PREFACE.

THE QUARRELS OF AUTHORS may be considered as a continuation of the CALAMITIES OF AUTHORS; and both, as some Memoirs for Literary History.

These Quarrels of Authors are not designed to wound the Literary Character, but to expose the secret arts of calumny, the malignity of witty ridicule, and the evil prepossessions of unjust hatreds.

The present, like the preceding work, includes other subjects than the one indicated by the title, and indeed they are both subservient to a higher purpose-that of our Literary History.

There is a French work, entitled "Querelles Littéraires," quoted in "Curiosities of Literature," many years ago. Whether I derive the idea of the present from the French source I cannot tell. I could point out a passage in the great Lord BACON which might have afforded the hint. But I am inclined to think, that what induced me to select this topic, was the interest which JOHNSON has given to the literary quarrels between Dryden and Settle, Dennis and Addison, etc.; and which Sir WALTER SCOTT, who, amid the fresh creations of fancy could delve for the buried truths of research, has thrown into his narrative of the quarrel of Dryden and Luke Milbourne.

From the French work I could derive no aid; and my plan is my own. I have fixed on each literary controversy to illustrate some principle, to portray some character, and to investigate some topic. Almost every controversy which occurred opened new views. With the subject, the character of the author connected itself; and with the character were associated those events of his life which reciprocally act on each other. I have always considered an author as a human being, who possesses at once two sorts of lives, the intel

lectual and the vulgar: in his books we trace the history of his mind, and in his actions those of human nature. It is this combination which interests the philosopher and the man of feeling; which provides the richest materials for reflection; and all those original details, which spring from the constituent principles of man. JOHNSON's passion for literary history, and his great knowledge of the human heart, inspired at once the first and the finest model in this class of composition.

The Philosophy of Literary History was indeed the creation of BAYLE. He was the first who, by attempting a critical dictionary, taught us to think, and to be curious and vast in our researches. He ennobled a collection of facts by his reasonings, and exhibited them with the most miscellaneous illustrations; and thus conducting an apparently humble pursuit, with a higher spirit, he gave a new turn to our studies. It was felt through Europe; and many celebrated authors studied and repeated BAYLE. This father of a numerous race has an English as well as a French progeny.

JOHNSON wrole under many disadvantages; but, with scanty means, he has taught us a great end. Dr. BIRCH was the contemporary of JOHNSON. He excelled his predecessors; and yet he forms a striking contrast, as a literary historian. BIRCH was no philosopher, and I adduce him as an instance how a writer, possessing the most ample knowledge, and the most vigilant curiosity-one practised in all the secret arts of literary research in public repositories and in private collections, and eminently skilled in the whole science of bibliography-may yet fail with the public. The diligence of BIRCH has perpetuated his memory by a monument of MSS., but his touch was mortal to genius! He palsied the character which could never die; heroes sunk pusillanimously under his hand; and in his torpid silence, even MILTON seemed suddenly deprived of his genius.

I have freely enlarged in the notes to this work; a practice which is objectionable to many, but indispensable perhaps in this species of literary history.

The late Mr. CUMBERLAND, in a conversation I once held with him on this subject, triumphantly exclaimed, "You will not find a single note through the whole volume of my Life.' I never wrote a note. The ancients never wrote notes; but they introduced into their text all which was proper for the reader to know.”

I agreed with that elegant writer, that a fine piece of essay-writing, such as his own "Life," required notes, no more than his novels and his comedies, among which it may be classed. I observed, that the ancients had no literary history; this was the result of the discovery of printing, the institution of national libraries, the general literary intercourse of Europe, and some other causes which are the growth almost of our own times. The ancients have written history without producing authorities.

Mr. CUMBERLAND was then occupied on a review of Fox's History; and of CLARENDON, which lay open before him,-he had been complaining, with all the irritable feelings of a dramatist, of the frequent suspensions and the tedious minuteness of his story.

I observed that notes had not then been discovered. Had Lord CLARENDON known their use, he had preserved the unity of design in his text. His Lordship has unskilfully filled it with all that historical furniture his diligence had collected, and with those minute discussions which his anxiety for truth, and his lawyer-like mode of scrutinising into facts and substantiating evidence, amassed. Had these been cast into notes, and were it now possible to pass them over in the present text, how would the story of the noble historian clear up! The greatness of his genius will appear when disencumbered of its unwieldy and misplaced accompaniments.

If this observation be just, it will apply with greater force to literary history itself, which, being often the mere history of the human mind, has to record opinions as well as events-to discuss as well as to narrate-to show how accepted truths become suspicious, or to confirm what has hitherto rested in obscure uncertainty, and to balance contending opinions and opposite facts with critical nicety. The multiplied means of our knowledge now opened to us, have only rendered our curiosity more urgent in its claims, and raised up the most diversified objects. These, though accessaries to the leading one of our inquiries, can never melt together in the continuity of a text. It is to prevent all this disorder, and to enjoy all the usefulness and the pleasure of this various knowledge, which has produced the invention of notes in literary history. All this forms a sort of knowledge peculiar to the present more enlarged state of literature. Writers who delight in curious and rare extracts, and in the discovery of new facts and new views of things, warned

by a fervour of research which brings everything nearer to our eye and close to our touch, study to throw contemporary feelings in their page. Such rare extracts, and such new facts, BAYLE eagerly sought, and they delighted JOHNSON : but all this luxury of literature can only be produced to the public eye, in the variegated forms of notes.

WARBURTON, AND HIS QUARRELS :

INCLUDING AN ILLUSTRATION OF

HIS LITERARY CHARACTER.

The name of Warburton more familiar to us than his Works-declared to be " Colossus" by a Warburtonian, who afterwards shrinks the image into "a human size" -Lowth's caustic retort on his Attorneyship-motives for the change to Divinityhis first literary mischances-Warburton and his Welsh Prophet-his Dedicationshis mean flatteries--his taste more struck by the monstrous than the beautiful-the effects of his opposite studies-the SECRET PRINCIPLE which conducted Warburton through all his Works-the curious argument of his Alliance between Church and State-the bold paradox of his Divine Legation-the demonstration ends in a conjecture-Warburton lost in the labyrinth he had ingeniously constructed-confesses the harassed state of his mind-attacked by Infidels and Christians-his SECRET PRINCIPLE turns the poetical narrative of Eneas into the Eleusinian Mysteries-Hurd attacks Jortin; his Attic irony translated into plain English-Warburton's paradox on Eloquence; his levity of ideas renders his sincerity suspected Leland refutes the whimsical paradox-Hurd attacks Leland-Leland's noble triumph - Warburton's SECRET PRINCIPLE Operating in Modern Literature: on Pope's Essay on Man-Lord Bolingbroke the author of the Essay-Pope received Warburton as his tutelary geniusWarburton's systematic treatment of his friends and rival editors-his literary artifices and little intrigues-his Shakespeare-the whimsical labours of Warburton on Shakespeare annihilated by Edwards's "Canons of Criticism "-Warburton and Johnson-Edwards and Warburton's mutual attacks-the concealed motive of his edition of Shakespeare avowed in his justification-his SECRET PRINCIPLE further displayed in Pope's Works-attacks Akenside; Dyson's generous defence- correct Ridicule is a test of Truth, illustrated by a well-known case-Warburton a literary revolutionist; aimed to be a perpetual dictator-the ambiguous tendency of his speculations-the Warburtonian School supported by the most licentious principles-specimens of its peculiar style-the use to which Warburton applied the Dunciad-his Party: attentive to raise recruits-the active and subtle Hurd - his extreme sycophancy-Warburton, to maintain his usurped authority, adopted his system of literary quarrels.

THE name of WARBURTON is more familiar to us than his works thus was it early, thus it continues, and thus it will be with posterity! The cause may be worth our inquiry. Nor is there, in the whole compass of our literary history, a character more instructive for its greatness and its failures; none more adapted to excite our curiosity, and which can more completely gratify it.

Of great characters, whose actions are well known, and of those who, whatever claim they may have to distinction, are

One of his lively adversaries, the author of the "Canons of Criticism," observed the difficulty of writing against an author, whose reputation so much exceeded the knowledge of his works. "It is my misfortune," says EDWARDS, "in this controversy, to be engaged with a person who is better known by his name than his works; or, to speak more properly whose works are more known than read.”—Preface to the Canons of Criticism.