corrected in those that followed. He appears to have revised the Iliad,
and freed it from some of its imperfections; and the Essay on Criticism
received many improvements after its first appearance. It will seldom be
found that he altered, without adding clearness, elegance, or vigour.
Pope had, perhaps, the judgment of Dryden; but Dryden certainly wanted
the diligence of Pope.

In acquired knowledge, the superiority must be allowed to Dryden, whose
education was more scholastick, and who, before he became an author, had
been allowed more time for study, with better means of information. His
mind has a larger range, and he collects his images and illustrations
from a more extensive circumference of science. Dryden knew more of man
in his general nature, and Pope in his local manners. The notions of
Dryden were formed by comprehensive speculation, and those of Pope by
minute attention. There is more dignity in the knowledge of Dryden, and
more certainty in that of Pope.

Poetry was not the sole praise of either: for both excelled likewise in
prose; but Pope did not borrow his prose from his predecessor. The style
of Dryden is capricious and varied; that of Pope is cautious and
uniform. Dryden obeys the motions of his own mind; Pope constrains his
mind to his own rules of composition. Dryden is sometimes vehement and
rapid; Pope is always smooth, uniform, and gentle. Dryden's page is a
natural field, rising into inequalities, and diversified by the varied
exuberance of abundant vegetation; Pope's is a velvet lawn, shaven by
the sithe, and levelled by the roller.

Of genius, that power which constitutes a poet; that quality without
which judgment is cold, and knowledge is inert; that energy which
collects, combines, amplifies, and animates; the superiority must, with
some hesitation, be allowed to Dryden. It is not to be inferred, that of
this poetical vigour Pope had only a little, because Dryden had more;
for every other writer since Milton must give place to Pope; and even of
Dryden it must be said, that, if he has brighter paragraphs, he has not
better poems. Dryden's performances were always hasty, either excited by
some external occasion, or extorted by domestick necessity; he composed
without consideration, and published without correction. What his mind
could supply at call, or gather in one excursion, was all that he
sought, and all that he gave. The dilatory caution of Pope enabled him
to condense his sentiment