force of his work, that Richardson seems to have won his way to Johnson's heart. [Footnote: See the passage referred to in the preceding note.] Is not the evidence conclusive? Is it a harsh judgment to say that no critic so narrow, so mechanical, so hostile to originality as Johnson has ever achieved the dictatorship of English letters? The supremacy of Johnson would have been impossible, had not the way been smoothed for it by a long succession of critics like-minded with himself. Such a succession may be traced from Swift to Addison, from Addison to Pope, and--with marked reservations--from Pope to Goldsmith. It would be unjust to charge all, or indeed any, of these with the narrowness of view betrayed in Johnson's verdicts on individual writers. To arrive at this perfection of sourness was a work of time; and the nature of Addison and Goldsmith at least was too genial to allow of any approach to it. But, with all their difference of temperament, the method of the earlier critics is hardly to be distinguished from that of Johnson. There is the same orderliness of treatment--first the fable, then the characters, lastly the sentiment and the diction; the same persistency in applying general rules to a matter which, above all others, is a law to itself; the same invincible faith in "the indispensable laws of Aristotelian criticism". It is this that, in spite of its readiness to admire, makes Addison's criticism of _Paradise Lost_ so dreary a study; and this that, in an evil hour, prompted Goldsmith to treat the soliloquy of Hamlet as though it were a schoolboy's exercise in rhetoric and logic. [Footnote: Goldsmith, Essay xvi. The next essay contains a like attack on Mercutio's description of Queen Mab.] And yet it is with Goldsmith that we come to the first dawn of better things. The carping strain and the stiffness of method, that we cannot overlook in him, were the note of his generation. The openness to new ideas, the sense of nature, the fruitful use of the historical method, are entirely his own. There had been nothing like them in our literature since Dryden. In criticism, as in creative work, Goldsmith marks the transition from the old order to the new.