FullReads

The animadversions of criticks are commonly such as may easily provoke the sedatest writer to some quickness of resentment and asperity of reply. A man, who by long consideration has familiarized a subject to his own mind, carefully surveyed the series of his thoughts, and planned all the parts of his composition into a regular dependance on each other, will often start at the sinistrous interpretations or absurd remarks of haste and ignorance, and wonder by what infatuation they have been led away from the obvious sense, and upon what peculiar principles of judgment they decide against him.

The eye of the intellect, like that of the body, is not equally perfect in all, nor equally adapted in any to all objects; the end of criticism is to supply its defects; rules are the instruments of mental vision, which may indeed assist our faculties when properly used, but produce confusion and obscurity by unskilful application.

Some seem always to read with the microscope of criticism, and employ their whole attention upon minute elegance, or faults scarcely visible to common observation. The dissonance of a syllable, the recurrence of the same sound, the repetition of a particle, the smallest deviation from propriety, the slightest defect in construction or arrangement, swell before their eyes into enormities. As they discern with great exactness, they comprehend but a narrow compass, and know nothing of the justness of the design, the general spirit of the performance, the artifice of connection, or the harmony of the parts; they never, conceive how small a proportion that which they are busy in contemplating bears to the whole, or how the petty inaccuracies, with which they are offended, are absorbed and lost in general excellence.

Others are furnished by criticism with a telescope. They see with great clearness whatever is too remote to be discovered by the rest of mankind, but are totally blind to all that lies immediately before them. They discover in every passage some secret meaning, some remote allusion, some artful allegory, or some occult imitation, which no other reader ever suspected; but they have no perception of the cogency of arguments, the force of pathetick sentiments, the various colours of diction, or the flowery embellishments of fancy; of all that engages the attention of others they are totally insensible, while they pry into worlds of conjecture, and amuse themselves with phantoms in the clouds.

In criticism, as in every other art, we fail sometimes by our weakness, but more frequently by our fault. We are sometimes bewildered by ignorance, and sometimes by prejudice, but we seldom deviate far from the right, but when we deliver ourselves up to the direction of vanity.