The Works of Samuel Johnson, LL.D. in Eleven Volumes, Volume 06. Samuel Johnson

may be guessed, and half the composition loses the grace of novelty.

      On occasion of the mention of an alexandrine, the critick observes, that "the alexandrine may be thought a modern measure, but that Robert of Gloucester's Wife is an alexandrine, with the addition of two syllables; and that Sternhold and Hopkins translated the Psalms in the same measure of fourteen syllables, though they are printed otherwise."

      This seems not to be accurately conceived or expressed: an alexandrine, with the addition of two syllables, is no more an alexandrine, than with the detraction of two syllables. Sternhold and Hopkins did, generally, write in the alternate measure of eight and six syllables; but Hopkins commonly rhymed the first and third; Sternhold, only the second and fourth: so that Sternhold may be considered, as writing couplets of long lines; but Hopkins wrote regular stanzas. From the practice of printing the long lines of fourteen syllables in two short lines, arose the license of some of our poets, who, though professing to write in stanzas, neglect the rhymes of the first and third lines.

      Pope has mentioned Petronius, among the great names of criticism, as the remarker justly observes, without any critical merit. It is to be suspected, that Pope had never read his book, and mentioned him on the credit of two or three sentences which he had often seen quoted, imagining, that where there was so much, there must necessarily be more. Young men, in haste to be renowned, too frequently talk of books which they have scarcely seen.

      The revival of learning, mentioned in this poem, affords an opportunity of mentioning the chief periods of literary history, of which this writer reckons five: that of Alexander, of Ptolemy Philadelphus, of Augustus, of Leo the tenth, of queen Anne.

      These observations are concluded with a remark, which deserves great attention: "In no polished nation, after criticism has been much studied, and the rules of writing established, has any very extraordinary book ever appeared."

      The Rape of the Lock was always regarded, by Pope, as the highest production of his genius. On occasion of this work, the history of the comick-heroick is given; and we are told, that it descended from Fassoni to Boileau, from Boileau to Garth, and from Garth to Pope. Garth is mentioned, perhaps, with too much honour; but all are confessed to be inferiour to Pope. There is, in his remarks on this work, no discovery of any latent beauty, nor any thing subtle or striking; he is, indeed, commonly right, but has discussed no difficult question.

      The next pieces to be considered are, the Verses to the Memory of an unfortunate Lady, the Prologue to Cato, and Epilogue to Jane Shore. The first piece he commends. On occasion of the second, he digresses, according to his custom, into a learned dissertation on tragedies, and compares the English and French with the Greek stage. He justly censures Cato, for want of action and of characters; but scarcely does justice to the sublimity of some speeches, and the philosophical exactness in the sentiments. "The simile of mount Atlas, and that of the Numidian traveller, smothered in the sands, are, indeed, in character," says the critick, "but sufficiently obvious." The simile of the mountain is, indeed, common; but that of the traveller, I do not remember. That it is obvious is easy to say, and easy to deny. Many things are obvious, when they are taught.

      He proceeds to criticise the other works of Addison, till the epilogue calls his attention to Rowe, whose character he discusses in the same manner, with sufficient freedom and sufficient candour.

      The translation of the epistle of Sappho to Phaon is next considered; but Sappho and Ovid are more the subjects of this disquisition, than Pope. We shall, therefore, pass over it to a piece of more importance, the epistle of Eloisa to Abelard, which may justly be regarded, as one of the works on which the reputation of Pope will stand in future times.

      The critick pursues Eloisa through all the changes of passion, produces the passages of her letters, to which any allusion is made, and intersperses many agreeable particulars and incidental relations. There is not much profundity of criticism, because the beauties are sentiments of nature, which the learned and the ignorant feel alike. It is justly remarked by him, that the wish of Eloisa, for the happy passage of Abelard into the other world, is formed according to the ideas of mystick devotion.

      These are the pieces examined in this volume: whether the remaining part of the work will be one volume, or more, perhaps the writer himself cannot yet inform us 9. This piece is, however, a complete work, so far as it goes; and the writer is of opinion, that he has despatched the chief part of his task; for he ventures to remark, that the reputation of Pope, as a poet, among posterity, will be principally founded on his Windsor Forest, Rape of the Lock, and Eloisa to Abelard; while the facts and characters, alluded to in his late writings, will be forgotten and unknown, and their poignancy and propriety little relished; for wit and satire are transitory and perishable, but nature and passion are eternal.

      He has interspersed some passages of Pope's life, with which most readers will be pleased. When Pope was yet a child, his father, who had been a merchant in London, retired to Binfield. He was taught to read by an aunt; and learned to write, without a master, by copying printed books. His father used to order him to make English verses, and would oblige him to correct and retouch them over and over, and, at last, could say, "These are good rhymes."

      At eight years of age, he was committed to one Taverner, a priest, who taught him the rudiments of the Latin and Greek. At this time, he met with Ogleby's Homer, which seized his attention; he fell next upon Sandys's Ovid, and remembered these two translations, with pleasure, to the end of his life.

      About ten, being at school, near Hyde-park corner, he was taken to the playhouse, and was so struck with the splendour of the drama, that he formed a kind of play out of Ogleby's Homer, intermixed with verses of his own. He persuaded the head boys to act this piece, and Ajax was performed by his master's gardener. They were habited according to the pictures in Ogleby. At twelve, he retired, with his father, to Windsor forest, and formed himself by study in the best English poets.

      In this extract, it was thought convenient to dwell chiefly upon such observations, as relate immediately to Pope, without deviating, with the author, into incidental inquiries. We intend to kindle, not to extinguish, curiosity, by this slight sketch of a work, abounding with curious quotations and pleasing disquisitions. He must be much acquainted with literary history, both of remote and late times, who does not find, in this essay, many things which he did not know before; and, if there be any too learned to be instructed in facts or opinions, he may yet properly read this book, as a just specimen of literary moderation.

      REVIEW OF A FREE ENQUIRY INTO THE NATURE AND ORIGIN OF EVIL 10

      This is a treatise, consisting of six letters, upon a very difficult and important question, which, I am afraid, this author's endeavours will not free from the perplexity which has entangled the speculatists of all ages, and which must always continue while we see but in part. He calls it a Free Enquiry, and, indeed, his freedom is, I think, greater than his modesty. Though he is far from the contemptible arrogance, or the impious licentiousness of Bolingbroke, yet he decides, too easily, upon questions out of the reach of human determination, with too little consideration of mortal weakness, and with too much vivacity for the necessary caution.

      In the first letter, on evil in general, he observes, that, "it is the solution of this important question, whence came evil? alone, that can ascertain the moral characteristic of God, without which there is an end of all distinction between good and evil." Yet he begins this inquiry by this declaration: "That there is a supreme being, infinitely powerful, wise, and benevolent, the great creator and preserver of all things, is a truth so clearly demonstrated, that it shall be here taken for granted." What is this, but to say, that we have already reason to grant the existence of those attributes of God, which the present inquiry is designed to prove? The present inquiry is, then, surely made to no purpose. The attributes, to the demonstration of which the solution of this great question is necessary, have been demonstrated, without any solution, or by means of the solution of some former writer.

      He rejects the Manichean system, but imputes to it an absurdity, from which, amidst all its absurdities, it seems to be free, and adopts the system of Mr. Pope. "That pain is no evil, if asserted with regard to the individuals who suffer it, is downright nonsense; but

9

The second volume of Dr. Warton's Essay was not published until the year 1782.

10

This Enquiry, published in 1757, was the production of Soame Jenyns, esq. who never forgave the author of the review. It is painful to relate, that, after he had suppressed his resentment during Dr. Johnson's life, he gave it vent, in a petulant and illiberal mock-epitaph, which would not have deserved notice, had it not been admitted into the edition of his works, published by Mr. Cole. When this epitaph first appeared in the newspapers, Mr. Boswell answered it by another upon Mr. Jenyns, equal, at least, in illiberality.