stroller; talked something in praise of Garrick, and amazed the ladies with her skill in enunciation, tones, and cadences; she was at last, however, prevailed upon to go; and it was privately intimated to me what a judge was to be present at my new exhibition. However, no way intimidated, I came on in Sir Harry, one hand stuck in my breeches, and the other in my bosom, as usual at Drury Lane; but instead of looking at me, I perceived the whole audience had their eyes turned upon the lady who had been nine months in London; from her they expected the decision which was to secure the general's truncheon in my hand, or sink me down into a theatrical letter-carrier. I

opened my snuff-box, took snuff; the lady was solemn, and so were the rest; I broke my cudgel on Alderman Smuggler's back; still gloomy, melancholy all, the lady groaned and shrugged her shoulders; I attempted, by laughing myself, to excite at least a smile; but the devil a cheek could I perceive wrinkled into sympathy; I found it would not do. All my good-humour now became forced; my laughter was converted inte hysteric grinning; and while I pretended spirits, my eyes showed the agony of my heart. short, the lady came with an intention to be displeased, and displeased she was; my fame expired, I am here, and (the tankard is no more)!"

In

OF THE DELICACY OF TASTE AND PASSION. SOME people are subject to a certain delicacy of passion, which makes them extremely sensible to all the accidents of life, and gives them a lively joy upon every prosperous event, as well as a piercing grief when they meet with misfortunes and adversity. Favours and good offices easily engage their friendship; while the smallest injury provokes their resentment. Any honour or mark of distinction elevates them above measure; but they are as sensibly touched with contempt. People of this character have, no doubt, more lively enjoyments, as well as more pungent sorrows, than men of cool and sedate tempers: but, I believe, when everything is balanced, there is no one, who would not rather be of the latter character, were he entirely master of his own disposition. Good or ill fortune is very little at our disposal: and when a person, that has this sensibility of temper, meets with any misfortune, his sorrow or resentment takes entire possession of him, and deprives him of all relish in the common occurrences of life; the right enjoyment of which forms the chief part of our happiness. Great pleasures are much less frequent than great pains; so that a sensible temper must meet with fewer trials in the former

"The Essays of Hume sometimes present the reader with the grace and sweetness of Addison, accompanied with a higher finishing and more accurate tact in the arrangement and structure of periods; so that no language is more clear and lively, more neat and chaste, more durably and delicately pleasing to the ear, than what may be produced from the best portions of those elaborate but very sceptical productions." -Dr Nathan Drake.

way than in the latter. Not to mention, that men of such lively passions are apt to be transported beyond all bounds of prudence and discretion, and to take false steps in the conduct of life, which are often irretrievable.

There is a delicacy of taste observable in some men, which very much resembles this delicacy of passion, and produces the same sensibility to beauty and deformity of every kind, as that does to prosperity and adversity, obligations and injuries. When you present a poem or a picture to a man possessed of this talent, the delicacy of his feelings makes him be sensibly touched with every part of it; nor are the masterly strokes perceived with more exquisite relish and satisfaction, than the negligences or absurdities with disgust and uneasiness. A polite and judicious conversation affords him the highest entertainment; rudeness or impertinence is as great a punishment to him. In short, delicacy of taste has the same effect as delicacy of passion: it enlarges the sphere both of our happiness and misery, and makes us sensible to the pains as well as to the pleasures, which escape the rest of mankind.

I believe, however, every one will agree with me, that, notwithstanding this resemblance, delicacy of taste is as much to be desired and culti vated, as delicacy of passion is to be lamented, and to be remedied, if possible. The good or ill accidents of life are very little at our disposal; but we are pretty much masters what books we shall read, what diversions we shall partake of, and what company we shall keep. Philosophers have endeavoured to render happiness entirely independent of everything external. The degree of perfection is impossible to be attained; but every wise man will en leavour to place his

Whatever connection there may be originally between these two species of delicacy, I am persuaded that nothing is so proper to cure us of this delicacy of passion, as the cultivating of that higher and more refined taste, which enables us to judge of the characters of men, of compositions of genius, and of the productions of the nobler arts. A greater or less relish for those obvious beauties, which strike the senses, depends entirely upon the greater or less sensibility of the temper: but with regard to the sciences and liberal arts, a fine taste is, in some measure, the same with strong sense, or at least depends so much upon it that they are inseparable. In order to judge aright of a composition of genius, there are so many views to be taken in, so many circumstances to be compared, and such a knowledge of human nature requisite, that no man, who is not possessed of the soundest judgment, will ever make a tolerable critic in such performances. And this is a new reason for cultivating a relish in the liberal arts. Our judgment will strengthen by this exercise: we shall form juster notions of life. Many things which please or afflict others, will appear to us too frivolous to engage our attention: and we shall lose by degrees that sensibility and delicacy of passion, which is so incommodious.

But perhaps I have gone too far, in saying that a cultivated taste for the polite arts extinguishes the passions, and renders us indifferent to those objects, which are so fondly pursued by the rest of mankind. On further reflection, I find, that it rather improves our sensibility for all the tender and agreeable passions; at the same time that it renders the mind incapable of the rougher and more boisterous emotions.

"Ingenuas didicisse fideliter artes,

Emollit mores, nec sinit esse feros."

people, and making us indifferent to the company and conversation of the greater part of men. You will seldom find that mere men of the world, whatever strong sense they may be endowed with, are very nice in distinguishing characters, or in marking those insensible differences and gradations, which make one man preferable to another. Any one, that has competent sense, is sufficient for their entertainment: they talk to him of their pleasures and affairs, with the same frankness that they would to another; and finding many who are fit to supply his place, they never feel any vacancy or want in his absence. But to make use of the allusion of a celebrated French author, the judgment may be compared to a clock or watch, where the most ordinary machinery is sufficient to tell the hours; but the most elaborate alone can point out the minutes and seconds, and distinguish the smallest differences of time. One that has well digested his knowledge both of books and men, has little enjoyment but in the company of a few select companions. He feels too sensibly, how much all the rest of mankind fall short of the notions which he has entertained. And, his affections being thus confined within a narrow circle, no wonder he carries them further than if they were more general and undistinguished. The gaiety and frolic of a bottle companion improves with him into a solid friendship: and the ardours of a youthful appetite become an elegant passion.

OF SIMPLICITY AND REFINEMENT
IN WRITING.

Fine writing, according to Addison, consists of sentiments, which are natural, without being obvious. There cannot be a juster and more concise definition of fine writing.

Sentiments which are merely natural, affect not the mind with any pleasure, and seem not worthy of our attention. The pleasantries of a waterman, the observations of a peasant, the ribaldry of a porter or hackney coachman, all of these are natural and disagreeable. What an insipid comedy should we make of the chit-chat of the tea-table, copied faithfully and at full length? Nothing can please persons of taste,

I. Nothing is so improving to the temper as the study of the beauties, either of poetry, eloquence, music, or painting. They give a certain elegance of sentiment to which the rest of mankind are strangers. The emotions which they excite are soft and tender. They draw off the mind from the hurry of business and interest; cherish reflection; dispose to tranquillity; and produce an agreeable melancholy, which, of all dispositions of the mind, is best suited to love and friendship.

II. A delicacy of taste is favourable to love

ments, la belle nature; or if we copy low life, the strokes must be strong and remarkable, and must convey a lively image to the mind. Tho absurd naivete of Sanco Pancho is represented in such inimitable colours by Cervantes, that it entertains as much as the picture of the most magnanimous hero or the softest lover.

The case is the same with orators, philosophers, critics, or any author who speaks in his own person, without introducing other speakers or If his language be not elegant, his

actors.

* Fontenelle, "Pluralite des Mondes," soir vi. P

observations uncommon, his sense strong and masculine, he will in vain boast his nature and simplicity. He may be correct; but he never will be agreeable. It is the unhappiness of such authors, that they are never blamed or censured. The good fortune of a book, and that of a man, are not the same. The secret deceiving path of life, which Horace talks of, fallentis semita vitæ, may be the happiest lot of the one; but it is the greatest misfortune which the other can possibly fall into.

On the other hand, productions which are merely surprising, without being natural, can never give any lasting entertainment to the mind. To draw chimeras, is not, properly speaking, to copy or imitate. The justness of representation is lost, and the mind is displeased to find a picture which bears no resemblance to any original. Nor are such excessive refinements more agreeable in the epistolary or philosophic style, than in the epic or tragic. Too much ornament is a fault in every kind of production. Uncommon expressions, strong flashes of wit, pointed similes, and epigrammatic turns, especially when they recur too frequently, are a disfigurement rather than any embellishment of discourse. As the eye, in surveying a Gothic building, is distracted by the multiplicity of ornaments, and loses the whole by a minute attention to the parts; so the mind, in perusing a work overstocked with wit, is fatigued and disgusted with the constant endeavour to shine and surprise. This is the case where a writer overabounds in wit, even though that wit in itself should be just and agreeable. But it commonly happens to such writers, that they seek for their favourite ornaments, even where the subject does not afford them; and by that means have twenty insipid conceits for one thought which is really beautiful.

There is no object in critical learning more copious, than this of the just mixture of simplicity and refinement in writing; and therefore, not to wander in too large a field, I shall confine myself to a few general observations on that head. I. I observe, That though excesses of both kinds are to be avoided, and though a proper medium ought to be studied in all productions; yet this medium lies not in a point, but admits of a considerable latitude. Consider the wide distance, in this respect, between Pope and Lucretius. These seem to lie in the two greatest extremes of refinement and simplicity in which a poet can indulge himself, without being guilty of any blamable excess. All this interval may be filled with poets, who may differ from each other, but may be equally admirable, each in his peculiar style and manner. Corneille and Congreve, who carry their wit and refinement somewhat further than Pope (if poets of so different a kind can be compared together), and Sophocles and Terence, who are more simple than Lucretius, seem to have gone out of that medium,

in which the most perfect productions are found, and to be guilty of some excess in these opposite characters. Of all the great poets, Virgil and Racine, in my opinion, lie nearest the centre, and are the furthest removed from both the extremities.

II. My observation on this head is, That it is very difficult, if not impossible, to explain by words, where the just medium lies between the excesses of simplicity and refinement, or to give any rule by which we can know precisely the bounds between the fault and the beauty. A critic may not only discourse very judiciously on this head without instructing his readers, but even without understanding the matter perfectly himself. There is not a finer piece of criticism than the "Dissertation on Pastorals," by Fontenelle; in which, by a number of reflections and philosophical reasonings, he endeavours to fix the just medium which is suitable to that species of writing. But let any one read the pastorals of that author, and he will be convinced that this judicious critic, notwithstanding his fine reasonings, had a false taste, and fixed the point of perfection much nearer the extreme of refinement than pastoral poetry will admit of. The sentiments of his shepherds are better suited to the toilettes of Paris than to the forests of Arcadia. But this it is impossible to discover from his critical reasonings. He blames all excessive painting and ornament as much as Virgil could have done, had that great poet written a dissertation on this species of poetry. However different the tastes of men, their general discourse on these subjects is commonly the same. No criticism can be instructive which descends not to particulars, and is not full of examples and illustrations. It is allowed on all hands, that beauty, as well as virtue, always lies in a medium; but where this medium is placed is a great question, and can never be sufficiently explained by general reasonings.

III. I shall deliver on this subject, That we ought to be more on our guard against the excess of refinement than that of simplicity; and that because the former excess is both less beautiful, and more dangerous than the latter.

It is a certain rule, that wit and passion are entirely incompatible. When the affections are moved, there is no place for the imagination. The mind of man being naturally limited, it is impossible that all its faculties can operate at once and the more any one predominates, the less room is there for the others to exert their vigour. For this reason, a greater simplicity is required in all compositions, where men, and actions, and passions, are painted, than in such as consist of reflections and observations. And, as the former species of writing is the more engaging and beautiful, one may safely, upon this account, give the preference to the extreme of simplicity above that of refinement.

We may also observe, that those compositions

which we read the oftenest, and which every man of taste has got by heart, have the recommendation of simplicity, and have nothing surprising in the thought, when divested of that elegance of expression, and harmony of numbers, with which it is clothed. If the merit of the composition lie in a point of wit, it may strike at first; but the mind anticipates the thought in the second perusal, and is no longer affected by it. When I read an epigram of Martial, the first line recalls the whole; and I have no pleasure in repeating to myself what I know already. But each line, each word in Catullus, has its merit; and I am never tired with the perusal of him. It is sufficient to run over Cowley once; but Parnel, after the fiftieth reading, is as fresh as at the first. Besides, it is with books as with women, where a certain plainness of manner and of dress is more engaging, than that glare of paint, and airs, and apparel, which may dazzle the eye, but reaches not the affections. Terence is a modest and bashful beauty, to whom we grant everything, because he assumes nothing, and whose purity and nature make a durable though not a violent impression on us.

But refinement, as it is the less beautiful, so is it the more dangerous extreme, and what we are

the aptest to fall into. Simplicity passes for dulness, when it is not accompanied with great elegance and propriety. On the contrary, there is something surprising in a blaze of wit and conceit. Ordinary readers are mightily struck with it, and falsely imagine it to be the most difficult, as well as most excellent way of writing. Seneca abounds with agreeable faults, says Quintilian, abundat dulcibus vitiis; and for that reason is the more dangerous, and the more apt to pervert the taste of the young and the inconsiderate.

I shall add, that the excess of refinement is now more to be guarded against than ever; because it is the extreme, which men are the most apt to fall into, after learning has made some progress, and after eminent writers have appeared in every species of composition. The endeavour to please by novelty leads men wide of simplicity and nature, and fills their writings with affectation and conceit. It was thus the Asiatic eloquence degenerated so much from the Attic. It was thus the age of Claudius and Nero became so much inferior to that of Augustus in taste and genius. And perhaps there are at present some symptoms of a like degeneracy of taste in France as well as in England.

RETIREMENT.

BORN 1709: DIED 1784.

"O Thou whose power o'er moving worlds presides, Whose voice created, and whose wisdom guides, On darkling man in pure effulgence shine, And cheer the clouded mind with light divine. 'Tis Thine alone to calm the pious breast With silent confidence and holy rest:

-Boethius.

THE love of retirement has, in all ages, adhered closely to those minds which have been most enlarged by knowledge or elevated by genius. Those who enjoyed everything generally supposed to confer happiness, have been forced to seek it in the shades of privacy. Though they possessed both power and riches, and were, therefore, surrounded by men who considered it as their chief interest to remove from them everything that might offend their ease, or interrupt their pleasure, they have soon felt the languors of satiety, and found themselves unable to pursue the race of life without frequent respirations of intermediate solitude.

To produce this disposition, nothing appears requisite but quick sensibility and active imagination; for, though not devoted to virtue or

afford him.

Nor will greatness, or abundance, exempt him from the importunities of this desire, since, if he is born to think, he cannot restrain himself from a thousand inquiries and speculations, which he must pursue by his own reason, and which the splendour of his condition can only hinder: for those who are most exalted above dependence or control are yet condemned to pay so large a tribute of their time to custom, ceremony, and popularity, that, [according to the Greek proverb, no man in the house is more a slave than the master.

When a king asked Euclid, the mathematician, whether he could not explain his art to him in a more compendious manner? he was answered, that there was no royal way to geometry. Other things may be seized by might, or purchased with money, but knowledge is to be