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shoals of novels which are annually thrown out upon the public; they are the wretched productions of brain-sick females just escaped from boarding-schools, or of miserable garretteers, who want genius and learning to gain a livelihood in any other department of literature.

Of the serious productions termed novels, the Rasselas of Dr. Johnson deservedly holds the first place; and among the shorter tales, those in the Spectator, Guardian, Rambler, and Adventurer, are excellent. Perhaps one of the best told stories in our language is that of Fidelia in the Adventurer, by my late estimable friend Mrs. Chapone.

I cannot dismiss this subject without remarking on the excellence of one fictitious narrative, with which I know you to be well acquainted, I mean Robinson Crusoe. Admitting that the author might have received a hint from the adventures of Alexander Selkirk, the merit of the work is entirely independant to the outline of the story. It consists in the excitement which is afforded to industry, and the curious exercise of invention, exemplified in the various expedients of the hero for the supply of his necessities in the forlorn situation to which he is re

duced. In this view the work is of inestimable value to the young; and not less so perhaps in the moral and religious reflexions which are occasionally interspersed. The delineation of the feelings of the unhappy exile, at certain periods, is the work of a master, and it is the more forcible because perfectly natural.

Shall I mention under this head that extraordinary performance, "Gulliver's Travels?" It was evidently begun as a jeu d'esprit in ridicule of Dampier's Voyages, and the rage for reading the most exaggerated accounts of foreign countries, which at that time prevailed. The author, however, at last extended it to a political satire, and even to a satire on human nature itself. The two first voyages to Lilliput and Brobdignag, undoubtedly display the fancy of the author to the highest advantage. There is something there in which the imagination of the reader can accompany that of the author. When he transforms men into horses, and horses into men, the fiction is too violent, and no picture can be formed in the mind to realize the description. Without this, every effort of imagination must fail in the effect; and I believe most writers turn with disgust from this

part of the adventures of Gulliver. The voyage to Laputa, and the flying island, contains some excellent ironical animadversions on the science of his time, and I believe would even excite a smile in a mathematician. Yet more I apprehend might have been made of the subject in the hands of Swift, if he had possessed a more profound acquaintance with the subjects he ri dicules, or been less in a hurry. What would Swift have done with the modern self-created philosopher? But the task has been executed with scarcely less spirit, and in a more engaging style, by my excellent friend Miss Hamilton, in her "Modern Philosophers."

It is evident that the epistolary style may be adapted to almost any of the departments of literature. In that may be taught all that is important in science and useful in life. A charming specimen we have of didactic epistles in the Letters of Lord Chesterfield to his Son; and of the narrative and descriptive in those already mentioned, of Lady Mary Wortley Montague. Its force in historical composition is happily exemplified by the History of England in a series of letters, originally attributed to Lord Lyttleton, but really written by a man

of superior genius, Dr. Goldsmith; and in biography, in a work undeservedly neglected, Lord Orrery's Letters on Swift.

Epistolary writing, however, in the common, and therefore the just acceptation of the word, is confined to those compositions which serve to transact the common business of life, or to promote its most pleasing intercourses. In this point of view letter-writing is the most necessary, at the same time it is happily the most easy, of all literary accomplishments. All that is necessary is some perspicuity in arrangement, and a style unblemished by glaring faults.

I have in general found one caution only necessary to young persons of a tolerable education, in order to enable them to write a good letter, and that is not to attempt to be fine; but to let the current of their thoughts flow naturally as they would in conversation, to endeavour to practise Swift's maxim of using (C proper words in their proper places.". Persons endued with much genius and fancy may play with metaphors and similies; but they must be managed with infinite address, not to destroy the simplicity, and even to obscure the spirit of a familiar epistle. I cannot in this

place omit to mention a most excellent rule of Mr. Shenstone's, from which I have often profitted; if you wish to answer a letter with spi rit, answer it as soon as possible after you have received it.

When I speak of letters of business, I would not be understood to recommend the usual forms of mercantile correspondence. They are too technical, too full of expletives, and not always clear. The best rule for a business letter is, to express the object in as few words as possible, in plain but not vulgar phraseology; and this I am convinced any well-bred man, who has clear ideas of his subject, may easily do, only using the phraseology which commonly occurs in genteel society.

A letter of business is long or short according as the subject may require. On an occasion somewhat out of the course of common affairs, there cannot be a finer specimen than the Epistle of Paul to Philemon, where there is not one redundant word, nor a sentence ill placed. But, without a prejudice from religion or education, St. Paul was the greatest master I have read, in all the excellencies of composition.

As it was very early necessary to men occa

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