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it was reasonable to hope, that he, who could raise mean subjects so high, should still be more elevated on greater themes; that he, that could draw such noble ideas from a shilling, could not fail upon such a subject as the Duke of Marlborough, which is capable of heightening even the most low and trifling genius. And, indeed, most of the great works which have been produced in the world have been owing less to the poet than the patron. Men of the greatest genius are sometimes lazy, and want a spur; often modest, and dare not venture in public, they certainly know their faults in the worst things; and even their best things they are not fond of, because the idea of what they ought to be is far above what they are. This induced me to believe that Virgil desired his works might be burnt, had not the same Augustus, that desired him to write them, preserved them from destruction. A scribbling beau may imagine a poet may be indnced to write, by the very pleasure he finds in writing; but that is seldom, when people are necessitated to it. I have known men row, and use very hard labour, for diversion which, if they had been tied to, they would have thought themselves very unhappy.
But to return to 'Blenheim,' that work so much admired by some, and censured by others. I have often wished he had wrote it in Latin, that he might be out of the reach of the empty critic, who could have as little understood his meaning in that language as they do his beauties in his own.
“False critics have been the plague of all ages : Milton himself, in a very polite court, has been compared to the rumbling of a wheelbarrow: he had been on the wrong side, and therefore could not be a good poet. And this, perhaps, may be Mr. Philips's case.
“But I take generally the ignorance of his readers to be the occasion of their dislike. People that have formed their taste upon the French writ
ers can have no relish for Philips ; they admire points and turns, and consequently have no judg. ment of what is great and majestic; he must look little in their eyes, when he soars so high as to be almost out of their view. I cannot therefore allow any admirer of the French to be a judge of “Blenheim,' nor any who takes Bouhours for a complete critic. He generally judges of the ancients by the moderns, and not the moderns by the ancients; he takes those passages of their own authors to be really sublime which come the nearest to it; he often calls that a noble and a great thought which is only a pretty and a fine one; and has more in. stances of the sublime out of Ovid de Tristi. bus,' than he has out of all Virgil.
“I shall allow, therefore, only those to be judges of Philips, who make the ancients, and particularly Virgil, their standard.
“But, before I enter on this subject, I shall consider what is particular in the style of Philips, and examine what ought to be the style of heroic poetry; and next inquire how far he is come up to that style.
“His style is particular, because he lays aside rhyme, and writes in blank verse, and uses old words, and frequently postpones the adjective to the substantive, and the substantive to the verb; and leaves out little particles, a, and the; her, and his ; and uses frequent appositions. Now let us examine whether these alterations of style be eonformable to the true sublime."
ILLIAM WALSH, the son of Joseph Walsh,
in 1663, as appears from the account of Wood, who relates, that at the age of fifteen he becaine, in 1678, a gentleman commoner of Wadhain College.
He left the University without a degree, and pur. sued his studies in London and at home; that he studied in whatever place, is apparent from the effect, for he became in Mr. Dryden's opinion the best critic in the nation.
He was not, however, merely a critic or a scholar, but a man of fashion ; and, as Dennis remarks, ostentatiously splendid in his dress. He was likewise a member of parliament and a courtier, knight of the shire for his native county in several parliaments; in another the representative of Richmond, in Yorkshire; and gentleman of the horse to Queen Anne, under the Duke of Somerset.
Some of his verses shew him to have been a zealous friend to the Revolution; but his politi. cal ardour did not abate his reverence or kindness for Dryden, to whom he gave a dissertation on Virgil's “ Pastorals,” in which, however studied, he discovers some ignorance of the laws of French versification.
In 1705, he began to correspond with Mr. Pope, in whom he discovered very early the power of poetry. Their letters are written upon the pastoral comedy of the Italians, and those pastorals which Pope was then preparing to publish,
The kindnesses which are first experienced are seldom forgotten. Pope always retained a grateful memory of Walsh's notice, and mentioned him in one of his latter pieces among those that had encouraged his juvenile studies :
Granville the polite, And knowing Walsh, would tell me I could write.
In his “Essay on Criticism" he had given him more splendid praise; and, in the opinion of his learned commentator, sacrificed a little of judgment to his gratitude,
The time of his death I have not learned. It must have happened between 1707, when he wrote to Pope, and 1711, when Pope praised him in his “Essay." The epitaph makes him forty-six years old: if Wood's account be right, he died in 1709.
He is known more by his familiarity with greater men, than by any thing done or written by himself.
His works are not numerous. In prose he wrote 'Eugenia, a Defence of Women;" which Dryden honoured with a Preface.
“Esculapius, or the Hospital of Fools,” published after his death.
“A Collection of Letters and Poems, amorous and gallant,” was published in the volumes called Dryden's Miscellany, and some other occasional pieces.
To his Poems and Letters is prefixed a very judicious Preface upon Epistolary Composition and Amorous Poetry.
In his “ Golden Age restored,” there was some thing of humour, while the facts were recent; but it now strikes no longer. In his imitation of Horace, the first stanzas are happily turned ; and in all his writings there are pleasing passages. He has, however, more elegance than vigour, and seldom rises higher than to be pretty.
07 the great Poet, whose life I am about to de.
lineate, the curiosity which his reputation must
• The Life of Dryden, though in point of composition it is one of the most admirable of Jobason's
excite will require a display more ample than can now be given. His contemporaries, however they reverenced his genius, left his life unwritten; and nothing therefore can be known beyond what casual mention and uncertain tradition have supplied.
JOHN DRYDEN was born August 9, 1631,* at Aldwinkle, near Oundle, the son of Erasmus Dryden, of Titchmersh; who was the third son of Sir Erasmus Dryden, baronet, of Canons Ashby. All these places are in Northamptonshire; but the ori. ginal stock of the family was in the county of Huntingdon.t
He is reported by his last biographer, Derrick, to have inherited from his father an estate of two hundred a year, and to have been bred, as was said, an anabaptist. For either of these particulars no authority is given. I Such a fortune ought to have secured him from that poverty which seems always to have oppressed him; or, if he had wasted it, to
productions, is in many particulars incorrect. Mr. Malone, in the biography prefixed to his “ Prose Works,”
,” has collected a much more ample and accurate account; and from that valuable work se. veral dates and other particulars have been here set right.-J. B.
* Mr. Malone has lately proved that there is no satisfactory evidence for this date. The inscription on Dryden's monument says only natus 1632. See Malone's Life of Dryden, prefixed to his “ Critical and Miscellaneous Prose Works,” p. 5, note.-C.
+ Of Cumberland. Ibid. p. 10.-C.
| Mr. Malone has furnished us with a detailed account of our Poet's circumstances; from which it appears that although he was possessed of a sufficient income in the early part of his life, he was considerably embarrassed at its close. --See Malone's Life, p. 440.--J. B.