Henceforward we hear less about the rules. Johnson had performed a great service for that class of critics whose deference to learned opinion kept them from saying fully what they felt. The lesser men had not been at their ease when they referred to Shakespeare. We see their difficulty in the Latin lectures of Joseph Trapp, the first Professor of Poetry at Oxford, as well as in the Grub Street _Essay upon English Tragedy_ (1747) by William Guthrie. They admire his genius, but they persist in regretting that his plays are not properly constructed. Little importance attaches to Mrs. Montagu’s _Essay on the Writings and Genius of Shakespeare_ (1769).(14) It was only a well-meaning but shallow reply to Voltaire,(15) and a reply was unnecessary. Johnson had already vindicated the national pride in Shakespeare. That his views soon became the commonplaces of those critics who strike the average of current opinion, is shown by such a work as William Cooke’s _Elements of Dramatic Criticism_ (1775). But traces of the school of Rymer are still to be found, and nowhere more strongly than in the anonymous _Cursory Remarks on Tragedy_ (1774). In this little volume of essays the dramatic rules are defended against the criticism of Johnson by a lame repetition of the arguments which Johnson had overthrown. Even Pope is said to have let his partiality get the better of his usual justice and candour when he claimed that Shakespeare was not to be judged by what were called the rules of Aristotle. There are laws, this belated critic urges, which bind each individual as a citizen of the world; and once again we read that the rules of the classical drama are in accordance with human reason. This book is the last direct descendant of Rymer’s _Short View_. The ancestral trait appears in the question whether Shakespeare was in general even a good tragic writer. But it is a degenerate descendant. If it has learned good manners, it is unoriginal and dull; and it is so negligible that it has apparently not been thought worth while to settle the question of its authorship.(16) II. The discussion on Shakespeare’s attitude to the dramatic rules was closely connected with the long controversy on the extent of his learning. The question naturally suggested itself how far his dramatic method was due to his ignorance of the classics. Did he know the rules and ignore them, or did he write with no knowledge of the Greek and Roman models? Whichever view the critics adopted, one and all felt they were arguing for the honour of Shakespeare. If some would prove for his greater glory that parallel passages were due to direct borrowing, others held it was more to his credit to have known nothing of the classics and to have equalled or surpassed them by the mere force of unassisted genius.