found Eliza either praised or blamed. She dropped," as it seems, "dead-born from the press." It is never mentioned, and was never seen by me till I borrowed it for the present occasion. Jacob says, "it is corrected and revised for another impression;" but the labour of revision was thrown away.

From this time he turned some of his thoughts to the celebration of living characters; and wrote a poem on the Kit-cat Club, and Advice to the Poets how to celebrate the Duke of Marlborough ; but on occasion of another year of success, thinking himself qualified to give more instruction, he again wrote a poem of Advice to a Weaver of Tapestry. Steele was then publishing the Tatler; and, looking round him for something at which he might laugh, unluckily lighted on Sir Richard's work, and treated it with such contempt, that, as Fenton observes, he put an end to that species of writers that gave Advice to Painters.

Not long after (1712) he published Creation, a philosophical poem, which has been, by my recommendation, inserted in the late collection. Whoever judges of this by any other of Blackmore's performances, will do it injury. The praise given it by Addison (Spec. 339) is too well known to be transcribed; but some notice is due to the testimony of Dennis, who calls it a "philosophical poem, which has equalled that of Lucretius in the beauty of its versification, and infinitely surpassed it in the solidity and strength of its reasoning."

Why an author surpasses himself, it is natural

to inquire. I have heard from Mr. Draper, an eminent bookseller, an account received by him from Ambrose Philips, "That Blackmore, as he proceeded in this poem, laid his manuscript from time to time before a club of wits with whom he associated; and that every man contributed, as he could, either improvement or correction; so that," said Philips, "there are perhaps nowhere in the book thirty lines together that now stand as they were originally written.

• The relation of Philips, I suppose, was true; but when all reasonable, all credible allowance is made for this friendly revision, the author will still retain an ample dividend of praise; for to him must always be assigned the plan of the work, the distribution of its parts, the choice of topicks, the train of argument, and, what is yet more, the general predominance of philosophical judgement and poetical spirit. Correction seldom effects more than the suppression of faults: a happy line, or a single elegance, may perhaps be added; but of a large work the general character must always remain; the original constitution can be very little helped by local remedies; inherent and radical dulness will never be much invigorated by extrinsick animation.

This poem, if he had written nothing else, would have transmitted him to posterity among the first favourites of the English Muse; but to make verses was his transcendent pleasure, and, as he was not deterred by censure, he was not satiated with praise.

He deviated, however, sometimes into other

tracks of literature, and condescended to entertain his readers with plain prose. When the Spectator stopped, he considered the polite world as destitute of entertainment; and, in concert with Mr. Hughes, who wrote every third paper, published three times a week the Lay Monastery, founded on the supposition that some literary men, whose characters are described, had retired to a house in the country to enjoy philosophical leisure; and resolved to instruct the publick, by communicating their disquisitions and amusements. Whether any real persons were concealed under fictitious names, is not known. The hero of the club is one Mr. Johnson; such a constellation of excellence, that his character shall not be suppressed, though there is no great genius in the design, nor `skill in the delineation.

"The first I shall name is Mr. Johnson, a gentleman that owes to Nature excellent faculties and an elevated genius, and to industry and application many acquired accomplishments. His taste is distinguishing, just, and delicate: his judgement clear, and his reason strong, accompanied with an imagination full of spirit, of great compass, and stored with refined ideas. He is a critick of the first rank; and, what is his peculiar ornament, he is delivered from the ostentation, malevolence, and supercilious temper, that so often blemish men of that character. His remarks result from the nature and reason of things, and are formed by a judgement free and unbiassed by the authority of those who have lazily followed each other in the same beaten track of thinking, and are arrived

only at the reputation of acute grammarians and commentators; men, who have been copying one another many hundred years, without any improvement; or, if they have ventured farther, have only applied in a mechanical manner the rules of ancient criticks to modern writings, and with great labour discovered nothing but their own want of judgement and capacity. As Mr. Johnson penetrates to the bottom of his subject, by which means his observations are solid and natural, as well as delicate, so his design is always to bring to light something useful and ornamental; whence his character is the reverse to theirs, who have eminent abilities in insignificant knowledge, and a great felicity in finding out trifles. He is no less industrious to search out the merit of an author, than sagacious in discerning his errors and defects; and takes more pleasure in commending the beauties, than exposing the blemishes of a laudable writing: like Horace, in a long work, he can bear some deformities, and justly lay them on the imperfection of human nature, which is incapable of faultless productions. When an excellent Drama appears in publick, and by its intrinsick worth attracts a general applause, he is not stung with envy and spleen; nor does he express a savage nature, in fastening upon the celebrated author, dwelling upon his imaginary defects, and passing over his conspicuous excellences. He treats all writers upon the same impartial foot; and is not, like the little criticks, taken up entirely in finding out only the beauties of the ancient, and nothing but the errors of the

modern writers. Never did any one express more kindness and good-nature to young and unfinished authors; he promotes their interests, protects their reputation, extenuates their faults, and sets off their virtues, and by his candour guards them from the severity of his judgement. He is not like those dry criticks, who are morose because they cannot write themselves, but is himself master of a good vein in poetry; and though he does not often employ it, yet he has sometimes entertained his friends with his unpublished perform

ances."

The rest of the Lay Monks seem to be but feeble mortals, in comparison with the gigantic Johnson; who yet, with all his abilities, and the help of the fraternity, could drive the publication but to forty papers, which were afterwards collected into a volume, and called in the title A Sequel to the Spectators.

Some years afterwards (1716 and 1717) he published two volumes of Essays in prose, which can be commended only as they are written for the highest and noblest purpose, the promotion of

religion. Blackmore's prose is not the prose of

a poet; for it is languid, sluggish, and lifeless; his diction is neither daring nor exact, his flow neither rapid nor easy, and his periods neither smooth nor strong. His account of wit will show with how little clearness he is content to think, and how little his thoughts are recommended by his language.

"As to its efficient cause, wit owes its production to an extraordinary and peculiar tem