Having thus briefly considered the original and office of a critic, as the word is understood in its most noble and universal acceptation, I proceed to refute the objections of those who argue from the silence and pretermission of authors, by which they pretend to prove that the very art of criticism, as now exercised, and by me explained, is wholly modern, and consequently that the critics of Great Britain and France have no title to an original so ancient and illustrious as I have deduced. Now, if I can clearly make out, on the contrary, that the most ancient writers have particularly described both the person and the office of a true critic agreeable to the definition laid down by me, their grand objection—from the silence of authors—will fall to the ground. I confess to have for a long time borne a part in this general error, from which I should never have acquitted myself but through the assistance of our noble moderns, whose most edifying volumes I turn indefatigably over night and day, for the improvement of my mind and the good of my country. These have with unwearied pains made many useful searches into the weak sides of the ancients, and given us a comprehensive list of them {84a}. Besides, they have proved beyond contradiction that the very finest things delivered of old have been long since invented and brought to light by much later pens, and that the noblest discoveries those ancients ever made in art or nature have all been produced by the transcending genius of the present age, which clearly shows how little merit those ancients can justly pretend to, and takes off that blind admiration paid them by men in a corner, who have the unhappiness of conversing too little with present things. Reflecting maturely upon all this, and taking in the whole compass of human nature, I easily concluded that these ancients, highly sensible of their many imperfections, must needs have endeavoured, from some passages in their works, to obviate, soften, or divert the censorious reader, by satire or panegyric upon the true critics, in imitation of their masters, the moderns. Now, in the commonplaces {84b} of both these I was plentifully instructed by a long course of useful study in prefaces and prologues, and therefore immediately resolved to try what I could discover of either, by a diligent perusal of the most ancient writers, and especially those who treated of the earliest times.