He was now an acknowledged critic, 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 Barbarossa1, and by his persuasion the author of Cleone concluded his play with 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, 1 A worthless tragedy by Dr. Brown, a minor poet and dramatist of the time. 2 A tragedy by Robert Dodsley (1703–1764), editor of the Collection of Old Plays. In these verses, says Minim, we have two striking accommodations of the sound to the sense. It is impossible to utter the 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 cracked in the middle to express a crack, and then shivers into monosyllables. Yet hath 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. MR. XXXIV. DICK MINIM. R. MINIM had now advanced himself to the zenith of critical reputation; when he was in the pit every eye in the boxes was fixed upon him; when he entered his coffee-house he was surrounded by circles of candidates, who passed their novitiate of literature under his tuition: his opinion was asked by all who had no opinion of their own, and yet loved to debate and decide; and no composition was supposed to pass in safety to posterity, till it had been secured by Minim's approbation. Minim professes great admiration of the wisdom and munificence by which the academies of the continent were raised; and often wishes for some standard of taste, for some tribunal, to which merit may appeal from caprice, prejudice, and malignity. He has formed a plan for an academy of criticism, where every work of imagination may be read before it is printed, and which shall authoritatively direct the theatres what pieces to receive or reject, to exclude or to revive. ( M 249) P Such an institution would, in Dick's opinion, spread the fame of English literature over Europe, and make London the metropolis of elegance and politeness, the place to which the learned and ingenious of all countries would repair for instruction and improvement, and where nothing would any longer be applauded or endured that was not conformed to the nicest rules, and finished with the highest elegance. Till some happy conjunction of the planets shall dispose our princes or ministers to make themselves immortal by such an academy, Minim contents himself to preside four nights in a week in a critical society selected by himself, where he is heard without contradiction, and whence his judgment is disseminated through the great vulgar and the small. When he is placed in the chair of criticism, he declares loudly for the noble simplicity of our ancestors, in opposition to the petty refinements, and ornamental luxuriance. Sometimes he is sunk in despair, and perceives false delicacy daily gaining ground, and sometimes brightens his countenance with a gleam of hope, and predicts the revival of the true sublime. He then fulminates his loudest censures against the monkish barbarity of rhyme; wonders how beings that pretend to reason can be pleased with one line always ending like another; tells how unjustly and unnaturally sense is sacrified to sound; how often the best thoughts are mangled by the necessity of confining or extending them to the dimensions of a couplet; and rejoices that genius has, in our days, shaken off the shackles which had encumbered it so long. Yet he allows that rhyme may sometimes be borne, if the lines be often broken, and the pauses judiciously diversified. From blank verse he makes an easy transition to Milton, whom he produces as an example of the slow advance of lasting reputation. Milton is the only writer in whose books Minim can read for ever without weariness. What cause is it that exempts this pleasure from satiety he has long and diligently inquired, and believes it to consist in the perpetual variation of the numbers, by which the ear is gratified and the attention awakened. The lines that are commonly thought rugged and unmusical, he conceives to have been written to temper the melodious luxury of the rest, or to express things by a proper cadence: for he scarcely finds a verse that has not this favourite beauty; he declares that he could shiver in a hot-house when he reads that "the ground Burns frore, and cold performs the effect of fire"; and that when Milton bewails his blindness, the verse, "So thick a drop serene has quench'd these orbs", has, he knows not how, something that strikes him with an obscure sensation like that which he fancies would be felt from the sound of darkness. Minim is not so confident of his rules of judgment as not very eagerly to catch new light from the name of the author. He is commonly so prudent as to spare those whom he cannot resist, unless, as will sometimes happen, he finds the public combined against them. But a fresh pretender to fame he is strongly inclined to censure, till his own honour requires that he commend him. Till he knows the success of a composition, he intrenches himself in general terms; there are some new thoughts and beautiful passages, but there is likewise much which he would have advised the author to expunge. He has several favourite epithets, of which he has never settled the meaning, but which are very commodiously applied to books which he has not read, or cannot understand. One is manly, another is dry, another stiff, and another flimsy; sometimes he discovers delicacy of style, and sometimes meets with strange expressions. He is never so great nor so happy as when a youth of promising parts is brought to receive his directions for the prosecution of his studies. He then puts on a very serious air; he advises the pupil to read none but the best authors, and, when he finds one congenial to his own mind, to study his beauties, but avoid his faults, and, when he sits down to write, to consider how his favourite author would think at the present time on the present occasion. He exhorts him to catch those moments when he finds his thoughts expanded and his genius exalted, but to take care lest imagination hurry beyond the bounds of nature. He holds diligence the mother of success; yet enjoins him with great earnestness, not to read more than he can digest, and not to confuse his mind by pursuing studies of contrary tendencies. He tells him, that every man has his genius, and that Cicero could never be a poet. The boy retires illuminated, resolves to follow his genius, and to think how Milton would have thought: and Minim feasts upon his own beneficence till another day brings another pupil. THE OLIVER GOLDSMITH. (1728-1774-) XXXV. NATIONAL PREJUDICE. English seem as silent as the Japanese, yet vainer than the inhabitants of Siam. Upon my arrival I attributed that reserve to modesty, which I now find has its origin in pride. Condescend to address them first and you are sure of their acquaintance; stoop to flattery and you conciliate their friendship and esteem. They bear |