should his dignity of mind be without its praise, had he not paid the homage to greatness which he denied to genius, and degraded himself by conferring that authority over the national taste, which he takes from the poets, upon men of high rank and wide influence, but of less wit, and not greater virtue. Here is again discovered the inhabitant of Cheapside, whose head cannot keep his poetry unmingled with trade. To hinder that intellectual bankruptcy which he affects to fear, he will erect a 'Bank for Wit.' In this poem he justly censured Dryden's impurities, but praised his powers," though in a subsequent edition he retained the satire and omitted the praise. What was his reason I know not; Dryden was then no longer in his way." His head still teemed with heroic poetry, and [July 1705] he published 'Eliza' in ten books." I am afraid that the world was now weary of contending about Blackmore's heroes; for I do not remember that by any author, serious or comical, I have found Eliza' either praised or blamed. She "dropped," as it seems, "dead-born from the press." It is never mentioned, and was never seen by me till I borrowed it for the present occasion. Jacob says, "it is corrected and revised for another impression;" but the labour of revision was thrown away. From this time he turned some of his thoughts to the celebration of living characters, and wrote [1708] a poem on the 'Kit-Cat Club,' and [1706] Advice to the Poets how to Celebrate the Duke of Marlborough ;'" but on occasion of another year of success, think 18 15 This was not the case. Into the melting-pot when Dryden comes, What horrid stench will rise, what noisome fumes! When once his boasted heaps are melted down, 16 Compare 'Life of Dryden,' vol. i. p. 351. A Satyr against Wit, fol., 1700. 17 Eliza, an Epick Poem, in Ten Books. London: printed for Awnsham and John Church. hill,' &c. 1705, fol. The presentation copy to the great Duke of Marlborough, in a red morocco binding, is now in the British Museum, and contains some MS. corrections by the author. 18 Advice to the Poets. A Poem occasioned by the wonderful successes of Her Majesty's Arms under the conduct of the Duke of Marlborough in Flanders,' 1706, folio. It appeared 1 E 20 ing himself qualified to give more instruction, he again wrote [1709] a poem of 'Advice to a Weaver of Tapestry." Steele was then publishing The Tatler;' and looking round him for something at which he might laugh, unluckily lighted on Sir Richard's work, and treated it with such contempt, that, as Fenton observes," he put an end to the species of writers that gave 'Advice to Painters.' Not long after (1712)" he published Creation, a Philosophical Poem' [in seven books], which has been, by my recommendation, inserted in the late collection. Whoever judges of this by any other of Blackmore's performances will do it injury. The praise given it by Addison ('Spec.' 339) is too well known to be transcribed; but some notice is due to the testimony of Dennis, who calls it a "philosophical poem, which has equalled that of Lucretius in the beauty of its versification, and infinitely surpassed it in the solidity and strength of its reasoning." Why an author surpasses himself it is natural to inquire. I have heard from Mr. Draper," an eminent bookseller, an account received by him from Ambrose Philips, "That Blackmore, as he proceeded in this poem, laid his manuscript from time to time before a club of wits with whom he associated; and that every man contributed, as he could, either improvement or correction; so that," said Philips, "there are perhaps nowhere in the book thirty lines together that now stand as they were originally written." The relation of Philips, I suppose, was true; but when all reasonable, all credible allowance is made for this friendly revision, the author will still retain an ample dividend of praise; for to him must always be assigned the plan of the work, the distribution of its parts, the choice of topics, the train of argument, and, what is anonymously, but was soon known to be his: and was welcomed by 'A Panegyrical Epistle' on his incomparable, incomprehensible tome, 1709, fol. 19 Instructions to Vanderbank: A Sequel to the Advice to the Poets; A Poem occasioned by the glorious success of Her Majesty's Arms under the command of the Duke of Marlborough, the last year, in Flanders. London: printed for Egbert Sanger, 1709,' folio. 20 The Tatler,' No. 3, of 16th April, 1709. In No. 14 of the same paper he made a kind of apology for his raillery. 21 Observations on some of Mr. Waller's Poems.' 22 This was the first of his octavo publications. He had now degenerated from folio to octavo. Creation' was "printed for 8. Buckley and J. Tonson." There was a second edition in 8vo. the same year. 23 The partner of the last of the Tonsons. yet more, the general predominance of philosophical judgment and poetical spirit. Correction seldom effects more than the suppression of faults: a happy line, or a single elegance, may perhaps be added; but of a large work the general character must always remain; the original constitution can be very little helped by local remedies; inherent and radical dulness will never be much invigorated by extrinsic animation. This poem, if he had written nothing else, would have transmitted him to posterity among the first favourites of the English muse; but to make verses was his transcendent pleasure, and as he was not deterred by censure, he was not satiated with praise.** He deviated, however, sometimes into other tracks of literature, and condescended to entertain his readers with plain prose. When 'The Spectator' stopped," he considered the polite world as destitute of entertainment; and in concert with Mr. Hughes, who wrote every third paper, published three times a week 'The Lay Monastery," founded on the supposition that some literary men, whose characters are described, had retired to a house in the country to enjoy philosophical leisure, and resolved to instruct the public by communicating their disquisitions and amusements. Whether any real persons were concealed under fictitious names is not known. The hero of the club is one Mr. Johnson-such a constellation of excellence," that his character shall not be suppressed, though there is no great genius in the desigu, nor skill in the delineation. 24 'Tis strange that an author should have a gamester's fate, and not know when to give over. Had the City Bard stopped his hand at Prince Arthur,' he had missed knighthood, it is true, but he had gone off with some applause.-Tom Brown's Laconics, Works, ed. 1709, iv. 25. 25 This is a mistake; for 'The Guardian' abruptly dropped, 1st Oct. 1718. See Hughes's 'Letter to Addison,' 6th Oct. 1713. The Spectator' dropped 6th December, 1712, on the conclusion of the seventh volume. The eighth volume, the first number of which was published more than a year and a half after the last number of the seventh volume, must be considered as a separate work. 26 The proper, or rather the original, title is The Lay Monk.' The first paper was published 16th Nov. 1713, and the last (the fortieth) 15th Feb. 1713-14. Blackmore started it as a kind of sequel to The Guardian,' "being of opinion," as Hughes writes to Addison, "that such a design ought not to be dropped." See four letters on this subject, including one from Blackmore, in Hughes's 'Corresp.' vol. i. 27 My father's opinion of Dr. Johnson may be conjectured from the name he afterwards gave him, which was Ursa Major. But it is not true, as has been reported, that it was in consequence of my saying that he was a constellation of genius and literature.—Boswell by Croker, p. 898, ed. 1848. % "The first I shall name is Mr. Johnson, a gentleman that owes to nature excellent faculties and an elevated genius, and to industry and application many acquired accomplishments. His taste is distinguishing, just, and delicate; his judgment clear, and his reason strong, accompanied with an imagination full of spirit, of great compass, and stored with refined ideas. He is a critic of the first rank; and what is his peculiar ornament, he is delivered from the ostentation, malevolence, and supercilious temper, that so often blemish men of that character. His remarks result from the nature and reason of things, and are formed by a judgment free and unbiassed by the authority of those who have lazily followed each other in the same beaten track of thinking, and are arrived only at the reputation of acute grammarians and commentators-men who have been copying one another many hundred years without any improvement; or, if they have ventured farther, have only applied in a mechanical mauner the rules of ancient critics to modern writings, and with great labour discovered nothing but their own want of judgment and capacity. As Mr. Johnson penetrates to the bottom of his subject, by which means his observations are solid and natural as well as delicate, so his design is always to bring to light something useful and ornamental; whence his character is the reverse to theirs, who have eminent abilities in insignificant knowledge, and a great felicity in finding out trifles. He is no less industrious to search out the merit of an author than sagacious in discerning his errors and defects, and takes more pleasure in commending the beauties than exposing the blemishes of a laudable writing; like Horace, in a long work he can bear some deformities, and justly lay them on the imperfection of human nature, which is incapable of faultless productions. When an excellent drama appears in public, and by its intrinsic worth attracts a general applause, he is not stung with envy and spleen, nor does he express a savage nature in fastening upon the celebrated author, dwelling upon his imaginary defects, and passing over his conspicuous excellences. He treats all writers upon the same impartial foot; and is not, like the little critics, taken up entirely in finding out only the beauties of the ancient, and nothing but the errors of the modern writers. Never did any one express more kindness and good nature to young and unfinished authors he promotes their interests, protects their reputation, ex tenuates their faults, and sets off their virtues, and by his candour guards them from the severity of his judgment. He is not like those dry critics who are morose because they cannot write themselves, but is himself master of a good vein in poetry; and though he does not often employ it, yet he has sometimes entertained his friends with his unpublished performances." The rest of the 'Lay Monks' seem to be but feeble mortals in comparison with the gigantic Johnson, who yet, with all his abilities and the help of the fraternity, could drive the publication but to forty papers, which were afterwards collected into a volume, and called in the title, 'A Sequel to the Spectators.' Some years afterwards (1716 and 1717) he published two volumes of Essays in prose, which can be commended only as they are written for the highest and noblest purpose, the promotion of religion. Blackmore's prose is not the prose of a poet, for it is languid, sluggish, and lifeless; his diction is neither daring nor exact, his flow neither rapid nor easy, and his periods neither smooth nor strong. His account of Wit will show with how little clearness he is content to think, and how little his thoughts are recommended by his language. "As to its efficient cause, Wit owes its production to an extraordinary and peculiar temperament in the constitution of the possessors of it, in which is found a concurrence of regular and exalted ferments, and an affluence of animal spirits, refined and rectified to a great degree of purity; whence being endowed with vivacity, brightness, and celerity, as well in their reflections as direct motions, they become proper instruments for the sprightly operations of the mind; by which means the imagination can with great facility range the wide field of nature, contemplate an infinite variety of objects, and, by observing the similitude and disagreement of their several qualities, single out and abstract, and then suit and unite, those ideas which will best serve its purpose. Hence beautiful allusions, surprising metaphors, and admirable sentiments, are always ready at hand; and while the fancy is full of images collected from innumerable objects, and their different qualities, relations, and habitudes, it can at pleasure dress a common notion in a strange |