Singular inequalities are observable in the labours of genius; and particularly in those which admit great enthusiasm, as in poetry, in painting, and in music. Faultless mediocrity industry can preserve in one continued degree; but excellence, the daring and the happy, can only be attained, by human faculties, by starts.
Our poets who possess the greatest genius, with perhaps the least industry, have at the same time the most splendid and the worst passages of poetry. Shakspeare and Dryden are at once the greatest and the least of our poets. With some, their great fault consists in having none.
Carraccio sarcastically said of Tintoret — Ho veduto il Tintoretto hora eguale a Titiano, hora minore del Tintoretto —“I have seen Tintoret now equal to Titian, and now less than Tintoret.”
Trublet justly observes — The more there are beauties and great beauties in a work, I am the less surprised to find faults and great faults. When you say of a work that it has many faults, that decides nothing: and I do not know by this, whether it is execrable or excellent. You tell me of another, that it is without any faults: if your account be just, it is certain the work cannot be excellent.
It was observed of one pleader, that he knew more than he said; and of another, that he said more than he knew.
Lucian happily describes the works of those who abound with the most luxuriant language, void of ideas. He calls their unmeaning verbosity “anemone-words;” for anemonies are flowers, which, however brilliant, only please the eye, leaving no fragrance. Pratt, who was a writer of flowing but nugatory verses, was compared to the daisy; a flower indeed common enough, and without odour.
Last updated Sunday, March 27, 2016 at 11:53