By representing compositions of acknowledged merit as infallible models for imitation, exclusive rules have been constituted, which, warping the powers of the mind, instead of giving them freer scope, clip the soaring pinions of fancy, stifle all vigour of sentiment, and smother the flame of genius. Hence arise critics, who, equally useless to the world, and injurious to literature, check the rising talents of youth, imbitter the pleasures of maturer years, and seem only calculated to deprive readers of that satisfaction they would otherwise feel, and authors of that fame which too commonly is their only recompense.
Those, on the contrary, whose endeavours have been always directed to discover in the human mind the principles of taste, have written in a manner often totally destitute of that taste which they pretend to define, characterized by didactic dulness. Such works have prompted youthful genius to turn disdainfully aside from instruction, which could neither elevate the fancy, nor interest the heart.
To some favourite models the one party sacrifices experience, the other to systems; the one despises groundless and exceptionable rules, the other rejects principles and consequences because inapplicable.
Erroneous extremes thus exhibited, will, doubtless, to reflecting minds, suggest an intermediate mode of judging, partaking of the advantages of both, and free from the inconveniences of either. At once philosophical and elegant, this method may, with classic models, unite
