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Besides temporary or accidental biases of this kind, there seem to be sects and parties in taste and criticism (with a set of appropriate watchwords) coeval with the arts of composition, and that will last as long as the difference with which men’s minds are originally constituted. There are some who are all for the elegance of an author’s style, and some who are equally delighted with simplicity. The last refer you to Swift as a model of English prose, thinking all other writers sophisticated and naught; the former prefer the more ornamented and sparkling periods of Junius or Gibbon. It is to no purpose to think of bringing about an understanding between these opposite factions. It is a natural difference of temperament and constitution of mind. The one will never relish the antithetical point and perpetual glitter of the artificial prose style; as the plain, unperverted English idiom will always appear trite and insipid to the others. A toleration, not an uniformity of opinion, is as much as can be expected in this case; and both sides may acknowledge, without imputation on their taste or consistency, that these different writers excelled each in their way. I might remark here that the epithet elegant is very sparingly used in modern criticism. It has probably gone out of fashion with the appearance of the Lake School, who, I apprehend, have no such phrase in their vocabulary. Mr. Rogers was, I think, almost the last poet to whom it was applied as a characteristic compliment. At present it would be considered as a sort of diminutive of the title of poet, like the terms pretty or fanciful, and is banished from the haut ton of letters. It may perhaps come into request at some future period. Again, the dispute between the admirers of Homer and Virgil has never been settled and never will, for there will always be minds to whom the excellences of Virgil will be more congenial, and therefore more objects of admiration and delight than those of Homer, and vice versa. Both are right in preferring what suits them best, the delicacy and selectness of the one, or the fulness and majestic flow of the other. There is the same difference in their tastes that there was in the genius of their two favourites. Neither can the disagreement between the French and English school of tragedy ever be reconciled till the French become English or the English French.[5] Both are right in what they admire, both are wrong in condemning the others for what they admire. We see the defects of Racine, they see the faults of Shakespear probably in an exaggerated point of view. But we may be sure of this, that when we see nothing but grossness and barbarism, or insipidity and verbiage, in a writer that is the god of a nation’s idolatry, it is we and not they who want true taste and feeling. The controversy about Pope and the opposite school in our own poetry comes to much the same thing. Pope’s correctness, smoothness, etc., are very good things and much to be commended in him. But it is not to be expected or even desired that others should have these qualities in the same paramount degree, to the exclusion of everything else. If you like correctness and smoothness of all things in the world, there they are for you in Pope. If you like other things better, such as strength and sublimity, you know where to go for them. Why trouble Pope or any other author for what they have not, and do not profess to give? Those who seem to imply that Pope possessed, besides his own peculiar, exquisite merits, all that is to be found in Shakespear or Milton, are, I should hardly think, in good earnest. But I do not therefore see that, because this was not the case, Pope was no poet. We cannot by a little verbal sophistry confound the qualities of different minds, nor force opposite excellences into a union by all the intolerance in the world. We may pull Pope in pieces as long as we please for not being Shakespear or Milton, as we may carp at them for not being Pope, but this will not make a poet equal to all three. If we have a taste for some one precise style or manner, we may keep it to ourselves and let others have theirs. If we are more catholic in our notions, and want variety of excellence and beauty, it is spread abroad for us to profusion in the variety of books and in the several growth of men’s minds, fettered by no capricious or arbitrary rules. Those who would proscribe whatever falls short of a given standard of imaginary perfection do so, not from a higher capacity of taste or range of intellect than others, but to destroy, to ‘crib and cabin in’ all enjoyments and opinions but their own.