what the French call persiflage, in the manner in which he conveys his advice to the female part of his readers: but it was the fashion of that age to address women in a style of gallantry, under which was often concealed a sly ridicule. Swift, in his surly way, used to say, Let him fair sex it to the world's end, I will not meddle with the Spectator.'

The Essays of Addison are given sometimes in sets, and sometimes in single papers, and may be thrown into different classes: those on criticism, on moral and religious subjects, fancy pieces, and those that exhibit character, life and manners. From each of these, several have been chosen for the present Selection. The sets, which for the sake of variety were originally mingled with the other papers, are here given without interruption, for the greater convenience of the reader. Of these, the first is the Essay on true and false Wit, in six papers. These strictures will appear particularly seasonable, if we recollect how much the taste for point and verbal wit had prevailed in the punning reign of James the first, and among the minor wits of the court of Charles the second. Authors then abounded in thought, but had not yet learned what to reject. Addi

son has seasoned these papers with a plentiful share of the quality in its best form, which is the subject of them. They conclude with a well imagined allegory, which has been made the ground-work of a very pretty mock-heroic poem by the late Mr. Cambridge, entitled The Scribbleriad. The Critique on Milton's Paradise Lost is more elaborate, and is extended through 18 papers. For this task the author was qualified as well by his exquisite natural taste, as by his familiar acquaintance with the Greek and Roman classics, and the laws of composition; we may add also, by his serious and religious turn of mind, a circumstance of no small moment in relishing a poem the basis of which is laid in scriptural mythology. This admirable poem, which is now the boast of every Englishman, was at that time but little noticed. Not that Addison, as some seem to think, discovered the Paradise Lost it had been long enough before the public to attract the notice of judges: but there had been no large edition before his time, and many circumstances had contributed to prevent its soon becoming a popular work. Milton's political character was for some time obnoxious; his style had many little rough,

nesses,

nesses, and many scholastic terms not easily understood. His poem was in blank verse, which was then a novelty to the English reader, as was also the nature of the poem itself; for we had no regular epic, and the common reader was not, as now, familiarized, through the medium of good translations, with Homer and Virgil. It was therefore a necessary preliminary, to explain the laws and construction of epic poetry in general; after which, in a pleasing strain of liberal and elegant criticism, the essayist goes on to illustrate the beauties of his author. The many brilliant passages that are quoted, and brought into parallel with corresponding ones in the antient poets, chequer the page with a pleasing variety, and, by familiarizing the reader with the style of Milton, made way for the more general reception of the entire poem. Such a critique has certainly less in it that suits the present day, and therefore the editor was long in doubt whether to admit these papers in the present Selection. They will however be found useful to young persons in laying a basis of just taste, and older ones might have regretted the omission of what they have been accustomed to admire. A reader of the present day will

be apt to smile to see Blackmore mentioned, as he is by Addison, in the same page with Milton; but the truth is, there was a great mixture of party spirit in the cry raised by the tory wits against the dullness of Blackmore. He was too prolific a poet; but his Creation is superior to many poems which those wits thought proper to commend. Worse authors have been promised immortality, and much better have failed to obtain it.

The next set is on the Pleasures of the Imagination. This piece of criticism is equally calculated to enlighten the mind by the soundness of its rules; and to form the taste, by the beauty of its illustrations: the language of Addison is no where more brilliant and highly finished than in some passages of these papers. Akenside, as is well known, made them the groundwork of his didactic poem, and had little more to do in many parts than to reduce to measure what had already all the other charms of poetry.

Several papers are devoted to theatrical entertainments. Such was then the licentiousness of the playhouse, that the austere moralists condemned it altogether. Addison did better; for he undertook to reform it; and

no

no doubt it is owing to the castigation which he and other writers of taste and virtue have bestowed upon it, that it is at present tolerably free from gross indecency, rant, and profaneness. It was then common for ladies of character to go in a mask the first night of a new play, as they expected to be put out of countenance. Steele had a great share in this reformation, as well by his own comedies as by his strictures on those of others.

The

Not content with the incidental and indirect service done to virtue and religion in the ge, neral strain of his writings, the Saturday papers through many of the volumes are devoted by Addison expressly to that purpose. · sentiments of rational and liberal devotion which breathe through them, are blended with the speculations of philosophy and the paintings of a fine imagination. His religious affections break forth at a fine sun-set, the view of the starry heavens, and other circumstances proper to impress a mind of feeling. Of these a portion are presented to the reader; perhaps not so many as, upon a vague recollection, he will imagine might have been collected: but the truth is, we abound so much in excellent discourses

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