Discourse on Criticism and of Poetry: From Poems On Several Occasions (1707)

In Short

This volume pairs an introductory prose epistle to an overseas friend with an ambitious historical verse essay. Samuel Cobb defends the liberty of the creative spirit against overbearing critics who prioritize rigid grammatical correctness over genuine inspiration. He traces the great lineage of poetry from its divine, ancient beginnings through classical antiquity to the triumphs of English literature, celebrating icons like Chaucer, Shakespeare, Milton, and Dryden. Ultimately, Cobb argues that true judgment lies in recognizing beauty and emotional force rather than policing minor flaws, offering a vibrant, spirited defense of original British genius.

The Story

The work opens as a personal letter sent across the Atlantic Ocean to a friend living in Barbados. Cobb begins with a lighthearted mix of prose and occasional verse, touching briefly on current European wars and political shifts in London before steering the conversation toward his true passion: the state of literature and criticism. He launches a sharp assault on pedantic critics who lack creative talent themselves and instead take pleasure in picking apart the works of others. For Cobb, strict adherence to rules produces cold, lifeless verse. True poetry requires a bold, adventurous spirit willing to risk minor flaws to achieve sublime height. He points to classical models like Homer, who created his own rules rather than following pre-existing ones, and argues that modern writers must be allowed the same creative freedom.

From this critical foundation, the book transitions into a sweeping historical narrative in verse titled "Of Poetry." The poem recounts the divine origin of the art, beginning when the human soul first received a spark of celestial inspiration. After the fall of humanity, this divine gift descended to sacred figures like Moses and the judge Deborah, whose victorious songs rallied the ancient Hebrews. The narrative then shifts to classical Greece and Rome, where poetic greatness flourished in Homer, Virgil, and Horace. Cobb laments how cities often neglect living poets only to praise them once they are dead, contrasting this with the generous patronage that allowed Roman literature to thrive.

The second half of the poem focuses entirely on the rise of English literature. Cobb depicts early England as trapped in linguistic darkness until Geoffrey Chaucer arose to lay the groundwork for a national poetic tradition. Edmund Spenser built upon Chaucer’s legacy, though Cobb gently chides him for relying too heavily on foreign fairy lore rather than native strengths. Ben Jonson brought classic rigor and refined language, while Shakespeare achieved emotional brilliance through sheer natural genius, mastering tragic terror and tender passion without formal academic training. Abraham Cowley introduced the soaring freedom of Pindaric measures, and John Milton reached unmatched heights with his sublime, angelic visions in Paradise Lost.

As the historical procession continues through John Dryden, Thomas Otway, and Joseph Addison, Cobb weaves in a poignant tribute to the short-lived Duke of Gloucester, imagining military glory before lamenting his early death. He closes by honoring the immortal memory of these grand writers, urging readers to seek wisdom in their timeless works.

How It Unfolds

A missive across the sea Cobb writes to his friend in Barbados, using prose and light verse to report on recent political developments before pivoting to the contentious state of contemporary literary criticism.

Attack on pedantic critics The author sharply condemns petty reviewers who enforce rigid rules, arguing that over-refining poetry drains its vitality while bold writers achieve greatness through creative liberty.

The ancient divine spark The verse essay opens by tracing poetry back to a heavenly flame given to early mankind, which survived through biblical figures like Moses and Deborah in songs of faith and triumph.

Classical triumphs and neglect The narrative moves through Greece and Rome, praising Homer's transcendent genius and Virgil's fortune under wise patrons, while mourning how societies often starve living poets.

The dawn of English verse Cobb recounts how English poetry emerged from ignorance, starting with Chaucer's rough genius, Spenser's rich imagery, Jonson's refined classicism, and Shakespeare's untamed emotional power.

Sublime visions and lasting legacy After celebrating Cowley, Milton, and Dryden, the poem concludes with an exaltation of Britain's literary heritage and a prayerful tribute to the immortal souls of great poets.

The People

• Samuel Cobb: The narrator and author who defends poetic freedom, scorning pedantic rules in favor of bold, inspired creativity.
• Richard Carter: Cobb's friend living in Barbados, serving as the receptive audience for this literary epistle across the Atlantic.
• Homer: The primary classical exemplar of natural genius whose works establish rules for future generations rather than obeying pre-existing constraints.
• Geoffrey Chaucer: The foundational English poet depicted as an unpolished pioneer who unearthed literary gold from a language buried in ignorance.
• William Shakespeare: The ultimate icon of unstudied talent who moves audiences to deep pity and terror through natural strength rather than academic rules.
• John Milton: The sublime visionary whose poetic spirit soars to celestial heights to describe angelic battles and divine glory despite his physical blindness.
• John Dryden: The steady master of English phrasing who balances art and inspiration to achieve continuous elevation in verse.

In Its Own Voice

Before launching into his extended verse history, Cobb directly addresses his distant friend to explain the persistent urge to write despite the physical distance between them.

You highly err: Nor is the Wat'ry Fence / Sufficient Guard against Impertinence.

In his critique of pedantry, he target critics who write strict regulations for literature yet fail to produce anything compelling themselves.

Rules they can write, but, like the College Tribe, / Take not that Physick which their Rules prescribe.

When describing Shakespeare's immense natural talent, Cobb highlights how emotional power transcends formal academic training.

Tho' Art ne're taught him how to write by Rules, / Or borrow Learning from Athenian Schools: / Yet He, with Plautus, could instruct and please.

What It's Really About

At its heart, this work is a defense of original genius and creative liberty over cold, pedantic formalism. Cobb argues that artistic rules should serve as temporary guidelines for beginners rather than permanent chains for mature minds. He addresses the tension between slavish imitation of classical models and the development of a distinct, native English literature. By presenting a grand history of poetry, he explores how language evolves, how true patronage sustains culture, and how genuine art derives its power from emotional resonance rather than mere grammatical perfection. Ultimately, the book asserts that true critical judgment requires generosity, open-mindedness, and an eye for hidden beauty rather than an eagerness to spot minor flaws.

Why Read It Today

This text offers a fascinating, firsthand glimpse into early eighteenth-century literary debates, capturing the exact moment when English writers were defining their own canon. Readers interested in the history of criticism, classical reception, and Augustan literature will appreciate Cobb's energetic defense of creative freedom and his vivid portraits of giants like Shakespeare, Milton, and Dryden. His prose letter is warm, witty, and conversational, while his heroic couplets move with a lively, rhythmic drive.

The work does carry distinct period difficulties. A modern reader must navigate archaic spelling, classical allusions, eighteenth-century political context, and dense poetic phrasing typical of the era. The verse section occasionally leans into broad panegyric praise that reflects the patronage conventions of its day. However, Cobb’s core argument—that hyper-critical pedantry smothers genuine creativity—remains surprisingly fresh and relatable. It serves as an engaging, historical time capsule that reminds us why we continue to value raw artistic passion over rigid adherence to mechanical rules.<ElicitationsGroup message="Explore related aspects of Augustan literature and early English literary criticism:"> <Elicitation label="Compare Samuel Cobb's critical views with Alexander Pope's An Essay on Criticism" query="How do Samuel Cobb's arguments in Discourse on Criticism compare to Alexander Pope's principles in An Essay on Criticism?"/> <Elicitation label="Examine how eighteenth-century critics evaluated Shakespeare and Milton" query="How did early 18th-century English critics like Samuel Cobb evaluate the unruled genius of Shakespeare and Milton?"/> </ElicitationsGroup>