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 this splendid jargon in one poor work by one poor author, which is given up to summary execution with as little justice as pity. “As when a well-graced actor leaves the stage, men’s eyes are idly bent on him that enters next”—so it is here.—Whether this state of the press is not a serious abuse and a violent encroachment in the republic of letters, is more than I shall pretend to determine. The truth is, that in the quantity of works that issue from the press, it is utterly impossible they should all be read by all sorts of people. There must be tasters for the public, who must have a discretionary power vested in them, for which it is difficult to make them properly accountable. Authors in proportion to their numbers become not formidable, but despicable. They would not be heard of or severed from the crowd without the critic’s aid, and all complaints of ill-treatment are vain. He considers them as pensioners on his bounty for any pittance or praise, and in general sets them up as butts for his wit and spleen, or uses them as a stalking-horse to convey his own favourite notions and opinions, which he can do by this means without the possibility of censure or appeal. He looks upon his literary protegé (much as Peter Pounce looked upon Parson Adams) as a kind of humble