The Rape of the Lock and Other Poems Part 6

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 c.o.xcombs 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 pa.s.s, As heavy mules are neither horse nor a.s.s.

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 n.o.ble 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 Parna.s.sus' 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.