that surpasses the vileness of deciding on the merits of a poet or
painter,--(not by characteristic defects; for where there is genius,
these always point to his characteristic beauties; but)--by accidental
failures or faulty passages; except the impudence of defending it, as
the proper duty, and most instructive part, of criticism. Omit or pass
slightly over the expression, grace, and grouping of Raffael's
figures; but ridicule in detail the knitting-needles and broom-twigs,
that are to represent trees in his back grounds; and never let him
hear the last of his galli-pots! Admit that the Allegro and Penseroso
of Milton are not without merit; but repay yourself for this
concession, by reprinting at length the two poems on the University
Carrier! As a fair specimen of his Sonnets, quote

"A Book was writ of late called Tetrachordon;"

and, as characteristic of his rhythm and metre, cite his literal
translation of the first and second Psalm! In order to justify
yourself, you need only assert, that had you dwelt chiefly on the
beauties and excellencies of the poet, the admiration of these might
seduce the attention of future writers from the objects of their love
and wonder, to an imitation of the few poems and passages in which the
poet was most unlike himself.

But till reviews are conducted on far other principles, and with far
other motives; till in the place of arbitrary dictation and petulant
sneers, the reviewers support their decisions by reference to fixed
canons of criticism, previously established and deduced from the
nature of man; reflecting minds will pronounce it arrogance in them
thus to announce themselves to men of letters, as the guides of their
taste and judgment. To the purchaser and mere reader it is, at all