The Theory of Poetry in England; Its Development in Doctrines And Ideas From the Sixteenth Century to the Nineteenth Century

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The moderns have profited by the rules of the ancients.
We have the life before us, besides the experience of all they knew.
. . . [T]he moderns have profited by the rules of the ancients ; but . . . they have excelled them ; we own all the helps we have from them, and want neither veneration nor gratitude, while we acknowledge that to overcome them we must make use of the advantages we have received from them ; but to these assistances we have joined our own industry, for, had we sat down with
... a dull imitation of them, we might then have lost somewhat of the old perfection, but never acquired any that was new. We draw not therefore after their lines, but those of nature ; and having the life before us, besides the experience of all they knew, it is no wonder if we hit some airs and features which they have missed.
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[A] poet is a maker, as the word signifies ; and he who cannot make, that is, invent, has his name for nothing. . . .
But, ... if invention is to be taken in so strict a sense IMITATION 131 that the matter of a poem must be wholly new, and that in all its parts, then Scaliger has made out, says Segrais, that the history of Troy was no more the invention of Homer than of Virgil.


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