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On Phœbus' shrine my harp I'll then bestow,
And this inscription shall be plac'd below:
"Here she who sung, to him that did inspire,
Sappho to Phœbus consecrates her lyre;

What suits with Sappho, Phoebus, suits with thee;
The gift, the giver, and the god agree."
But why, alas! relentless youth, ah why
To distant seas must tender Sappho fly?
Thy charms than those may far more powerful be,
And Phœbus' self is less a god to me.

Ah! canst thou doom me to the rocks and sea,
O far more faithless and more hard than they?
Ah! canst thou rather see this tender breast
Dash'd on these rocks than to thy bosom press'd?
This breast which once, in vain! you lik'd so well;
Where the Loves play'd,and where the Muses dwell.
Alas! the Muses now no more inspire;
Untun'd my lute, and silent is my lyre;
My languid numbers have forgot to flow,
And fancy sinks beneath a weight of woe.
Ye Lesbian virgins, and ye Lesbian dames,
Themes of my verse, and objects of my flames,
No more your groves with my glad songs shall ring,
No more these hands shall touch the trembling string:
My Phaon's fled, and I those arts resign;
(Wretch that I am, to call that Phaon mine!)
Return, fair youth, return, and bring along
Joy to my soul, and vigour to my song:
Absent from thee, the poet's flame expires;
But ah! how fiercely burn the lover's fires?
Gods! can no pray'rs, no sighs, no numbers move
One savage heart, or teach it how to love?
The winds my pray'rs, my sighs, my numbers bear,
The flying winds have lost them all in air!
Oh when, alas! shall more auspicious gales
To these fond eyes restore thy welcome sails!
If you return-ah why these long delays?
Poor Sappho dies while careless Phaon stays.
O launch thy bark, nor fear the watery plain;
Venus for thee shall smooth her native main.

O launch thy bark, secure of prosperous gales;
Cupid for thee shall spread the swelling sails.
If you will fly-(yet ah! what cause can be,
Too cruel youth, that you should fly from me?)
If not from Phaon I must hope for ease,
Ah let me seek it from the raging seas:
To raging seas unpitied I'll remove,

And either cease to live or cease to love!

AN ESSAY ON CRITICISM.

[Written in the Year 1709.]

PART I.

Introduction.-That it is as great a fault to judge`ill as to write ill, and a more dangerous one to the public.That a true taste is as rare to be found as a true genius.That most men are born with some taste, but spoiled by false education.-Thé multitude of critics, and causes of them.-That we are to study our own taste, and know the limits of it.-Nature the best guide of judgment.-Improved by art and rules, which are but methodized Nature.-Rules derived from the practice of the ancient poets.-That therefore the ancients are necessary to be studied by a critic, particularly Homer and Virgil.-Of licences, and the use of them by the ancients.-Reverence due to the ancients, and praise

of them.

"TIS hard to say if greater want of skill
Appear in writing or in judging ill;
But of the two less dangerous is the' offence
To tire our patience than mislead our sense :
Some few in that, but numbers err in this,
Ten censure wrong for one who writes amiss;

A fool might once himself alone expose,

Now one in verse makes many more in proses
Tis with our judgments as our watches, none
Go just alike, yet each believes his own,
In poets as true genius is but rare,

}

True taste as seldom is the critic's share :
Both must alike from Heav'n derive their light,
These born to judge, as well as those to write.
Let such teach others who themselves excel,
And censure freely who have written well.
Authors are partial to their wit, 'tis true,
But are not critics to their judgment too?
Yet if we look more closely, we shall find
Most have the seeds of judgment in their mind:
Nature affords at least a glimmering light;
The lines, though touch'd but faintly, are drawn right :
But as the slightest sketch, if justly trac'd,
Is by ill-colouring but the more disgrac'd,
So by false learning is good sense defac'd:
Some are bewilder'd in the maze of schools,
And some made coxcombs Nature meant but fools:
In search of wit these lose their common sense,
And then turn critics in their own defence:
Each burns alike, who can or cannot write,
Or with a rival's or an eunuch's spite.
All fools have still an itching to deride,
And fain would be upon the laughing side.
If Mævius scribble in Apollo's spite,
There are who judge still worse than he can write.
Some have at first for wits, then poets, past;
Turn'd critics next, and prov'd plain fools at last.
Some neither can for wits nor critics pass,
As heavy mules are neither horse nor ass.
Those half-learn'd witlings, numerous in our isle,
As half-form'd insects on the banks of Nile;
Unfinish'd things, one knows not what to call,
Their generation's so equivocal;

To tell 'em would a hundred tongues require,
Or one vain wit's, that might a hundred tire.

But you who seek to give and merit fame,
And justly bear a critic's noble name,

Be sure yourself and your own reach to know,
How far your genius, taste, and learning, go;
Launch not beyond your depth, but be discreet,
And mark that point where sense and dulness meet.
Nature to all things fix'd the limits fit,
And wisely curb'd proud man's pretending wit.
As on the land while here the ocean gains,
In other parts it leaves wide sandy plains;
Thus in the soul while memory prevails,
The solid pow'r of understanding fails;
Where beams of warm imagination play,
The memory's soft figures melt away.
One science only will one genius fit;
So vast is art, so narrow human wit:
Not only bounded to peculiar arts,
But oft in those confin'd to single parts.
Like kings we lose the conquests gain'd before,
By vain ambition still to make them more:
Each might his several province well command,
Would all but stoop to what they understand.

First follow Nature, and your judgment frame
By her just standard, which is still the same :
Unerring Nature, still divinely bright,
One clear, unchang'd, and universal light,
Life, force, and beauty, must to all impart,
At once the source, and end, and test of art.
Art from that fund each just supply provides,
Works without show, and without pomp presides:
In some fair body thus the' informing soul
With spirits feeds, with vigour fills, the whole;
Each motion guides, and every nerve sustains,
Itself unseen, but in the' effects remains.
Some, to whom Heav'n in wit has been profuse,
Want as much more to turn it to its use;
For wit and judgment often are at strife,
Though meant each other's aid, like man and wife.
'Tis more to guide than spur the Muses' steed,
Restrain his fury than provoke his speed:

The winged courser, like a generous horse,

Shows most true mettle when you check his course.
Those rules of old, discover'd not devis'd,
Are nature still, but nature methodiz'd:
Nature, like liberty, is but restrain'd

By the same laws which first herself ordain'd.
Hear how learn'd Greece her useful rules endites,
When to repress and when indulge our flights:
High on Parnassus' top her sons she show'd,
And pointed out those arduous paths they trod;
Held from afar, aloft, the' immortal prize,
And urg'd the rest by equal steps to rise.
Just precepts thus from great examples giv'n,
She drew from them what they deriv'd from Heav'n.
The generous critic fann'd the poet's fire,

And taught the world with reason to admire.
Then Criticism the Muse's handmaid prov'd,
To dress her charms, and make her more belov❜d:
But following wits from that intention stray'd;
Who could not win the mistress woo'd the maid;
Against the poets their own arms they turn'd,
Sure to hate most the men from whom they learn'd.
So modern 'pothecaries taught the art

By doctors' bills to play the doctor's part,
Bold in the practice of mistaken rules,
Prescribe, apply, and call their masters fools.
Some on the leaves of ancient authors prey;
Nor time nor moths e'er spoil'd so much as they:
Some drily plain, without invention's aid,
Write dull receipts how poems may be made;
These leave the sense their learning to display,
And those explain the meaning quite away.

You then whose judgment the right course would

steer,

Know well each ancient's proper character;

His fable, subject, scope in every page;
Religion, country, genius of his age:
Without all these at once before your eyes,
Cavil you may, but never criticise.

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