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 errours 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 proemial 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.
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