SWIFT introduced PARNELL to Lord Bolingbroke, and to the world, he
observes, in his Journal, "it is pleasant to see one who hardly passed for
anything in Ireland, make his way here with a little friendly forwarding."
MONTAIGNE has honestly told us that in his own province they considered
that for him to attempt to become an author was perfectly ludicrous: at
home, says he, "I am compelled to purchase printers; while at a distance,
printers purchase me." There is nothing more trying to the judgment of the
friends of a young man of genius than the invention of a new manner:
without a standard to appeal to, without bladders to swim, the ordinary
critic sinks into irretrievable distress; but usually pronounces against
novelty. When REYNOLDS returned from Italy, warm with all the excellence
of his art, and painted a portrait, his old master, Hudson, viewing it,
and perceiving no trace of his own manner, exclaimed that he did not paint
so well as when he left England; while another, who conceived no higher
excellence than Kneller, treated with signal contempt the future Raphael
of England.

[Footnote A: This weekly journal was chiefly supported by the abilities of
the rising young men of the Scottish Bar. Henry Mackenzie, the author of
the "Man of Feeling," was the principal contributor. The publication was
commenced in January, 1779, and concluded May, 1790.--ED.]

If it be dangerous for a young writer to resign himself to the opinions of
his friends, he also incurs some peril in passing them with inattention.
He wants a Quintilian. One mode to obtain such an invaluable critic is the
cultivation of his own judgment in a round of reading and meditation. Let
him at once supply the marble and be himself the sculptor: let the
great authors of the world be his gospels, and the best critics their
expounders; from the one he will draw inspiration, and from the others he
will supply those tardy discoveries in art which he who solely depends on
his own experience may obtain too late. Those who do not read criticism
will rarely merit to be criticised; their progress is like those who
travel without a map of the country. The more extensive an author's
knowledge of what has been done, the greater will be his powers in knowing
what to do. To obtain originality, and effect discovery, sometimes
requires but a single step, if we only know from what point to set
forwards. This important event in the life of genius has too often
depended on