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Indeed, a good course of Bishop Copleston's "magic-lanthorn school" made me peculiarly susceptible to the refreshment of changing the gorgeous haze of modern philosophers for the sharpness and vitality with which old-fashioned people clothe such ideas as are vouchsafed to them.
It was not, however, till after the date of Copleston's parody that the Edinburgh Review began conspicuously to illustrate what Copleston here satirises; it was not till a time more recent still that periodical literature generally exemplified in literal seriousness what Copleston intended as extravagant irony.
Bishop Copleston's brochure brings us to the early days of the Edinburgh Review, and to the dawn of the criticism with which we are, unhappily, only too familiar in our own time. From criticism we pass, in the extract from Ellwood's life of himself, to biography and social history, to the most vivid account we have of Milton as a personality and in private life.
It is interesting to compare with Copleston's remarks what Thackeray says on the same subjects in the twenty-fourth chapter of Pendennis, entitled 'The Pall Mall Gazette. This brochure is evidently modelled on Swift's 'Digression Concerning Critics' in the third section of the Tale of a Tub, and owes something also to the Treatise on the Bathos in Pope's and Swift's Miscellanies, as the title may have been suggested by Shaftesbury's Advice to an Author.
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