make no slight impression in every day minds. But surely it will be found that all wit depends on memory; i. e. on the recollection of passages, either to illustrate or contrast with any present occasion. It is probably the fate of a common understanding to forget the very things which the man of wit remembers. But an oblivion of those things which almost every one remembers, renders his case the more remarkaable, and this explains the mystery. 47. Prudes allow no quarter to such ladies as have fallen a sacrifice to the gentle passions; either because themselves, being borne away by the malignant ones, perhaps never felt the other so powerful as to occasion them any difficulty; or because no one has tempted them to transgress that way themselves. It is the same case with some critics, with regard to the errors of ingenious writers. 48. It seems with wit and good-nature," Utrum horum mavis accipe." Taste and good-nature are universally connected. 49. Voiture's compliments to ladies are honest on account of their excess. 50. Poetry and consumptions are the most flattering of diseases. 51. Every person insensibly fixes on some degree of refinement in his discourse, some measure of thought which he thinks worth exhibiting. It is wise to fix this pretty high, altho' it occasions one to talk the less. 52. Some men use no other means to acquire respect, than by insisting on it; and it sometimes answers their purpose, as it does a highwayman's in regard to money. 53. There is nothing exerts a genius so much as writing plays; the reason is, that the writer puts himself in the place of every person that speaks. 54. Perfect characters in a poem make but little better figure than

regular hills, perpendicular trees, uniform rocks, and level sheets of water, in the formation of a landscape. The reason is, they are not natural, and moreover want variety. 55. Trifles discover a character more than actions of importance. In regard to the former, a person is off his guard, and thinks it not material to use disguise. It is, to me, no imperfect hint towards the discovery of a man's character, to say he looks as tho' you might be certain of finding a pin upon his sleeve. 6. A grammarian speaks of first and second person: a poet of Celia and Corydon: a mathematician of A and B: a lawyer of Nokes and Styles. The very quintessence of pedantry! 57. Shakespeare makes his very bombast answer his purpose, by the persons he chuses to utter it. 58. A poet, till he arrives at thirty, can see no other good than a poetical reputation. About that æra, he begins to discover some other. 59. The plan of Spencer's "Fairy-queen" appears to me very imperfect. His imagination, tho' very exten sive, yet somewhat less so, perhaps, than is generally allowed; if one consider the facility of realizing and equipping forth the virtues and vices. His metre has some advantages, tho', in many respects, exceptionable. His good-nature is visible through every part of his poem. His conjunction of the pagan and christian scheme (as he introduces the deities of both acting simultaneously) wholly inexcusable. art and judgment are discovered in parts, and but little in the whole. One may entertain some doubt whether the perusal of his monstrous descriptions be not as prejudicial to true taste, as it is advantageous to the extent of imagination. Spencer, to be sure, expands the last; but then he expands it beyond it's

Much

due limits.

sages in his "

After all, there are many favourite pasFairy-queen," which will be instances of a great and cultivated genius misapplied. 60. A poet, that fails in writing, becomes often a morose critic. The weak and insipid white wine makes at length excellent vinegar.

61. People of fortune, perhaps, covet the acquaintance of established writers, not so much on account of the social pleasure, as the credit of it: the former would induce them to chuse persons of less capacities, and tempers more conformable. 62. Language is to the understanding what a genteel motion is to the body; a very great advantage. But a person may be superior to another in understanding, that has not an equal dignity of expression; and a man may boast a handsomer figure, that is inferior to another in regard to motion. 63. The words no more" have a singular pathos; reminding us at once of past pleasure and the future exclusion of it.

writers.

54.

Every single observation that is published by-a man of genius be it ever so trivial, should be esteemed of importance; because he speaks from his own impressions; whereas common men publish common things, which they have, perhaps, gleaned from frivolous 65. It is providential that our affection diminishes in proportion as our friends' power encreases. Affection is of less importance whenever a person can support himself. It is on this account that younger brothers are often beloved more than their elders; and that Benjamin is the favourite. We may trace the same law throughout the animal creation. 66. The time of life when fancy predominates, is youth; the season when judgment decides best, is age. Poets, therefore, are always, in

respect of their disposition, younger than other persons: a circumstance that gives the latter part of their lives some inconsistency. The cool phlegmatic 67. One sometribe discover it in the former. times meets with instances of genteel abruption in writers; but I wonder it is not used more frequently, For inas it has a prodigious effect on the reader. stance (after Falstaff's disappointment in serving Shallow at court)

tion.

"Master Shallow, I owe you a thousand pounds."-Shakes. When Pandulph commanded Philip of France to proceed no farther against England, but to sheath the sword he had drawn at the Pope's own instiga"Now it had already cost Philip eighty After the thousand pounds in preparations." detail of king John's abject submission to the Pope's legate: "Now John was hated and despised before.” But, perhaps, the strongest of all may be taken from the scripture (conclusion of a chapter in St. John). "Now Barabbas was a robber."

66

66

68. A poet hurts himself by writing prose! as a racehorse hurts his motions by condescending to draw in a team. 69. The superior politeness of the French is in nothing more discernible than in the phrases used by them and us to express an affair besur la tapis;" ing in agitation. The former say, the latter, upon the anvil." Does it not shew also the sincerity and serious face with which we enter on business, and the negligent and jaunty air with which they perform even the most important? There are two qualities adherent to the most ingeniA ous authors: I do not mean without exception. decent pride that will admit of no servility, and a sheepish bashfulness that keeps their worth conceal

70.

........

ed: the "superbia quæsita meritis" and the “malus pudor" of Horace. The one will not suffer them to make advances to the great; the other disguises that merit for which the great would seek them out. Add to these the frequent indolence of speculative tempers. 71. A poetical genius seems the most elegant of youthful accomplishments; but it is entirely a youthful one. Flights of fancy, gaiety of behaviour, sprightliness of dress, and a blooming aspect, conspire very amicably to their mutual embellishment; but the poetic talent has no more to do with age, than it would avail his Grace of Canterbury to have a knack at country dances, or a genius for a catch. 72. The most obsequious muses, like the fondest and most willing courtezans, seldom leave us any reason to boast much of their favours.

73. If you write an original piece, you wonder no one ever thought of the best of subjects before you; if a translation, of the best authors. 74. The ancient poets seem to value themselves greatly on their power of perpetuating the fame of their cotenporaries. Indeed the circumstance that has fixed their language, has been the only means of verifying some of their vain-glorious prophecies. Otherwise, the historians appear more equal to the task of conferring immortality. A history will live, tho' written ever so indifferently; and is generally less suspected, than the rhetoric of the muses. 75: I wonder

authors do not discover how much more elegant it is to fix their name to the end of their preface, or any introductory address, than to the title-page. It is, perhaps, for the sake of a F. R. S. or a LL. D. at the end of it, It should seem, the many lies, discernible in books of travels, may be owing to ac: