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This fair infpir'd delight: but temper'd powers
Refine at length, and every paffion wears
A chafter, milder, more attractive mien.

AKENSIDE.

To all this must be added, as a material confideration in favour of the ftudy of polite literature, that it affords an agreeable and useful exercise of the judgment, in determining the degree of merit in literary productions; an exercife which tends to improve the tafte, and to form a habit of correct and elegant expreffion, both in converfation and writing.

It is on thefe accounts, that the ftudy of polite literature in general, and of the ancient claffical writers in particular, is made a principal branch of liberal education and for thefe reafons, fome attention may be due to the observations and precepts, relative to the reading of works of tafte, which are to fill up the remainder of this Effay.

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THE effect which is produced by writing is fimilar to that which is produced by painting, in this refpect, among others; as in painting the fpectator firft enjoys the immediate pleafure of the emotion excited by the reprefentation, and then the fecondary gratification of exercifing his judgment upon the merit of he painter; fo in poetry, and other literary works of taste, the reader firft indulges his feelings in contemplating the objects which, by means of a due choice and arrangement of words, are presented before his imagination, and then proceeds to a critical examination of the degree of invention, judgment and tafte, which the production

discovers.

discovers. The former is the fole object of attention in the vulgar fpectator, or uneducated reader: the latter is the chief occupation of those who, without natural delicacy of feeling, or vigour of fancy, coolly apply to works of genius the technical rules of art. To form the character of the real man of taste and the true critic, both must be united.

In order to enjoy in perfection the pleasure arifing from these employments of the mind upon literary works of tafte, befides the foundation of good fenfe, and lively - sensibility, which must be laid by nature, several preparatory acquifitions are requifite.

It

THE firft is, an accurate acquaintance with the LANGUAGE in which the works we read are written. is very evident, that it is impoffible to feel the effect, or judge of the merit of any literary compofition, without knowing the meaning of the terms which the writer ufes, and the ftructure and idiom of the language in which he writes. Hence arifes the neceffity of a correct and grammatical knowledge of Greek and Latin, in order to enable any one to relish the beauties of the ancients. And hence it becomes reasonable to suspect fome deficiency in claffical learning, where these establifhed models of fine writing are made the subject of indifcriminate cenfure. If verbal criticism be thought in itself a trifling employment; yet, as an inftrument for discovering the true meaning, in order to perceive the excellencies or defects, and thus afcertain the merit, of a writer, it must be acknowledged to be an useful art. A

man

man of accurate tafte in works of literature must be a

good grammarian.

BESIDES this, it is neceffary to be fo well acquainted with the SOURCES from which writers borrow their images. and illustrations, as to be capable of feeling the effect, and judging of the propriety, of the application. Many poems of the firft merit appear obfcure, only because the reader is not sufficiently acquainted with the ancient fables, historical facts, or natural objects, to which the poet refers. The mythology of the Greeks, however difficult it may be to explain it philofophically, must at least be known as a subject of narration and description, before the poetical writings of the ancients can be understood. And even modern poets, who frequently introduce thefe fables into their works-with little effect indeed, for, as Dr. Johnfon fays, "The attention

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naturally retires from a new tale of Venus, Diana "and Minerva"-require, in their readers, fome portion of mythological knowledge. Since genius ranfacks every region of nature, fcience and art, for materials upon which it may exercife its powers; a general acquaintance with things, as well as words, is neceflary, in order to form a true estimate of the merit of her productions. The beauties of poetry cannot be completely relifhed, without a habit of attending to thofe forms of nature, from which the poet borrows his conceptions, and observing, with accuracy, the diftinct features, and peculiar characters, of objects in the vegetable and animal world *.

* See this fubject illuftrated by many pertinent examples and judicious obfervations, in Dr. Aikin's Effay on the Application of Natural Hiftory to Poetry.

A GENERAL

A GENERAL habit of CLOSE ATTENTION is another most important requifite, as in all other purfuits, fo particularly in the exercise of the imagination, or judgment, upon works of taste. The difference between a languid and a vigorous exertion of the faculties, forms the chief point of diftinction between genius and dulnefs. No man, who was not capable of forming clear and vivid conceptions, ever wrote well. Nor can any one, without that degree of exertion, which preserves the mind awake to every impreffion, and strongly fixes its attention upon every object which comes under its notice, be in a proper ftate for enjoying the pleasures of tafte, or for exercifing the functions of criticism. He who has acquired this important habit of attention, has learned to fee and feel. The general picture, prefented before his fancy by the artift, will ftrike him with its full force; nor will any fingle touch, however minute, efcape his obfervation. The confequence must be, a perfect experience of the effect which it was intended to produce, and an accurate difcernment of all its beauties and blemishes. This remark is equally valid, whether the inftrument, which genius employs, be the pencil or the pen.

THUS furnished with learning, knowledge, and attention, nothing further can be neceffary to put the reader of works of tafte into immediate poffeffion of the pleasures of imagination and fentiment, but a careful felection, and diligent perufal of the most excellent productions. It is of great confequence to young perfons, at least at their entrance upon the ftudy of polite litera

2.

literature, before their tafte is completely formed, that they confine themselves to writers of the firft merit in each branch of compofition. If, in making this choice, the advice of a judicious friend be wanting, they may fafely rely upon the voice of common fame: for, on questions of taste and feeling, the general result of public opinion is feldom wrong.

THE fecond object of attention in reading works of taste, that of forming a judgment concerning their merit, requires, befides the general preparation already suggested, a distinct examination of their feveral excellencies and defects. In order to execute the office of criticisin with tolerable fuccefs, the general principles of good writing must be well understood, and every piece which is to be examined must be brought to the standard of these principles. Whatever ridicule fome witty writers may have caft upon this kind, of admeasurement; -however delightful it may be thought, to "give up "the reins of one's imagination into an author's hands, "and be pleased one knows not why, and cares not "wherefore,”-there are, unquestionably, in nature, cer-tain characters, by which works of true genius and tafte may be distinguished from inferior productions. To be able, in all cafes, to determine with precifion how far a literary piece excels, or is deficient in these characters, is a high attainment, which entitles the poffeffor to no inconfiderable fhare of diftinction, and will furnish him with an endless variety of pleafing employment. It is impoffible, in a fhort Effay, to enter into a particular difcuffion of the nature and foundation of thofe qualities

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