Chapter XXIX: Appendix: F

CRITICISMS FROM GOLDSMITH’S ‘BEAUTIES OF ENGLISH POESY.’

To _The Beauties of English Poesy_, 2 vols., 1767, Goldsmith
prefixed, in each case, ‘short introductory criticisms.’ They are, as he
says, ‘rather designed for boys than men’; and aim only at being ‘obvious
and sincere’; but they carry his views on the subject somewhat farther
than the foregoing account from the _History of England_.

THE RAPE OF THE LOCK.

This seems to be Mr. Pope’s most finished production, and is, perhaps, the
most perfect in our language. It exhibits stronger powers of imagination,
more harmony of numbers, and a greater knowledge of the world, than any
other of this poet’s works; and it is probable, if our country were called
upon to show a specimen of their genius to foreigners, this would be the
work here fixed upon.

THE HERMIT.

This poem is held in just esteem, the versification being chaste, and
tolerably harmonious, and the story told with perspicuity and conciseness.
It seems to have cost great labour, both to Mr. Pope and Parnell himself,
to bring it to this perfection.* It may not be amiss to observe that the
fable is taken from one of Dr. Henry More’s Dialogues.

*Parnell’s _Poems_, 1770, xxiv.

IL PENSEROSO.

I have heard a very judicious critic say, that he had an higher idea of
Milton’s style in poetry, from the two following poems [_Il Penseroso_
and _ l’Allegro_], than from his _Paradise Lost_. It
is certain the imagination shown in them is correct and strong. The
introduction to both in irregular measure is borrowed from the Italian,
and hurts an English ear.

AN ELEGY, WRITTEN IN A COUNTRY CHURCH YARD.

This is a very fine poem, but overloaded with epithet.† The heroic
measure with alternate rhyme is very properly adapted to the solemnity of
the subject, as it is the slowest movement that our language admits of.
The latter part of the poem is pathetic and interesting.

†This is a
strange complaint to come from Goldsmith, whose own _Hermit_,
as was pointed out to the present Editor by the late Mr. Kegan Paul, is
certainly open to this impeachment.

LONDON. IN IMITATION OF THE THIRD SATIRE OF JUVENAL.

This poem of Mr. Johnson’s is the best imitation of the original that has
appeared in our language, being possessed of all the force and satirical
resentment of Juvenal. Imitation gives us a much truer idea of the
ancients than even translation could do.

THE SCHOOL-MISTRESS. IN IMITATION OF SPENSER.

This poem is one of those happinesses in which a poet excels himself, as
there is nothing in all Shenstone which in any way approaches it in merit;
and, though I dislike the imitations of
our old English poets in general, yet, on this minute subject, the
antiquity of the style produces a very ludicrous solemnity.

COOPER’S HILL.

This poem, by Denham, though it may have been exceeded by later attempts
in description, yet deserves the highest applause, as it far surpasses all
that went before it: the concluding part, though a little too much
crowded, is very masterly.

ELOISA TO ABELARD.

The harmony of numbers in this poem is very fine. It is rather drawn out
to too tedious a length, although the passions vary with great judgement.
It may be considered as superior to anything in the epistolary way; and
the many translations which have been made of it into the modern
languages, are in some measure a proof of this.

AN EPISTLE FROM MR. PHILIPS [Ambrose Philips] TO THE EARL OF DORSET.

The opening of this poem is incomparably fine. The latter part is tedious
and trifling.

A LETTER FROM ITALY, TO THE RIGHT HONOURABLECHARLES LORD HALIFAX.

In the Year MDCCI.

Few poems have done more honour to English genius than this. There is in
it a strain of political thinking that was, at that time, new in our
poetry. Had the harmony of this been equal to that of Pope’s
versification, it would be incontestably the finest poem in our language;
but there is a dryness in the numbers which greatly lessens the pleasure
excited both by the poet’s judgement and imagination.*

* See introductory note to _The Traveller_, p. 162.

ALEXANDER’S FEAST; OR, THE POWER OF MUSIC.

AN ODE, IN HONOUR OF ST. CECILIA’S DAY.

This ode [by Mr. Dryden] has been more applauded, perhaps, than it has
been felt, however, it is a very fine one, and gives its beauties rather
at a third, or fourth, than at a first perusal.

ODE FOR MUSIC ON ST. CECILIA’S DAY.

This ode [by Mr. Pope] has by many been thought equal to the former. As it
is a repetition of Dryden’s manner, it is so far inferior to him. The
whole hint of Orpheus, and many of the lines, have been taken from an
obscure Ode upon Music, published in Tate’s Miscellanies.*

*_A Pindaric Essay upon Musick_—says Gibbs—by
‘Mr. Wilson’,’ which appears at p. 401 of Tate’s Collection of 1685.

THE SHEPHERD’S WEEK. IN SIX PASTORALS.

These are Mr. Gay’s principal performances. They were originally intended,
I suppose, as a burlesque on those of [Ambrose] Philips; but, perhaps
without designing it, he has hit the true spirit of pastoral poetry. In
fact, he more resembles Theocritus than any other English pastoral writer
whatsoever. There runs through the whole a strain of rustic pleasantry
which should ever distinguish this species of composition; but how far the
antiquated expressions used here may contribute to the humour, I will not
determine; for my own part, I could wish the simplicity were preserved,
without recurring to such obsolete antiquity for the manner of expressing
it.

MAC FLECKNOE.

The severity of this satire, and the excellence of its versification give
it a distinguished rank in this species of composition. At present, an
ordinary reader would scarce suppose that Shadwell, who is here meant by
Mac Flecknoe, was worth being chastised, and that Dryden’s descending to
such game was like an eagle’s stooping to catch flies.† The truth
however is, Shadwell, at one time, held divided reputation with this great
poet. Every
age produces its fashionable dunces, who, by following the transient
topic, or humour, of the day, supply talkative ignorance with materials
for conversation.

†‘Aquila non capit muscas’ (Apostolius).

ON POETRY. A RHAPSODY.

Here follows one of the best versified poems in our language, and the most
masterly production of its author. The severity with which Walpole is here
treated, was in consequence of that minister having refused to provide for
Swift in England, when applied to for that purpose in the year 1725 (if I
remember right). The severity of a poet, however, gave Walpole very little
uneasiness. A man whose schemes, like this minister’s, seldom extended
beyond the exigency of the year, but little regarded the contempt of
posterity.

OF THE USE OF RICHES.

This poem, as Mr. Pope tells us himself, cost much attention and labour;
and, from the easiness that appears in it, one would be apt to think as
much.

FROM THE DISPENSARY.

This sixth canto of the _Dispensary_, by Dr. Garth, has more
merit than the whole preceding part of the poem, and, as I am told, in the
first edition of this work it is more correct than as here exhibited; but
that edition I have not been able to find. The praises bestowed on this
poem are more than have been given to any other; but our approbation, at
present, is cooler, for it owed part of its fame to party.*

* Cf. Dedication of _The Traveller_, ll. 34–45.

ECLOGUE I.

SELIM: OR, THE SHEPHERD’S
MORAL.

The following eclogues,† written by Mr. Collins, are very pretty:
the images, it must be owned, are not very local; for the pastoral subject
could not well admit of it. The description
of Asiatic magnificence, and manners, is a subject as yet unattempted
amongst us, and I believe, capable of furnishing a great variety of
poetical imagery.

† i.e.—Selim, Hassan, Agib and Secander, and Abra. Goldsmith
admired Collins, whom he calls in the _ Enquiry_, 1759, p. 143,
‘the neglected author of the Persian eclogues, which, however inaccurate,
excel any in our language.’ He borrowed freely from him in the _Threnodia
Augustalis_, q.v.

THE SPLENDID SHILLING.

BY MR.
J. PHILIPS.

This is reckoned the best parody of Milton in our language: it has been an
hundred times imitated, without success. The truth is, the first thing in
this way must preclude all future attempts; for nothing is so easy as to
burlesque any man’s manner, when we are once showed the way.

A PIPE OF TOBACCO:

IN IMITATION OF
SIX SEVERAL AUTHORS.

Mr. Hawkins Browne, the author of these, as I am told, had no good
original manner of his own, yet we see how well he succeeded when he turns
an imitator; for the following are rather imitations than ridiculous
parodies.

A NIGHT-PIECE ON DEATH.

The great fault of this piece, written by Dr. Parnell, is that it is in
eight-syllable lines, very improper for the solemnity of the subject;
otherwise, the poem is natural, and the reflections just.

A FAIRY TALE.

BY DR. PARNELL.

Never was the old manner of speaking more happily applied, or a tale
better told, than this.

PALEMON AND LAVINIA. [From _The Seasons_.]

Mr. Thomson, though, in general, a verbose and affected poet, has told
this story with unusual simplicity: it is rather given here for being much
esteemed by the public, than by the editor.

THE BASTARD.

Almost all things written from the heart, as this certainly was, have some
merit. The poet here describes sorrows and misfortunes which were by no
means imaginary; and, thus, there
runs a truth of thinking through this poem, without which it would be of
little value, as Savage is, in other respects, but an indifferent poet.

THE POET AND HIS PATRON.

Mr. Mo[o]re was a poet that never had justice done him while living; there
are few of the moderns have a more correct taste, or a more pleasing
manner of expressing their thoughts. It was upon these fables [Nos. v, vi,
and xvi of the _Fables for the Ladies_] he chiefly founded his
reputation; yet they are, by no means, his best production.

AN EPISTLE TO A LADY.

This little poem, by Mr. Nugent [afterwards Lord Clare] is very pleasing.
The easiness of the poetry, and the justice of the thoughts, constitute
its principal beauty.

HANS CARVEL.

This bagatelle, for which, by the by, Mr. Prior has got his greatest
reputation, was a tale told in all the old Italian collections of jests,
and borrowed from thence by Fontaine. It had been translated once or twice
before into English, yet was never regarded till it fell into the hands of
Mr. Prior. A strong instance how everything is improved in the hands of a
man of genius.

BAUCIS AND PHILEMON.

This poem [by Swift] is very fine; and though in the same strain with the
preceding [Prior’s _Ladle_] is yet superior.

TO THE EARL OF WARWICK, ON THE DEATH OF MR. ADDISON.

This elegy (by Mr. Ticknell) is one of the finest in our language; there
is so little new that can be said upon the death of a friend, after the
complaints of Ovid and the Latin Italians, in this way, that one is
surprised to see so much novelty in this to strike us, and so much
interest to affect.

COLIN AND LUCY.

Through all Tickell’s works there is a strain of ballad-thinking, if I may
so express it; and, in this professed ballad, he seems to have surpassed
himself. It is, perhaps, the best in our language in this way.

THE TEARS OF SCOTLAND.

WRITTEN IN THE YEAR
MDCCXLVI.

This ode, by Dr. Smollett, does rather more honour to the author’s
feelings than his taste. The mechanical part, with regard to numbers and
language, is not so perfect as so short a work as this requires; but the
pathetic it contains, particularly in the last stanza but one, is
exquisitely fine.

ON THE DEATH OF THE LORD PROTECTOR.

Our poetry was not quite harmonized in Waller’s time; so that this, which
would be now looked upon as a slovenly sort of versification, was, with
respect to the times in which it was written, almost a prodigy of harmony.
A modern reader will chiefly be struck with the strength of thinking, and
the turn of the compliments bestowed upon the usurper. Everybody has heard
the answer our poet made Charles II; who asked him how his poem upon
Cromwell came to be finer than his panegyric upon himself. ‘Your majesty,’
replies Waller, ‘knows, that poets always succeed best in fiction.’

THE STORY OF PHOEBUS AND DAPHNE APPLIED.

The French claim this [by Mr. Waller] as belonging to them. To whomsoever
it belongs the thought is finely turned.

NIGHT THOUGHTS.

BY DR. YOUNG.

These seem to be the best of the collection; from whence only the two
first are taken. They are spoken of differently, either with exaggerated
applause or contempt, as the reader’s disposition is either turned to
mirth or melancholy.

SATIRE I.

Young’s Satires were in higher reputation when published, than they stand
in at present. He seems fonder of dazzling than pleasing; of raising our
admiration for his wit, than our dislike of the follies he ridicules.

A PASTORAL BALLAD.

These ballads of Mr. Shenstone are chiefly commended for the natural
simplicity of the thoughts and the harmony of the versification. However,
they are not excellent in either.

PHOEBE. A PASTORAL.

This, by Dr. Byrom, is a better effort than the preceding [a ballad by
Shenstone].

A SONG.

This [‘Despairing beside a clear stream’] by Mr. Rowe, is better than
anything of the kind in our language.

AN ESSAY ON POETRY.

This work, by the Duke of Buckingham, is enrolled among our great English
productions. The precepts are sensible, the poetry not indifferent, but it
has been praised more than it deserves.

CADENUS AND VANESSA.

This is thought one of Dr. Swift’s correctest pieces; its chief merit,
indeed, is the elegant ease with which a story, but ill-conceived in
itself, is told.

ALMA: OR, THE PROGRESS OF THE MIND.

What Prior meant by this poem I can’t understand; by the Greek motto to it
one would think it was either to laugh at the subject or the reader. There
are some parts of it very fine; and let them save the badness of the rest.