been like this—but every part cannot be the best.
The next stanzas place and detain us in the dark and dismal regions of mythology, where neither hope nor fear, neither joy nor sorrow, can be found: the poet however faithfully attends us; we have all that can be performed by elegance of diction, or sweetness of versification; but what can form avail without better matter. The last stanza recurs again to common places. The conclusion is too evidently modelled by that of Dryden; and it may be remarked that both end with the same fault; the comparison of each is literal on one side, and metaphorical on the other. Poets do not always express their own thoughts: Pope, with all this labour in the praise of Musick, was ignorant of its principles, and insensible of its effects.
One of his greatest, though of his earliest works, is the "Essay on Criticism," which, if he had written nothing else, would have placed him among the first criticks and the first poets, as it exhibits every mode of excellence that can embellish or dignify didactick composition, selection of matter, novelty of arrangement,
