shape of the drinking-glass with the flavour of the wine which it contains.  “To these encroachments,” says Fielding, after some observations to the same purpose, “time and ignorance, the two great supporters of imposture, gave authority; and thus many rules for good writing have been established, which have not the least foundation in truth or nature; and which commonly serve for no other purpose than to curb and restrain genius, in the same manner as it would have restrained the dancing-master, had the many excellent treatises on that art laid it down as an essential rule, that every man must dance in chains."[25] It is probable, that the tyranny of the French critics, fashionable as the literature of that country was with Charles and his courtiers, would have extended itself over England at the Restoration, had not a champion so powerful as Dryden placed himself in the gap.  We have mentioned in its place his “Essay on Dramatic Poetry,” the first systematic piece of criticism which our literature has to exhibit.  In this Essay, he was accused of entertaining private views, of defending some of his own pieces, at least of opening the door of the theatre wider, and rendering its access more easy, for his own selfish convenience.  Allowing this to be true in whole, as it may be in part, we are as much obliged to Dryden for resisting the domination of Gallic criticism, as we are to the fanatics who repressed the despotism of the crown, although they buckled on their armour against white surplices, and the cross in baptism.  The character which Dryden has drawn of our English dramatists in the Essay, and the various prefaces connected with it, have unequalled spirit and precision.  The contrast of Ben Jonson with Shakespeare is peculiarly and strikingly felicitous.  Of the latter portrait, Dr. Johnson has said, that the editors and admirers of Shakespeare, in all their emulation of reverence, cannot boast of much more than of having diffused and paraphrased this epitome of excellence, of having changed Dryden’s gold for baser metal, of lower value, though of greater bulk.  While Dryden examined, discussed, admitted, or rejected the rules proposed by others, he forbore, from prudence, indolence, or a regard for the freedom of Parnassus, to erect himself into a legislator.  His doctrines, which chiefly respect the intrinsic qualities necessary in poetry, are scattered, without system of pretence to it, over the numerous pages of prefatory and didactic essays, with which he enriched his publications.  It is impossible to read far in any of them, without finding some maxim for doing or forbearing, which every student of poetry will do well to engrave upon the tablets of his memory.  But the author’s mode of instruction is neither harsh nor dictatorial.  When his opinion changed, as in the case of rhyming tragedies, he avows the change with candour, and we are enabled the more courageously to follow his guidance, when we perceive the readiness with which he retracts his path, if he strays into