A Reply to an Unsentimental Sort of Critic: The Reviewer of Spence's Anecdotes, in the Quarterly Review for October 1820; Otherwise to a Certain Critic and Grocer, the Longinus of In-door Nature
R. Cruttwell and sold by Longman, Hurst, Rees, Orme and Brown, 1820 - 43 pages
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A Reply to an Unsentimental Sort of Critic: The Reviewer of Spence's ...
William Lisle Bowles
No preview available - 2019
A Reply to an Unsentimental Sort of Critic, the Reviewer of Spence's ...
William Lisle Bowles
No preview available - 2016
ADDISON admiral answer appears argument assert attack attempt attention beautiful believe Bowles BOWLESES brought called CAMPBELL candour character charges comes common correspondent critic defence deserve distinguished doubt Editor enter execution EXPLAINING expression external nature fact Family fear feelings GILCHRIST glowing heart highest hope in-door nature JECT JOHNSON kind language least leave less Letter Letter to CAMPBELL Literary living London Magazine Lord manners mast mean Milton moral mountain Muggletonian mystic nebulous never object OCTAVIUS opinion ORDER original passage passions perhaps poem poet poetical poetry Pope Pope's Principles printed produce professed prove publication published Quarterly Review quote reader reasons received regard regret relation remark repeat reply respect rural Satan's seems seen sentimental shew sight sort speak spear SPENCE's Anecdotes taking term thank thing thought thousand tion understand whilst writer written
Page 22 - mast of the great admiral" might have been left out; but remark, in this image MILTON DOES NOT compare Satan's spear "with the mast of some great admiral," as you assert. The passage is, "His spear, to equal which the TALLEST PINE HEWN ON NORWEGIAN HILLS TO BE the mast Of some great ammiral, were but a wand!!" You leave out the chief, I might say the only, circumstance which reconciles the "mast" to us; and having detruncated MILTON'S image, triumphantly say, "MILTON is full of imagery derived from...
Page 22 - He scarce had ceased, when the superior fiend Was moving toward the shore: his ponderous shield, Ethereal temper, massy, large, and round, Behind him cast; the broad circumference Hung on his shoulders like the moon, whose orb Through optic glass the Tuscan artist views, At evening, from the top of Fesole, Or in Valdarno, to descry new lands, Rivers, or mountains, in her spotty globe.
Page 34 - After all this, it is surely superfluous to answer the question that has once been asked, Whether Pope was a poet? otherwise than by asking in return, If Pope be not a poet, where is poetry to be found? To circumscribe poetry by a definition will only show the narrowness of the definer, though a definition which shall exclude Pope will not easily be made.
Page 24 - I help pointing out, not -with triumph, but with repel, that you only agree with me in some points,: and that where we differ, your criticism conflictingly labours against your own argument : for when, nearly in the last sentence, you say, ' he, POPE, glows with passion in the Eloisa, and displays a LOFTY feeling, much ABOVE that of the SATIRIST and man of the world, in his Prologue to Cato, and his Epistle to Lord OXFORD...
Page 25 - And bids th' eternal wheels to know their rounds, might well be excused for not descending to the minutely picturesque. The vindictive personality of his satire is a fault of the man, and not of the poet. But his wit is not all his charm. He glows with passion in the Epistle of Eloisa, and displays a lofty feeling much above that of the satirist and the man of the world in his Prologue to Cato and his Epistle to Lord Oxford.
Page 22 - dextraque sinistraqite," and say, not only Satan's spear is compared to an "admiral's mast," but "his shield to the moon seen through a telescope]" My dear Sir, consider a little. You forget the passage; or have purposely left out more than half of its essential poetical beauty. What reason have I to complain, when you use MILTON thus? I beseech you recollect MILTON'S image. "His pond'rous shield Hung on his shoulders like the moon, whose orb Through optic glass the Tuscan artist views AT EVENING,...
Page 37 - I think, ought not for a moment to be admitted folely on the teftimony of Walpole. Pope certainly was not a favourite (on account of political differences) with the Walpoles, though he received civilities from Sir Robert ; and till there is other proof...
Page 20 - The " exquisite description of artificial manners and " habits is NOT LESS characteristic of genius than " the description of simple physical appearances.
Page 22 - Or in VALDARNO, to DESCRY NEW LANDS, RIVERS, or MOUNTAINS, IN HER SPOTTY GLOBE.' " Who does not perceive the art of the poet in introducing, besides the telescope, as if conscious how unpoetical it was in itself, all the circumstances from NATURE, external nature, — the evening — the top of Fesole — the scenes of Valdarno — and the LANDS, MOUNTAINS, and RIVERS, in the moon's orb? It is these which make the passage poetical, and not the telescope!
Page 22 - dextrdque " ' sinistrdque" and say, not only Satan's spear is " compared to an ' admiral's mast,' but ' his " ' shield to the moon seen through a telescope!" " My dear Sir, consider a little. You forget " the passage ; or have purposely left out more " than half of its essential poetical beauty. What " reason have I to complain, when you use " MILTON thus ? I beseech you recollect MIL