Elegies and other amatory poems, most of which are certainly, and all probably, early likewise; and the Divine and Miscellaneous Poems, some of which may not be late, but most of which certainly are. All three divisions have certain characteristics in common; but the best of these characteristics, and some which are not common to the three, belong to the second and third only.
It was the opinion of the late seventeenth and of the whole of the eighteenth century that Donne, though a clever man, had no ear. Chalmers, a very industrious student, and not such a bad critic, says so in so many words; Johnson undoubtedly thought so; Pope demonstrated his belief by his fresh “tagging” of the Satires. They all to some extent no doubt really believed what they said; their ears had fallen deaf to that particular concord. But they all also no doubt founded their belief to a certain extent on certain words of Dryden’s which did not exactly import or comport what Mr. Pope and the rest took them to mean. Dryden had the knack, a knack of great value to a critic, but sometimes productive of sore misguiding to a critic’s readers—of adjusting his comments solely to one point of view, to a single scheme in metric and other things. Now, from the point of view of the scheme
