He was then interrogated concerning some other ambiguous passages in his works; but he declined any satisfactory answer; saying, if Mr. Theobald had not writ about it sufficiently, there were three or four more new editions of his plays coming out, which he hoped would satisfy every one: concluding, “I marvel nothing so much as that men will gird themselves at discovering obscure beauties in an author. Certes the greatest and most pregnant beauties are ever the plainest and most evidently striking; and when two meanings of a passage can in the least balance our judgments which to prefer, I hold it matter of unquestionable certainty that neither of them is worth a farthing.” From his works our conversation turned on his monument; upon which Shakespeare, shaking his sides, and addressing himself to Milton, cried out, “On my word, brother Milton, they have brought a noble set of poets together; they would have been hanged erst have convened such a company at their tables when alive.” “True, brother,” answered Milton, “unless we had been as incapable of eating then as we are now.” “A Journey from this World to the Next,” Chapter viii. _Miscellanies_, 1743. THOMAS EDWARDS, 1747 (1699-1757) CANON I. A Professed Critic has a right to declare that his Author wrote whatever He thinks he ought to have written, with as much positiveness as if he had been at his elbow. CANON II. He has a right to alter any passage which He does not understand. CANON III. These alterations He may make in spite of the exactness of measure. CANON IV. Where He does not like an expression, and yet cannot mend it, He may abuse his Author for it. CANON V. Or He may condemn it as a foolish interpolation. CANON VI. As every Author is to be corrected into all possible perfection, the Professed Critic is the sole judge; He may alter any word or phrase, which does not want amendment, or which _will do_, provided He can think of anything which He imagines _will do better_. CANON VII. He may find out obsolete words, or coin new ones, and put them in the place of such as He does not like, or does not understand. CANON VIII. He may prove a reading or support an explanation by any sort of reasons, no matter whether good or bad. CANON IX. He may interpret his Author so as to make him mean directly contrary to what he says. CANON X. He should not allow any poetical licences, which He does not understand. CANON XI. He may make foolish amendments or explanations, and refute them, only to enhance the value of his critical skill. CANON XII. He may find out a bawdy or immoral meaning in his Author where there does not appear to be any hint that way. CANON XIII. He need not attend to the low accuracy of orthography, or pointing; but may ridicule such trivial criticisms in others.