Idler No. 60. Saturday, June 9, 1759.
Criticism is a study by which men grow important and formidable at a very small expense. The power of invention has been conferred by nature upon few, and the labour of learning those sciences, which may by mere labour be obtained, is too great to be willingly endured; but every man can exert such judgment as he has upon the works of others; and he whom nature has made weak, and idleness keeps ignorant, may yet support his vanity by the name of a Critick.
I hope it will give comfort to great numbers who are passing through the world in obscurity, when I inform them how easily distinction may be obtained. All the other powers of literature are coy and haughty, they must be long courted, and at last are not always gained; but Criticism is a goddess easy of access and forward of advance, who will meet the slow, and encourage the timorous; the want of meaning she supplies with words, and the want of spirit she recompenses with malignity.
This profession has one recommendation peculiar to itself, that it gives vent to malignity without real mischief. No genius was ever blasted by the breath of criticks. The poison which, if confined, would have burst the heart, fumes away in empty hisses, and malice is set at ease with very little danger to merit. The critick is the only man whose triumph is without another's pain, and whose greatness does not rise upon another's ruin.
To a study at once so easy and so reputable, so malicious and so harmless, it cannot be necessary to invite my readers by a long or laboured exhortation; it is sufficient, since all would be criticks if they could, to show, by one eminent example, that all can be criticks if they will.
Dick Minim, after the common course of puerile studies, in which he was no great proficient, was put an apprentice to a brewer, with whom he had lived two years, when his uncle died in the city, and left him a large fortune in the stocks. Dick had for six months before used the company of the lower players, of whom he had learned to scorn a trade, and, being now at liberty to follow his genius, he resolved to be a man of wit and humour. That he might be properly initiated in his new character, he frequented the coffee-houses near the theatres, where he listened very diligently, day after day, to those who talked of language and sentiments, and unities and catastrophes, till, by slow degrees, he began to think that be understood something of the stage, and hoped in time to talk himself.
But he did not trust so much to natural sagacity as wholly to neglect the help of books. When the theatres were shut, he retired to Richmond with a few select writers, whose opinions he impressed upon his memory by unwearied diligence; and, when he returned with other wits to the town, was able to tell, in very proper phrases, that the chief business of art is to copy nature; that a perfect writer is not to be expected, because genius decays as judgment increases; that the great art is the art of blotting; and that, according to the rule of Horace, every piece should be kept nine years.
Of the great authors he now began to display the characters, laying down as an universal position, that all had beauties and defects. His opinion was, that Shakespeare, committing himself wholly to the impulse of nature, wanted that correctness which learning would have given him; and that Jonson, trusting to learning, did not sufficiently cast his eyes on nature. He blamed the stanzas of Spenser, and could not bear the hexameters of Sidney. Denham and Waller he held the first reformers of English numbers; and thought that if Waller could have obtained the strength of Denham, or Denham the sweetness of Waller, there had been nothing wanting to complete a poet. He often expressed his commiseration of Dryden's poverty, and his indignation at the age which suffered him to write for bread; he repeated with rapture the first lines of All for Love, but wondered at the corruption of taste which could bear any thing so unnatural as rhyming tragedies.
In Otway he found uncommon powers of moving the passions, but was disgusted by his general negligence, and blamed him for making a conspirator his hero; and never concluded his disquisition, without remarking how happily the sound of the clock is made to alarm the audience. Southern would have been his favourite, but that he mixes comick with tragick scenes, intercepts the natural course of the passions, and fills the mind with a wild confusion of mirth and melancholy. The versification of Rowe he thought too melodious for the stage, and too little varied in different passions. He made it the great fault of Congreve, that all his persons were wits, and that he always wrote with more art than nature. He considered Cato rather as a poem than a play, and allowed Addison to be the complete master of allegory and grave humour, but paid no great deference to him as a critick. He thought the chief merit of Prior was in his easy tales and lighter poems, though he allowed that his Solomon had many noble sentiments elegantly expressed. In Swift he discovered an inimitable vein of irony, and an easiness which all would hope and few would attain. Pope he was inclined to degrade from a poet to a versifier, and thought his numbers rather luscious than sweet. He often lamented the neglect of Phaedra and Hippolytus, and wished to see the stage under better regulations.
These assertions passed commonly uncontradicted; and if now and then an opponent started up, he was quickly repressed by the suffrages of the company, and Minim went away from every dispute with elation of heart and increase of confidence.
He now grew conscious of his abilities, and began to talk of the present state of dramatick poetry; wondered what had become of the comick genius which supplied our ancestors with wit and pleasantry, and why no writer could be found that durst now venture beyond a farce. He saw no reason for thinking that the vein of humour was exhausted, since we live in a country, where liberty suffers every character to spread itself to its utmost bulk, and which, therefore, produces more originals than all the rest of the world together. Of tragedy he concluded business to be the soul, and yet often hinted that love predominates too much upon the modern stage.
He was now an acknowledged critick, and had his own seat in a coffee-house, and headed a party in the pit. Minim has more vanity than ill-nature, and seldom desires to do much mischief; he will, perhaps, murmur a little in the ear of him that sits next him, but endeavours to influence the audience to favour, by clapping when an actor exclaims, _Ye gods!_ or laments the misery of his country.
By degrees he was admitted to rehearsals; and many of his friends are of opinion, that our present poets are indebted to him for their happiest thoughts; by his contrivance the bell was rung twice in Barbarossa, and by his persuasion the author of Cleone concluded his play without a couplet; for what can be more absurd, said Minim, than that part of a play should be rhymed, and part written in blank verse? and by what acquisition of faculties is the speaker, who never could find rhymes before, enabled to rhyme at the conclusion of an act?
He is the great investigator of hidden beauties, and is particularly delighted when he finds "the sound an echo to the sense." He has read all our poets, with particular attention to this delicacy of versification, and wonders at the supineness with which their works have been hitherto perused, so that no man has found the sound of a drum in this distich:
"When pulpit, drum ecclesiastic,
Was beat with fist instead of a stick;"
and that the wonderful lines upon honour and a bubble have hitherto passed without notice:
"Honour is like the glassy bubble,
Which costs philosophers such trouble;
Where, one part crack'd, the whole does fly,
And wits are crack'd to find out why."
In these verses, says Minim, we have two striking accommodations of the sound to the sense. It is impossible to utter the first two lines emphatically without an act like that which they describe; _bubble_ and _trouble_ causing a momentary inflation of the cheeks by the retention of the breath, which is afterwards forcibly emitted, as in the practice of _blowing bubbles_. But the greatest excellence is in the third line, which is _crack'd_ in the middle to express a crack, and then shivers into monosyllables. Yet has this diamond lain neglected with common stones, and among the innumerable admirers of Hudibras the observation of this superlative passage has been reserved for the sagacity of Minim.
[The end]
Samuel Johnson's essay: Idler No. 60