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A N

ESSAY

Ο Ν

CRITICISM.

Written in the Year M DCC IX.

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PART II. Ver. 203, etc.

Caufes hindering a true Judgment. 1. Pride, ✰ 208. 2. Imperfect Learning, ✯ 215. 3. Judging by parts, and not by the whole, 233 to 288. Critics in Wit, Language, Verfification, only, ✯ 288. 305. 339, etc. 4. Being too hard to please, or too apt to admire, 3845. Partiality too much love to a Sect,— to the Ancients or Moderns, 394. 6. Prejudice or Prevention, 408. 7. Singularity, ✯ 424. 8. Inconstancy, ✯ 430. 9. Party Spirit, 452, etc. 10. Envy, 466. Against Envy and in praife of Good-nature, 508, etc. When Severity is chiefly to be used by Critics, † 526, etc.

PART III. Ver. 560, etc,

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Rules for the Conduct of Manners in a Critic, 1. Can563. Modefty, 566. Good-breeding, 572. Sincerity and Freedom of advice, * 578. 2. When one's Counsel is to be restrained, 584. Character of an incorrigible Poet, & 600. And of an impertinent Critic, 610, etc. Character of a good ✈ Critic, 629. The Hiftory of Criticifm, and Characters of the best Critics, Aristotle, ✯ 645. Horace, 653. Dionyfius, 665. Petronius, 667. Quintilian, 670. Longinus, 675. Of the Decay of Criticism, and its Revival. Erafmus, 693. Vida, 705. Boileau, 714. Lord Rofcommon, etc.725. Conclufion.

AN

ESSA A Y

ΟΝ

CRITICISM.

'T'

IS hard to fay, if greater want of skill
Appear in writing or in judging ill;
But of the two, less dang'rous is th'offence
To tire our patience, than mislead our sense.

COMMENTARY.

An Effay.] The Poem is in one book, but divided into three principal parts or members. The first [to 201.] gives rules ν for the Study of the Art of Criticism: the fecond [from thence to 560.] exposes the Causes of wrong Judgment; and the third [from thence to the end] marks out the Morals of the Critic.

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In order to a right conception of this poem, it will be ceffary to obferve, that tho' it be intitled fimply An Essay on Criticism, yet feveral of the precepts relate equally to the good writing as well as to the true judging of a poem. This is fo far from violating the Unity of the Subject, that it preserves and compleats it: or from difordering the regularity of the Form, that it adds beauty to it, as will appear by the following confiderations: 1. It was impoffible to give a full and exact idea of the Art of Poetical Criticifm, without confidering at the same time the Art of Poetry; fo far as Poetry is an Art. These therefore being clofely connected in nature, the Author has with much

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