'Of Genius', in The Occasional Paper, and Preface to The Creation

In Short

This volume collects two Eighteenth-Century critical works: an anonymous 1719 periodical essay, "Of Genius," and Aaron Hill's 1720 preface to his poem The Creation. Together, they investigate the nature of artistic talent, the importance of aligning education with innate temperament, and the sublime power of early Hebrew poetry. The authors reject rigid classical rules, arguing that genuine genius requires natural inclination paired with disciplined judgment. The collection endures as a vital turning point in literary criticism, marking the shift from strict neoclassical decorum to an appreciation for emotional imagery, sublime simplicity, and original poetic voice.

The Story

The text begins with an analytical inquiry into the term "genius," moving past the simple idea of general talent to define it as a specific, inborn force coupled with a strong personal inclination toward a particular calling. Comparing the mind's inner makeup to musical tones and instruments, the anonymous essayist argues that every human being possesses a unique temperament—some suited for speculation, others for action, art, or commerce. The argument warns parents and educators against forcing children into unsuitable careers, showing how mismatched vocations squander natural abilities, breed sloth, and ruin potentially brilliant minds. While acknowledging that rare "Originals" can produce masterpieces purely through uncultivated natural ability, the author contends that most talent requires early observation, disciplined practice, and thoughtful cultivation to reach perfection without falling into laziness or plagiarism.

The focus then shifts from general human aptitudes to literary expression and the defense of sacred poetry in Aaron Hill's address to Alexander Pope and subsequent preface. Opening with a humble apology to Pope for past misunderstandings, Hill turns to the state of English poetry, lamenting that contemporary verse has degenerated into empty sound and meaningless verbal polish. He argues that high-sounding meters without deep thought are as useless as padding a cannon ball to make a louder bounce. To restore poetry's true dignity, Hill points to the Hebrew Scriptures—specifically the Psalms—as the ultimate model of poetic excellence, where magnificent plainness combines with concrete imagery to move the reader's soul.

To demonstrate how modern writers ruin this natural majesty, Hill examines flawed poetic paraphrases by contemporary authors. He sharply criticizes Joseph Trapp for smothering the raw power of the 104th Psalm under bloated, contradictory metaphors, such as picturing the Almighty "flying" like a bat rather than walking upon the wind, or describing God as a common weaver working a loom. Similarly, he points out how Ambrose Philips ruins pastoral verse by mixing unnatural, elevated rhetoric with crude dialect in the same character. Hill concludes by defending the flexible Pindaric verse form, comparing a reader's initial adjustment to its rhythm to a novice ice-skater who totters at first before discovering the exhilarating speed and fluid grace of the movement.

How It Unfolds

The nature of genius The text opens by defining genius as a combination of natural force (ingenium) and personal inclination, asserting that no great work occurs when nature recoils against forced study.

The musical mind The author compares human temperaments to musical instruments and compositions, showing how varied mental capacities require tailored direction rather than a single uniform education.

The danger of neglect The narrative warns that uncultivated talent quickly contracts rust, leading promising individuals into sloth, plagiarism, or complete obscurity if their true bent is ignored.

A plea to Pope Aaron Hill opens his preface with a humble reconciliation to Alexander Pope, praising Pope's superior nature and seeking to rebuild the declining honor of English poetry.

The decay of verse Hill attacks contemporary poets who prioritize mere sound over substance, comparing their noisy, hollow verses to an undersized cannon ball wrapped in tow to make a louder discharge.

Critique of bad metaphors Hill analyzes specific lines by Joseph Trapp and Ambrose Philips, demonstrating how artificial embellishments and clumsy metaphors destroy the natural sublimity and plainness of Biblical imagery.

The skater's rhythm The text closes with a defense of Pindaric verse, using the metaphor of an ice-skater mastering balance to show how complex poetic meters gradually reveal their sweetness and majesty.

The People

• The Anonymous Essayist — The author of "Of Genius," who seeks to reform education and career placement. They want parents and mentors to observe a child's natural inclination early, standing against rigid classical rules and uniform schooling, and ending with a plea for cultivating individual talent.
• Aaron Hill — The poet and critic who writes the preface to The Creation. He wants to rescue English poetry from empty ornament, advocating for the sublime plainness of Biblical style; he overcomes his past conflict with Pope and stands firmly against artificial poetic paraphrases.
• Alexander Pope — The celebrated poet addressed in Hill's preface. He represents the pinnacle of contemporary poetic genius, serving as both a model of noble character and the ultimate judge of literary standards.
• Dr. Joseph Trapp — A contemporary translator and poet used as a key negative example. He attempts to elevate Biblical poetry through metaphorical refinements, but ends up trivializing divine imagery and destroying its original energy.
• Ambrose Philips — A pastoral poet criticized for stylistic inconsistency. He aims for rustic charm but fails by giving his shepherds overly refined, artificial speeches in one scene and awkward rustic dialect in the next.

In Its Own Voice

"The Labour is in vain where Nature recoils."

This core principle from the essay "Of Genius" emphasizes that true achievement is impossible when education or careers run directly against a person's natural temperament.

"The Loftiness of the Expression will astonish shallow Readers into a temporary Admiration... but the Bounce, however loud, goes no farther than the Ear."

Aaron Hill uses this vivid image to attack poets who rely on high-sounding words to mask a complete lack of original thought and genuine feeling.

"A Man, who is just beginning to try his Ear in Pindaric, may be compared to a new Scater: He totters strangely at first, and staggers backward and forward..."

Hill defends the complex rhythms of Pindaric verse by comparing the reader's initial discomfort to learning how to balance on ice before experiencing the joy of smooth movement.

What It's Really About

The collection explores the source of artistic authenticity and the balance between innate nature and acquired skill. It asks whether true greatness comes from adhering to established classical rules or from honoring an individual, unrepeatable inclination. The texts argue that art loses its power when it substitutes inflated ornamentation for raw truth, whether in forced educational tracks or overly refined poetry. Through its analysis of Hebrew Scripture and contemporary verse, the work contends that the highest sublimity relies on concrete, unadorned imagery rather than abstract pretension. Ultimately, it challenges readers to value natural simplicity, self-knowledge, and authentic expression over artificial decorum and hollow convention.

Why Read It Today

This text appeals to readers interested in the history of ideas, literary criticism, and the philosophy of education. It offers a fascinating, first-hand look at the early 18th-century debate over natural talent versus formal training—a conversation that directly shaped modern concepts of individuality and artistic originality. The prose is lively, sharp, and visually evocative, relying on striking analogies like ice-skaters, musical instruments, and cannon discharges rather than dry academic terminology.

Readers should be prepared for period-specific challenges, including historical typography, Latin quotations, and references to early 18th-century literary quarrels that require occasional context. Aaron Hill's close readings of forgotten poets like Trapp and Philips might feel detailed, but his critique of wordy, superficial writing remains surprisingly modern. What stays with you is the text's enduring defense of natural simplicity and its timeless warning against forcing human minds into mismatched molds.