[ '7 ] 



I LEAVE to Others the defence of the more modern German poets, 

 and their Engli/h imitators and followers. I fhall not, in difcuf- 

 fing this topic, even afFed the tone of doubt and enquiry, as if 

 the queftion of the merits or demerits of thofe writers were flill 

 open. Having drawn the articles of my poetical belief from 

 Arfflotle, and the critics ancient and modern, who have trod in his 

 footfteps, I had learned to confider the Greek tragedy as the moft 

 perfed model of dramatic compofition ; and I was confirmed in 

 this perfuafion, by obferving, that thofe modern vvriters, who 

 formed their talte by a ftudyand imitation of the ancients, have 

 approached neareft to perfedion. Shakefpeare, indeed, forms an 

 exception; but his ftupendous and matchlefs abilities entitle their 

 mafter to fland alone, and exclude any inference, as they exclude 

 all comparifon. In general, regularity of plan, truth and confif- 

 tency of charader, probability of incident, attention to decorum, 

 propriety of fentiment, chaftity of didion, and corrednefs of com- 

 pofition, were commonly fuppofed to be of the very effence of 

 good writing — but alas, tempora mutantur et . nos mutamur in illu. 

 I muft own it has moved my bile to mark the growth and preva- 

 lence of the Jlrange and prepofterous ^purtmWty for the Gothic pro- 

 dudions of the German fchool. The diftempered rage for the 

 gloomy, the horrible, the difconneded, the difproportioned and 

 the improbable. As juftly might we prefer the comfortlefs dark 

 and extravagant ftyle of the Gothic architedure ; its ponderous 

 mafi"es,- its elaborate littlenefs, and capricious profufion of orna- 

 ment, to the fublime fimplicity, the chafte fymmetry, and harmo- 



VoL. VIII. ( C ) nious 



