ry that we must look for
extreme conceits and for extravagance, but to the later age, to the
faultless, to the frigid, dissatisfied with their own propriety. There
were straws, I confess, in the hair of the older poets; the eighteenth-
century men stuck straws in their periwigs.

That time--surpassing and correcting the century then just past in
"taste"--was resolved to make a low leg to no age, antique or modern, in
the chapter of the passions--nay, to show the way, to fire the nations.
Addison taught himself, as his hero "taught the doubtful battle," "where
to rage." And in the later years of the same literary century Johnson
himself summoned the lapsed and alien and reluctant fury. Take such a
word as "madded"--"the madded land"; there indeed is a word created for
the noble rage, as the eighteenth century understood it. Look you,
Johnson himself could lodge the fury in his responsible breast:

And dubious title shakes the madded land.

There is no author of that time of moderation and good sense who does not
thus more or less eat a crocodile. It is not necessary to go to the bad
poets; we need go no lower than the good.

And gasping Furies thirst for blood in vain,

says Pope seriously (but the sense of burlesque never leaves the reader).
Also

There purple vengeance bath'd in gore retires.

In the only passage of the _Dunciad_ meant to be poetic and not ironic
and spiteful, he has "the panting gales" of a garden he describes. Match
me such an absurdity among the "conceits" of the age preceding!

A noble and ingenious author, so called by high authority but left
anonymous, pretends (it is always pretending with these people, never
fine fiction or a frank lie) that on the tomb of Virgil he had had a
vision of that deceased poet:

Crowned with eternal bays my ravished eyes
Beheld the poet's awful form arise.

Virgil tells the noble and ingenious one that if Pope will but write upon
some graver themes,

Envy to black Cocytus shall retire
And howl with furies in tormenting fire.

"Genius," says another authoritative writer in prose, "is caused by a
furious joy and pride of soul."

If, leaving the great names, we pass in review the worse poets we find,
in Pope's essay "On the Art of Sinking in Poetry," things like these,
gathered from the grave writings of his contemporaries:

In flaming heaps the raging ocean rolls,
Whose livid waves involve despairing souls;
The liq