harmony of metre, with the most pleasing ideas or

"Qualem virgineo demessum pollice florem ;"

images:

And,

"Argentum Pariusve lapis.”

with a thousand better instances.

Nothing tends so much to produce drunkenness, or even madness, as the frequent use of parenthesis in conversation. Few greater images of impatience, than a general seeing his brave army over-matched and cut to pieces, and looking out continually to see his ally approach with forces to his assistance. See Shake

speare.

"When my dear Percy, when my heart's dear Harry,
cast many a northward look to see his father
his powers-but he did look in vain."

bring up

BOOKS, &c.

Similies, drawn from odd circumstances and effects strangely accidental, bear a near relation to false wit. The best instance of the kind is that celebrated line of Waller:

"He grasped at love, and fill'd his hand with bays." Virgil discovers less wit, and more taste, than any writer in the world.-Some instances:

"-longumque bibebat amorem."

What Lucretius says of the "edita doctrinæ sapientum templa"" the temples of philosophers"-appears in no sense more applicable than to a snug and easy chariot:

"Dispicere unde queas alios, pas imque videre
errare, atque viam palantes quærere vitæ."

i. e. From whence you may look down upon foot-pas

sengers, see them wandering on each side of you, and pick their way through the dirt:

"seriously

from learning's tow'ring height to gaze around,
and see plebeian spirits range below."

There is a sort of masonry in poetry, wherein the
pause represents the joints of building; which ought
in every line and course to have their disposition va-
ried.
The difference betwixt a witty writer
and a writer of taste is chiefly this. The former is
negligent what ideas he introduces, so he joins them
surprisingly. The latter is principally careful what
images he introduces, and studies simplicity rather
than surprise in his manner of introduction.

It may, in some measure, account for the difference of taste in the reading of books, to consider the difference of our ears for music. One is not pleased without a perfect melody of style, be the sense what it will: another, of no ear for music, gives to sense it's full weight without any deduction on account of harshness. Harmony of period and melody of style have greater weight than is generally imagined in the judgment we pass on writing and writers. As a proof of this, let us reflect, what texts of scripture, what lines in poetry, or what periods we most remember and quote, either in verse or prose, and we shall find them to be only musical ones.

I wonder the ancient mythology never shews Apollo enamoured of Venus; considering the remarkable deference that wit has paid to beauty in all ages. The Orientals act more consonantly, when they suppose the nightingale enamoured of the rose ;-the most harmonious bird of the fairest and most delightful flower. Hope is a flatterer; but the

most upright of all parasites; for she frequents the poor man's hut, as well as the palace of his superior. What is termed humour in prose, I conceive would be considered as burlesque in poetry: of which instances may be given. Perhaps, burlesque may be divided into such as turns chiefly on the thought, and such as depends more on the expression or we may add a third kind, consisting in thoughts ridiculously dressed in language much above or below their dignity. The "Splendid Shilling" of Mr. Phillips, and the "Hudibras" of Butler, are the most obvious instances. Butler, however, depended much on the ludicrous effect of his double rhymes. In other respects, to declare my own sentiments, he is rather a witty writer than a humourous one. Scenes below verse, merely

versified, lay claim to a degree of humour. Swift in poetry deserves a place somewhere betwixt Butler and Horace. He has the wit of the former, and the graceful negligence which we find in the latter's epistles and satires. I believe, few people discover less humour in "Don Quixote" than myself. For beside the general sameness of adventure, whereby it is easy to foresee what he will do on most occasions, it is not so easy to raise a laugh from the wild atchievements of a madman. The natural passion, in that case, is pity, with some small portion of mirth at most. Sancho's character is indeed comic; and, were it removed from the romance, would discover how little there was of humour in the character of Don Quixote. It is a fine stroke of Cervantes, when Sancho, sick of his government, makes no answer to his comforters, but aims directly at his shoes and stockings.

OF MEN AND MANNERS.

1. The arguments against pride drawn so frequently by our clergy from the general infirmity, circumstances, and catastrophe of our nature, are extremely trifling and insignificant. Man is not proud as a species, but as an individual; not as comparing himself with other beings, but with his fellow creatures. 2. I have often thought that people draw many of their ideas of agreeableness, in regard to proportion, colour, &c. from their own persons.

4.

3. It is happy enough that the same vices which impair one's fortune, frequently ruin our constitution, that the one may not survive the other. Deference often shrinks and withers as much on the approach of intimacy, as the sensative plant does on the touch of one's finger. 5. The word Folly is, perhaps, the prettiest word in the language. Amusement and Diversion are good well meaning words: but Pastime is what never should be used but in a bad sense: it is vile to say such a thing is agreeable, because it helps to pass the time away. 6. Dancing in the rough is one of the most natural expressions of joy, and coincides with jumping. When it is regulated, it is merely, "cum ratione insanire."

7. A plain, downright, open-hearted fellow's conversation is as insipid, says Sir Plume, as a play without a plot; it does not afford one the amusement of thinking. 8. The fortunate have many parasites: Hope is the only one that vouchsafes attendance on the wretched and the beggar.

9. A man of genius mistaking his talent loses the advantage of being distinguished; a fool of being un

distinguished. 10. Jealousy is the fear or apprehension of superiority: envy, our uneasiness under it. 11. What some people term freedom is nothing else than a liberty of saying and doing disagreeable things. It is but carrying the notion a lit tle higher, and it would require us to break and have a head broken reciprocally without offence.

13. The

12. I cannot see why people are ashamed to acknow ledge their passion for popularity. The love of popularity is the love of being beloved. ridicule with which some people affect to triumph over their superiors, is as tho' the moon, under an eclipse, should pretend to laugh at the sun. 14. Zealous men are ever displaying to you the strength of their belief, while judicious men are shewing to you the grounds of it. 15. I consider your very testy and quarrelsome people, in the same light as I do a loaded gun: which may by ac cident go off, and kill one. 16. I am afraid humility to genius is as an extinguisher to a candle. 17. Many persons, when exalted, assume an insolent humility, who behaved before with an insolent haughtiness. 18. Men are sometimes accused of pride, merely because their accusers would be proud themselves, if they were in their places. 19. Men of fine parts, they say are often proud; I answer, dull people are seldom so, and both act on an appearance of reason. 20. It was observed of a most accomplished lady, that she was withal so very modest, that one sometimes thought she negted the praises of her wit, because she could depend on those of her beauty; at other times, that she slighted those of her beauty, knowing she might rely on those of her wit. 21. The only dif