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honourably distinguished themselves in the republic of letters, that induced him to resume a subject which he had so long laid aside. The three following years all the other chapters of that Book, except the third, the sixth, and the tenth, which have been but lately added (rather as illustrations and confirmations of some parts of the work, than as essential to it) were composed, and submitted to the judgment of the same ingenious friends. All that follows on the subject of Elocution, hath also undergone the same review. Nor has there been any material alteration made on these, or any addition to them, except in a few instances of notes, examples, and verbal corrections, since they were composed.

It is also proper to observe here, that since transcribing the present work for the press, a manuscript was put into his hands by Doctor Beattie, at the

very time that, in order to be favoured with the Doctor's opinion of this performance, the Author gave him the first book for his perusal. Doctor Beattie's tract is called An Essay on Laughter and Ludicrous Writing. Whilst the Author carefully perused that Essay, it gave him a very agreeable surprise to discover, that, on a question so nice and curious, there should, without any previous communication, be so remarkable a coincidence of sentiments in every thing wherein their subjects coincide. A man must have an uncommon confidence in his own faculties, (I might have said in his own infallibility,) who is not sensibly more satisfied of the justness of their procedure, especially in abstract matters, when he discovers such a concurrence with the ideas and reasoning of writers of discernment. The subject of that piece is indeed laughter in general, with an inquiry into those qualities in the object, by which it is excited. The investigation is conducted with the greatest accuracy, and the theory confirmed and illustrated by such a variety of pertinent examples, as give us access to scrutinize his doctrine on every side, and view it in almost every possible light. He does not enter into the specific characters whereby wit and humour are discriminated, which are the chief considerations here. His design leads himn to consider rather those particulars wherein they all agree, than those wherein they differ. He treats of ludicrous objects and ludicrous writing, with a view to account for the superior copiousness and refinement of modern ridicule. When philosophical acuteness is happily united with so great richness of fancy and mastery in language, the obscurity in which a subject was formerly involved, vanishes entirely, and a reader, unacquainted with all other theories and hypotheses, can hardly be persuaded that there was ever any dificulty in the question. But there is reason to think, that the world will soon be favoured with an opportunity of judging for itself, in regard to the merits of that performance.

ONE reason, though not the only one, which the Author has for mentioning the manner wherein the composition of this work has been conducted, and the time it has taken, is, not to enhance its value with the public, but to apologize in some measure for that inequality in the execution and the style, with which, he is afraid, it will be thought chargeable. It is his purpose in this work, on the one hand, to exhibit, he does not say, a correct map, but a tolerable sketch of the human mind; and, aided by the lights which the poet and the orator so amply furnish; to disclose its secret movements, tracing its principal channels of perception and action, as near as possible, to their source: and, on the other hand, from the science of human nature, to ascertain, with greater precision, the radical principles of that art, whose object it is, by the use of language, to operate on the soul of the hearer, in the way of informing, convincing, pleasing, moving, or persuading. In the prosecution of a design so extensive, there are two extremes to be shunned. One is, too much abstraction in investigating causes ; the other, too much minuteness in specifying effects. By the first, the perspicuity of a performance may be endangered ; by the second, its dignity may be sacrificed. The author does not flatter himself so far as to imagine, that he has succeeded perfectly in his endeavours to avoid either extreme. In a work of this kind, it is impossible that every thing should be alike perspicuous to every reader, or, that all the parts should be equally elevated. Variety in this respect, as well as in others, is perhaps, on the whole, more pleasing and more instructive, than too scrupulous an uniformity. To the eye the interchange of hill and dale beautifies the prospect; and to the ear there is no music in monotony. The author can truly say, that he has endeavoured, as much as he could, in the most abstruse questions, to avoid obscurity ; and, in regard to such of his remarks as may be thought too minute and particular, if just, they will not, he hopes, on a re-examination, be deemed of no consequence. Those may serve to illustrate a general observation, which are scarcely worth notice as subjects either of censure or of praise. Nor is there any thing in this book, which, in his opinion, will create even the smallest difficulty to persons accustomed to enquire into the faculties of the mind. Indeed, the much greater part of it will, he is persuaded, be level to the capacity of all those readers (not perhaps the most numerous class) who think reflection of some use in reading, and who do not read merely with the intention of killing time.

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He begs leave to add, that, though his subject be Eloquence, yet, as the nature of his work is didactical, wherein the understanding only is addressed, the style in general admits no higher qualities than purity and perspicuity. These were therefore his highest aim. The best ornaments out of place are not only unbe. coming but offensive. Nor can any thing be farther from his thoughts than to pretend to an exemption from such positive faults in expression, as, on the article of Elocution, he hath so freely criticised in the best English authors. He is entirely sensible, that an impropriety, or other negligence in style, will escape the notice of the writer, which hardly escapes that of any body else. Next to the purpose of illustrating the principles and canons which he here submits to the judgment of the Public, the two following motives weighed most with the Author, in inducing him to use so much freedom in regard to the writings of those for whom he has the highest veneration. One is, to show that we ought in writing, as in other things, carefully to beware of implicit attachment and servile imitation, even when they seem to be claimed by the most celebrated names. The other is, to evince, that we are in danger of doing great injustice to a work,

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