view of things, Ford can no more be called the imitator of Shakespeare than Shakespeare the imitator of Ford. There were perhaps few other points of resemblance between these two men than that which the universal and inevitable influence of their age produced. And this is an influence which neither the meanest scribbler nor the sublimest genius of any era can escape; and which I have not attempted to escape. I have adopted the stanza of Spenser (a measure inexpressibly beautiful), not because I consider it a finer model of poetical harmony than the blank verse of Shakespeare and Milton, but because in the latter there is no shelter for mediocrity; you must either succeed or fail. This perhaps an aspiring spirit should desire. But I was enticed also by the brilliancy and magnificence of sound which a mind that has been nourished upon musical thoughts can produce by a just and harmonious arrangement of the pauses of this measure. Yet there will be found some instances where I have completely failed in this attempt; and one, which I here request the reader to consider as an erratum, where there is left, most inadvertently, an alexandrine in the middle of a stanza. But in this as in every other respect I have written fearlessly. It is the misfortune of this age that its Writers, too thoughtless of immortality, are exquisitely sensible to temporary praise or blame. They write with the fear of Reviews before their eyes. This system of criticism sprang up in that torpid interval when Poetry was not. Poetry, and the art which professes to regulate and limit its powers, cannot subsist together. Longinus could not have been the contemporary of Homer, nor Boileau of Horace. Yet this species of criticism never presumed to assert an understanding of its own: it has always, unlike true science, followed, not preceded, the opinion of mankind, and would even now bribe with worthless adulation some of our greatest Poets to impose gratuitous fetters on their own imaginations, and become unconscious accomplices in the daily murder of all genius either not so aspiring or not so fortunate as their own. I have sought therefore to write, as I believe that Homer, Shakespeare, and Milton, wrote, with an utter disregard of anonymous censure. I am certain that calumny and misrepresentation, though it may move me to compassion, cannot disturb my peace. I shall understand the expressive silence of those sagacious enemies who dare not trust themselves to speak. I shall endeavour to extract, from the midst of insult and contempt and maledictions, those admonitions which may tend to correct whatever imperfections such censurers may discover in this my first serious appeal to the Public. If certain Critics were as clear-sighted as they are malignant, how great would be the benefit to be derived from their virulent writings! As it is, I fear I shall be malicious enough to be amused with their paltry tricks and lame invectives. Should the Public judge that my composition is worthless, I shall indeed bow before the tribunal from which Milton received his crown of immortality; and shall seek to gather, if I live, strength from that defeat, which may nerve me to some new enterprise of thought which may not be worthless. I
