English literary criticism. Charles Edwyn Vaughan

that puts an impassable barrier between Dryden and the men of his own day, or for a century to come. It is this that gives him a place among the great critics of modern literature, and makes the passage from him to the schoolmen of the next century so dreary a descent.

      Dryden's openness of mind was his own secret. The comparative method was, in some measure, the common property of his generation. This, in fact, was the chief conquest of the Restoration and Augustan critics. It is the mark that serves to distinguish them most clearly from those of the Elizabethan age. Not that the Elizabethans are without comparisons; but that the parallels they saw were commonly of the simplest, not to say of the most childish, cast. Every sentence of Meres' critical effort—or, to be rigorously exact, every sentence but one—is built on "as" and "so"; but it reads like a parody—a schoolmaster's parody—of Touchstone's improvement on Orlando's verses in praise of Rosalind. Shakespeare is brought into line with Ovid, Elizabeth with Achilles, and Homer with William Warner. This, no doubt, is an extreme instance; but it is typical of the artless methods dear to the infancy of criticism. In Jonson's Discoveries, such comparisons as there are have indisputable point; but they are few, and, for the most part, they are limited to the minuter matters of style.

      It is with the Restoration that the comparative method first made its way into English criticism; and that both in its lawful and less lawful use. The distinction must be jealously made; for there are few matters that lend themselves so readily to confusion and misapprehension as this. Between two men, or two forms of art, a comparison may be run either for the sake of placing the one above the head of the other, or for the sake of drawing out the essential differences between the one and the other. The latter method is indispensable to the work of the critic. Without reference, express or implied, to other types of genius or to other ways of treatment it is impossible for criticism to take a single step in definition either of an author, or a movement, or a form of art. In a vague and haphazard fashion, even the Elizabethans were comparative. Meres was so in his endless stream of classical parallels; Sidney, after a loftier strain, in his defence of harmonious prose as a form of poetry. And it is the highest achievement of modern criticism to have brought science and order into the comparative method, and largely to have widened its scope. In this sense, comparison is criticism; and to compare with increased intelligence, with a clearer consciousness of the end in view, is to reform criticism itself, to make it a keener weapon and more effective for its purpose.