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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 (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 a poem on the Kit-cat Club, and Advice to the Poets how to celebrate the Duke of Marlborough ; but on occasion of another year of success, thinking himself qualified to give more instruction, he again wrote a poem of "Advice to a Weaver of Tapestry." Steele was then publishing the "Tatler;" and, looking around 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, 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 no where 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 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 extrin sic 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 "Specta tor" 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 communi cating their disquisitions and amusements. Whether any real persons were concealed under ficti tious 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 design nor skill in the delineation.

"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 cha racter. 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 manner 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 kuowledge, 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 just. ly 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 ex press 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 footing; 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 goodnature to young and unfinished authors; he promotes their interests, protects their reputation, extenuates 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 shew 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 possessor 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 ima gination 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 but becoming garb; by which, as before observed, the same thought will appear a new one, to the great delight and wonder of the hearer. What we call genius results from this particular happy complexion in the first formation of the person that enjoys it, and is Nature's gift, but diversified by various specific characters and limitations, as its active fire is blended and allayed by different proportions of phlegm, or reduced and regulated by the contrast of opposite ferments. Therefore, as there happens in the composition of a facetious genius a greater or less, though still

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