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Pindar is laughable from its outrageousness. He denounces him as a wretch hateful to God and man, for some of the most harmless and amusing trifles that ever were written and the very good-humour and pleasantry of which, we suspect, constituted their offence in the eyes of this Drawcansir.—His attacks on Mrs Robinson were unmanly, and even those on Mr. Merry and the Della-Cruscan School were much more ferocious than the occasion warranted. A little affectation and quaintness of style did not merit such severity of castigation. * As a translator, Mr. Gifford's version of the Roman satirist is the baldest, and, in parts, the most offensive of all others. We do not know why he attempted it, unless he had got it in his head that he should thus follow in the steps of Dryden, as he had already done in those of Pope in the Baviad and Mæviad. As an editor of old authors, Mr. Gifford is entitled to considerable praise for the pains he has taken in revising the text, and for some improvements he has introduced into it. He had better have spared the notes, in which, though he has detected the blunders of previous commentators, he has exposed his own
* Mr. Merry was even with our author in personality of abuse. See his Lines on the Story of the Ape that was given in charge to the ex-tutor.
ill-temper' and narrowness of feeling more. As a critic, he has thrown no light on the character and spirit of his authors. He has shewn no striking power of analysis nor of original illustration, though he has chosen to exercise his pen on writers most congenial to his own turn of mind, from their dry and caustic vein; Massinger, and Ben Jonson. What he will make of Marlowe, it is difficult to guess. He has none of “the fiery quality” of the poet. Mr. Gifford does not take for his motto on these occasions-Spiritus precipitandus est ! His most successful efforts in this way are barely respectable. In general, his observations are petty, ill-concocted, and discover as little tact, as they do a habit of connected reasoning. Thus, for instance, in attempting to add the name of Massinger to the list of Catholic poets, our minute critic insists on the profusion of crucifixes, glories, angelic visions, garlands of roses, and clouds of incense scattered through the Virgin-Martyr, as evidence of the theological sentiments meant to be inculcated by the play, when the least reflection might have taught him, that they proved nothing but the author's poetical conception of the character and costume of his subject. A writer might, with the same sinister, shortsighted shrewdness, be accused of Heathenism for talking of Flora and Ceres in a poem on the Seasons! What are produced as the exclusive badges and occult proofs of Catholic bigotry, are nothing but the adventitious ornaments and external symbols, the gross and sensible language, in a word, the poetry of Christianity in general. What indeed shews the frivolousness of the whole inference is that Deckar, who is asserted by our critic to have contributed some of the most passionate and fantastic of these devotional scenes, is not even suspected of a leaning to Popery. In like manner, he excuses Massinger for the grossness of one of his plots (that of the Unnatural Combat) by saying that it was supposed to take place before the Christian era; by this shallow common-place persuading himself, or fancying he could persuade others, that the crime in question (which yet on the very face of the story is made the ground of a tragic catastrophe) was first made statutory by the Christian religion.
The foregoing is a harsh criticism, and may be thought illiberal. But as Mr. Gifford assumes a right to say what he pleases of others—they may be allowed to speak the truth of him!