Assistant Professor of English and History, Central High School, Philadelphia;
Research Fellow in English, University of Pennsylvania
"Among the amusing and instructive books that remain to be written, oneof the most piquant would be a history of the criticism with which themost celebrated literary productions have been greeted on their firstappearance before the world." It is quite possible that when Dr. WilliamMatthews began his essay on Curiosities of Criticism with these words,he failed to grasp the full significance of that future undertaking. Mr.Churton Collins recently declared that "a very amusing and edifyingrecord might be compiled partly out of a selection of the variousverdicts passed contemporaneously by reviews on particular works, andpartly out of comparisons of the subsequent fortunes of works with theirfortunes while submitted to this censorship." Both critics recognize thefact that such a volume would be entertaining and instructive; but, fromanother point of view, it would also be a somewhat doleful book. Even areader of meagre imagination and rude sensibilities could not perusesuch a volume without picturing in his mind the anguish and theheart-ache which those bitter and often vicious attacks inflicted uponthe unfortunate victims whose works were being assailed.
Authors (particularly sensitive poets) have been at all times the sportand plaything of the critics. Mrs. Oliphant, in her Literary History ofEngland, said with much truth: "There are few things so amusing as toread a really 'slashing article'—except perhaps to write it. It isinfinitely easier and gayer work than a well-weighed and seriouscriticism, and will always be more popular. The lively and brilliantexamples of the art which dwell[Pg viii] in the mind of the reader areinvariably of this class." Thus it happens that we remember the wittyonslaughts of the reviewers, and often ignore the fact that certainwitticisms drove Byron, for example, into a frenzy of anger that calledforth the most vigorous satire of the century; and others so completelyunnerved Shelley that he felt tempted to write no more; and still otherswere so unanimously hostile in tone that Coleridge thought the wholedetested tribe of critics was in league against his literary success.There were, of course, such admirable personalities as Wordsworth's—forthe most part indifferent to the strongest torrent of abuse; and clevercraftsmen like Tennyson, who, although hurt, read the criticisms andprofited by them; but, on the other hand, there are still well-informedreaders who believe that the Quarterly Review at least hastened thedeath of poor Keats.
It has been suggested that such a volume of the "choice crudities ofcriticism" as is here proposed would likewise fulfill the desirablepurpose of avenging the author upon his ancient enemy, the critic, byshowing how absurd the latter's utterances often are, and what averitable farrago of folly those collected utterances can make. We mayrest assured that however m