could be born a metaphysical poet, nor assume the dignity of a
writer, by descriptions copied from descriptions, by imitations
borrowed from imitations, by traditional imagery, and hereditary
similes, by readiness of rhyme, and volubility of syllables.

In perusing the works of this race of authors, the mind is exercised
either by recollection or inquiry; something already learned is to
be retrieved, or something new is to be examined. If their
greatness seldom elevates, their acuteness often surprises; if the
imagination is not always gratified, at least the powers of
reflection and comparison are employed; and in the mass of materials
which ingenious absurdity has thrown together, genuine wit and
useful knowledge may be sometimes found buried perhaps in grossness
of expression, but useful to those who know their value; and such
as, when they are expanded to perspicuity and polished to elegance,
may give lustre to works which have more propriety though less
copiousness of sentiment.

This kind of writing, which was, I believe, borrowed from Marino and
his followers, had been recommended by the example of Donne, a man
of very extensive and various knowledge, and by Jonson, whose manner
resembled that of Donne more in the ruggedness of his lines than in
the cast of his sentiments.

When their reputation was high, they had undoubtedly more imitators
than time has left behind. Their immediate successors, of whom any
remembrance can be said to remain, were Suckling, Waller, Denham,
Cowley, Clieveland, and Milton. Denham and Waller sought another
way to fame, by improving the harmony of our members. Milton tried
the metaphysic style only in his lines upon Hobson the carrier.