Of the third ternary, the first gives a mythological birth of Shakspeare. What is said of that mighty genius is true; but it is not said happily: the real effects of this poetical power are put out of sight by the pomp of machinery. Where truth is sufficient to fill the mind, fiction is worse than useless: the counterfeit debases the genuine.
His account of Milton's blindness, if we suppose it caused by study in the formation of his poem, a supposition surely allowable, is poetically true, and happily imagined. But the car of Dryden, with his two coursers, has nothing in it peculiar; it is a car in which any other rider may be placed.
"The Bard" appears, at the first view, to be, as Algarotti and others have remarked, an imitation of the prophecy of Nereus. Algarotti thinks it superior to its original, and, if preference depends only on the imagery and animation of the two poems, his judgment is right. There is in "The Bard" more force, more thought, and more variety. But to copy is less than to invent, and the copy has been unhappily produced at a wrong time. The fiction of Horace was to the Romans credible;
