Early Reviews of English Poets | Page 4

articles on natural history, curious experiments, physiological treatises and historical essays. During the latter half of the eighteenth century theological and political writings, and accounts of travels in distant lands became the staple offering of the reviews.
A new era in the history of English periodicals was marked by the publication, on May 1, 1749, of the first number of the Monthly Review, destined to continue through ninety-six years of varying fortune and to reach its 249th volume. It bore the subtitle: A Periodical Work giving an Account, with Proper Abstracts of, and Extracts from, the New Books, Pamphlets, etc., as they come out. By Several Hands. The publisher was Ralph Griffiths, who continued to manage the review until his death in 1803. It seems remarkable that this periodical which set the norm for half a century should have appeared not only without preface or advertisement, but likewise without patronage or support of any kind. From the first it reviewed poetry, fiction and drama as well as the customary classes of applied literature, and thus appealed primarily to the public rather than, like most of its predecessors, to the learned. Its politics were Whig and its theology Non-conformist. Griffiths was not successful at first, but determined to achieve popularity by enlisting Ruffhead, Kippis, Langhorne and several other minor writers on his critical staff. In 1757 Oliver Goldsmith became one of those unfortunate hacks as a result of his well-known agreement with Griffiths to serve as an assistant-editor in exchange for his board, lodging and "an adequate salary." About a score of miscellaneous reviews from Goldsmith's pen--including critiques of Home's Douglas, Burke's On the Sublime and the Beautiful, Smollett's History of England and Gray's Odes--appeared in the Monthly Review during 1757-58. The contract with Griffiths was soon broken, probably on account of incompatibility of temper. Goldsmith declared that he had been over-worked and badly treated; but it is quite likely that his idleness and irregular habits contributed largely to the misunderstanding.
Meanwhile, a Tory rival and a champion of the Established Church had appeared on the field. A printer named Archibald Hamilton projected the Critical Review: or, Annals of Literature. By a Society of Gentlemen, which began to appear in February, 1756, under the editorship of Tobias Smollett and extended to a total of 144 volumes when it ceased publication in 1817. Its articles were of a high order for the time and the new review soon became popular. The open rivalry between the reviews was fostered by an exchange of editorial compliments. Griffiths published a statement that the Monthly was not written by "physicians without practice, authors without learning, men without decency, gentlemen without manners, and critics without judgment." Smollett retorted that "the Critical Review is not written by a parcel of obscure hirelings, under the restraint of a bookseller and his wife, who presume to revise, alter and amend the articles occasionally. The principal writers in the Critical Review are unconnected with booksellers, unawed by old women, and independent of each other." Such literary encounters did not fail to stimulate public interest in both reviews and to add materially to their circulation.
When the first volume of the Critical Review was complete, the "Society of Gentlemen" enriched it with an ornate, self-congratulatory Preface in which they said of themselves:
"However they may have erred in judgment, they have declared their thoughts without prejudice, fear, or affectation; and strove to forget the author's person, while his works fell under their consideration. They have treated simple dulness as the object of mirth or compassion, according to the nature of its appearance. Petulance and self-conceit they have corrected with more severe strictures; and though they have given no quarter to insolence, scurrility and sedition, they will venture to affirm, that no production of merit has been defrauded of its due share of applause. On the contrary, they have cherished with commendation, the very faintest bloom of genius, even when vapid and unformed, in hopes of its being warmed into flavour, and afterwards producing agreeable fruit by dint of proper care and culture; and never, without reluctance disapproved, even of a bad writer, who had the least title to indulgence. The judicious reader will perceive that their aim has been to exhibit a succinct plan of every performance; to point out the most striking beauties and glaring defects; to illustrate their remarks with proper quotations; and to convey these remarks in such a manner, as might best conduce to the entertainment of the public."
Moreover, these high ideals were entertained under the most unfavorable circumstances. By the time the second volume was complete, the editors took pleasure in announcing that in spite of "open assault and private assassination," "published reproach and printed letters of abuse, distributed like poisoned arrows in the dark," yea, in spite of the "breath