Critical Errors. In _Chamber's Journal_, XLII (164-166). Criticism Extraordinary. In _All the Year Round_, XXXIII (558-563). G.L.A. Some Curiosities of Criticism. In _Temple Bar_, LXXX (241-247). Howe, Herbert Crombie. The Contradictions of Literary Criticism. In _North American Review_, CLXXV (399-408). Hunt, T.W. Critics and Criticism. In _Modern Language Notes_, IV, p. 161. EARLY REVIEWS OF ENGLISH POETS THOMAS GRAY ODES. _By Mr._ Gray. 4to. 1s. Dodsley. As this publication seems designed for those who have formed their taste by the models of antiquity, the generality of Readers cannot be supposed adequate Judges of its merit; nor will the Poet, it is presumed, be greatly disappointed if he finds them backward in commending a performance not entirely suited to their apprehensions. We cannot, however, without some regret behold those talents so capable of giving pleasure to all, exerted in efforts that, at best, can amuse only the few; we cannot behold this rising Poet seeking fame among the learned, without hinting to him the same advice that Isocrates used to give his Scholars, _Study the People_. This study it is that has conducted the great Masters of antiquity up to immortality. Pindar himself, of whom our modern Lyrist is an imitator, appears entirely guided by it. He adapted his works exactly to the dispositions of his countrymen. Irregular[,] enthusiastic, and quick in transition,--he wrote for a people inconstant, of warm imaginations and exquisite sensibility. He chose the most popular subjects, and all his allusions are to customs well known, in his day, to the meanest person.[F] His English Imitator wants those advantages. He speaks to a people not easily impressed with new ideas; extremely tenacious of the old; with difficulty warmed; and as slowly cooling again.--How unsuited then to our national character is that species of poetry which rises upon us with unexpected flights! Where we must hastily catch the thought, or it flies from us; and, in short, where the Reader must largely partake of the Poet's enthusiasm, in order to taste his beauties. To carry the parallel a little farther; the Greek Poet wrote in a language the most proper that can be imagined for this species of composition; lofty, harmonious, and never needing rhyme to heighten the numbers. But, for us, several unsuccessful experiments seem to prove that the English cannot have Odes in blank Verse; while, on the other hand, a natural imperfection attends those which are composed in irregular rhymes:--the similar sound often recurring where it is not expected, and not being found where it is, creates no small confusion to the Reader,--who, as we have not seldom observed, beginning in all the solemnity of poetic elocution, is by frequent disappointments of the rhyme, at last obliged to drawl out the uncomplying numbers into disagreeable prose.