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their secret detractors to report that a true critic is a sort of
mechanic set up with a stock and tools for his trade, at as little
expense as a tailor; and that there is much analogy between the
utensils and abilities of both. That the "Tailor's Hell" is the
type of a critic's commonplace-book, and his wit and learning held
forth by the goose. That it requires at least as many of these to
the making up of one scholar as of the others to the composition of
a man. That the valour of both is equal, and their weapons near of
a size. Much may be said in answer to these invidious reflections;
and I can positively affirm the first to be a falsehood: for, on
the contrary, nothing is more certain than that it requires greater
layings out to be free of the critic's company than of any other you
can name. For as to be a true beggar, it will cost the richest
candidate every groat he is worth, so before one can commence a true
critic, it will cost a man all the good qualities of his mind, which
perhaps for a less purchase would be thought but an indifferent
bargain.
Having thus amply proved the antiquity of criticism and described
the primitive state of it, I shall now examine the present condition
of this Empire, and show how well it agrees with its ancient self
{88}. A certain author, whose works have many ages since been
entirely lost, does in his fifth book and eighth chapter say of
critics that "their writings are the mirrors of learning." This I
understand in a literal sense, and suppose our author must mean that
whoever designs to be a perfect writer must inspect into the books
of critics, and correct his inventions there as in a mirror. Now,
whoever considers that the mirrors of the ancients were made of
brass and fine mercurio, may presently apply the two principal
qualifications of a true modern critic, and consequently must needs
conclude that these have always been and must be for ever the same.
For brass is an emblem of duration, and when it is skilfully
burnished will cast reflections from its own superficies without any
assistance of mercury from behind. All the other talents of a
critic will not require a particular mention, being included or
easily deducible to these. However, I shall conclude with three
maxims, which may serve both as characteristics to distinguish a
true modern critic from a pretender, and will be also of admirable
use to those worthy spirits who engage in so useful and honourable
an art.
The first is, that criticism, contrary to all other faculties of the
intellect, is ever held the truest and best when it is the very
first result of the critic's mind; as fowlers reckon the first aim
for the surest, and seldom fail of missing the mark if they stay not
for a second.
Secondly, the true critics are known by their talent of swarming
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