examination had convinced her that the laws of just writing had been observed, she touched it with the amaranthine end of the sceptre, and consigned it over to immortality.
But it more frequently happened, that in the works which required her inspection, there was some imposture attempted; that false colours were laboriously laid; that some secret inequality was found between the words and sentiments, or some dissimilitude of the ideas and the original objects; that incongruities were linked together, or that some parts were of no use but to enlarge the appearance of the whole, without contributing to its beauty, solidity, or usefulness.
Wherever such discoveries were made, and they were made whenever these faults were committed, Criticism refused the touch which conferred the sanction of immortality, and, when the errors were frequent and gross, reversed the sceptre, and let drops of Lethe distil from the poppies and cypress, a fatal mildew, which immediately began to waste the work away, till it was at last totally destroyed.
There were some compositions brought to the test, in which, when the strongest light was thrown upon them, their beauties and faults appeared so equally mingled, that Criticism stood with her sceptre poised in her hand,
