obstruct the brightness of genius and learning. To proceed from one truth to another, and connect distant propositions by regular consequences, is the great prerogative of man. Independent and unconnected sentiments flashing upon the mind in quick succession, may, for a time, delight by their novelty, but they differ from systematical reasoning, as single notes from harmony, as glances of lightning from the radiance of the sun.
When rules are thus drawn, rather from precedents than reason, there is danger not only from the faults of an author, but from the errors of those who criticise his works; since they may often mislead their pupils by false representations, as the Ciceronians of the sixteenth century were betrayed into barbarisms by corrupt copies of their darling writer.
It is established at present, that the prœmial lines of a poem, in which the general subject is proposed, must be void of glitter and embellishment. "The first lines of Paradise Lost," says Addison, "are perhaps as plain, simple, and unadorned, as any of the whole poem; in which particular the author has conformed himself to the example of Homer, and the precept of Horace."
This observation seems to have been made by an implicit adoption of the common opinion, without consideration either of the precept or example. Had Horace been consulted, he would have been found to direct only what should be comprised in the proposition, not how it should be expressed; and to have commended Homer in opposition to a meaner poet, not for the gradual
