As the writer, of his own accord, has exposed some of the blemishes of his book - a task, which a competent critic ought to have done - he will now point out two or three of its merits, which any critic, not altogether blinded with ignorance might have done, or not replete with gall and envy would have been glad to do.The book has the merit of communicating a fact connected with physiology, which in all the pages of the multitude of books was never previously mentioned - the mysterious practice of touching objects to baffle the evil chance.The miserable detractor will, of course, instantly begin to rave about such a habit being common: well and good; but was it ever before described in print, or all connected with it dissected? He may then vociferate something about Johnson having touched:- the writer cares not whether Johnson, who, by the bye, during the last twenty or thirty years, owing to people having become ultra Tory mad from reading Scott's novels and the "Quarterly Review," has been a mighty favourite, especially with some who were in the habit of calling him a half crazy old fool -touched, or whether he did or not; but he asks where did Johnson ever describe the feelings which induced him to perform the magic touch, even supposing that he did perform it? Again, the history gives an account of a certain book called the "Sleeping Bard," the most remarkable prose work of the most difficult language but one, of modern Europe, - a book, for a notice of which, he believes, one might turn over in vain the pages of any review printed in England, or, indeed, elsewhere.- So here are two facts, one literary and the other physiological, for which any candid critic was bound to thank the author, even as in Romany Rye there is a fact connected with Iro Norman Myth, for the disclosing of which, any person who pretends to have a regard for literature is bound to thank him, namely, that the mysterious Finn or Fingal of "Ossian's Poems" is one and the same person as the Sigurd Fofnisbane of the Edda and the Wilkina, and the Siegfried Horn of the Lay of the Niebelungs.
The writer might here conclude, and, he believes, most triumphantly; as, however, he is in the cue for writing, which he seldom is, he will for his own gratification, and for the sake of others, dropping metaphors about vipers and serpents, show up in particular two or three sets or cliques of people, who, he is happy to say, have been particularly virulent against him and his work, for nothing indeed could have given him greater mortification than their praise.
In the first place, he wishes to dispose of certain individuals who call themselves men of wit and fashion -about town - who he is told have abused his book "vaustly" -their own word.These people paint their cheeks, wear white kid gloves, and dabble in literature, or what they conceive to be literature.For abuse from such people, the writer was prepared.Does any one imagine that the writer was not well aware, before he published his book, that, whenever he gave it to the world, he should be attacked by every literary coxcomb in England who had influence enough to procure the insertion of a scurrilous article in a magazine or newspaper!
He has been in Spain, and has seen how invariably the mule attacks the horse; now why does the mule attack the horse?
Why, because the latter carries about with him that which the envious hermaphrodite does not possess.
They consider, forsooth, that his book is low - but he is not going to waste words about them - one or two of whom, he is told, have written very duncie books about Spain, and are highly enraged with him, because certain books which he wrote about Spain were not considered duncie.No, he is not going to waste words upon them, for verily he dislikes their company, and so he'll pass them by, and proceed to others.
