, on the slightest steadiness of examination, turns out to be no thought at all, but mere blank vacuity. There is, however, this justification of the case, that the mould, the set of channels, into which the metal of the thought is meant to run, really has the felicity which it appears to have: the form is perfect; and it is merely in the matter, in the accidental filling up of the mould, that a fault has been committed. Had the Virgilian point of excellence been loveliness instead of majesty, or any word whatever suggesting the common antithesis of sublimity and beauty; or had it been power on the one side, matched against grace on the other, the true lurking tendency of the thought would have been developed, and the sub-conscious purpose of the epigram would have fulfilled itself to the letter.

N.B.–It is not meant that loftiness of thought and majesty are expressions so entirely interchangeable, as that no shades of difference could be suggested; it is enough that these ‘shades’ are not substantial enough, or broad enough, to support the weight of opposition which the epigram assigns to them. Grace and elegance, for instance, are far from being in all relations synonymous; but they are so to the full extent of any purposes concerned in this epigram. Nevertheless, it is probable enough that Dryden had moving in his thoughts a relation of the word majesty, which, if developed, would have done justice to his meaning. It was, perhaps, the decorum and sustained dignity of the composition–the workmanship apart from the native grandeur of the materials–the majestic style of the artistic treatment as distinguished from the original creative power–which Dryden, the translator of the Roman poet, familiar therefore with his weakness and with his strength, meant in this place to predicate as characteristically observable in Virgil.

FOOTNOTE

[1] ‘Six planets;’–No more had then been discovered.