with man but as man's power of learning more expands with his years he avails himself of what his fellow men, by the previous inventions of signs, characters, and other means, have so improved their intellectual faculties as to raise themselves greatly above all other animals. This perhaps never could have been the case, if these artificial signs and characters, had not enabled man to transmit to posterity the wisdom of his contemporaries. Now on a former occasion I have endeavoured to show, that as these signs and characters (arbitrary tokens) are made with our hands and fingers,-this facility has greatly tended to the improvement of our species: as much perhaps as any other cause. Not that I would insinuate that other causes are not to be found. Man merely as an animal is in many respects greatly superior to all others. The brain is ascertained to be the seat of thought; and, in this respect, he is (considering his size) allowed to surpass all other animals in texture and quantity of brain. And though what may be termed the intellectual powers of other animals, are often improved by aid of man yet animals themselves, seldom improve each other, beyond what accident, or their own natural wants induce them to put in practice: and then, with the life of the individual animal, the practice is at an end, and his fellow brutes do not appear wiser or better, from the examples they have had before them.

As to instinct being a more certain guide than reason I am told (though I cannot vouch for the truth of it) that brute animals as well as birds never eat what is poisonous, unless 'tis disguised by the art of

man, or mixed with what they the said animals are very fond of. Nay further, they seldom either eat or drink so much as to injure themselves; unless they are by man, at times, kept too long without food, or too much indulged, so as to be sophisticated. But as far as regards instinct it is such an indefinite term I shall not endeavour to explain what is often meant by it. (Falstaff says, he is a "coward upon instinct!" In fact tis a word generally used where our knowledge stops, and, therefore in this place, no more need be said about it.

In our progress through life many circumstances occur that are worthy of remark, though not of such consequence, as to go much into the detail of them: there are also many characters that deserve notice, so as to afford some degree of utility or amusement by their oddities and singular habits of life. The following is a sketch of one, who was once a particular acquaintance of mine, who is still alive, though perhaps he may not know the likeness even when it is laid before him. But he must not be displeased at reading what I once thought of him

THIS WAS HIS CHARACTER.

Motley (my old friend) is an heterogeneous, hotchpotch! a composition and concentration of incongruities! a new edition of "The art of conjuring' bound with "The Age of reason." "Political justice sewed up with "Pilgrim's Progress!" Lost," and Dean Swift's "Maw-wallop!" Maw-wallop!" A mixture of bigotry and incredulity; sublimity, electricity, and

Paradise

divinity. Principles orthodoxical, paradoxical, theoretical, practical, equivocal, prophetical, heretical, and ecclesiastical: a compound of monarchism, republicanism, fanaticism, libertinism, and methodism. Miraculous, yet incredulous! full of inspiration, elucidation, and mystification! made up of rough and smooth mathematics, and metaphisical compounds, political contrasts, and Jesuitical controversy. John Hobbs, John Locke, and John Wesley: Doctor Franklin, Doctor Priestly and Doctor Johnson; all mixed together like the compound doses of many medical doctors; and to be taken with or without advice, whenever most agreeable!

All persons who have any concern in the management of theatres, and even those who have been strictly observant of what has passed respecting them, must be well aware, that within the last thirty or forty years, great changes have taken place in the public taste; and consequently a different mode of proceeding is now required, in order to give general satisfaction. It is unnecessary to question whether the present taste is right or wrong; and it is difficult to ascertain how public taste is formed? but such as it is it will be, and the managers of theatres, have only to comply with the most prevailing opinions of the day for as Sheridan wittily and sarcastically observes, that "people will go to theatres principally for their amusement." As far as regards the metropolis, it is a national concern; and England would sink in the estimation of enlightened foreigners, if its public amusements did not keep pace with those of other nations. They ought to do

so; and I should be sorry, for the credit of my country, if this idea was lost sight of. These observations are meant for the meridian of London, and other great theatres but it is improper, unjust, and something like cruelty, for persons to carry with them these ideas, when they enter the walls of country theatres. If reason had any weight in the case it might be asked of a box auditor-can you expect at your own door in the country, for three or four shillings, as good articles as would cost you six or seven in London? nay, perhaps distant carriage included, sixteen or seventeen shillings? further, still; it can be easily proved, that at Drury-lane Theatre, or at Covent Garden, as much money is often taken by the managers in one night, as can be taken in one whole year in many a country theatre. For a year (or season) in the country, may not be more than twenty or thirty nights (cannot legally be more than sixty!) whereas in the great London theatres they can, and sometimes do play nearly three hundred nights! Need more than this be said to prove how unreasonable it is to name at the same time establishments so very different? Indeed the wonder is how the performances are ever done with that degree of credit, and respectability, as may be frequently witnessed in various country theatres.

There is another draw-back which operates in a prejudicial way against the interests of country theatres,I mean first impressions: new pieces are generally brought out in London; and the public opinion is formed of them, before they are seen in other parts of the kingdom. The first impression is the strongest

and each scene, character, dress, and the personal figure, modes and habits of all persons concerned; these are all mixed up with the first representations of all dramatic performances; and they influence not only the auditors, but even all on the stage, and all the best judges of stage amusements. Nor is this influence of a temporary nature; it stamps the character of each piece for ever! goes down to posterity in the same way: we all have our judgments formed in the like manner, and on the same principles, though we may possibly be ignorant of being so influenced, or biassed.

A familiar instance or two, may perhaps explain this bias better than serious argument. We will only mention the School for Scandal. — Every character in the piece, first received its peculiar bias from its original representative; and hundreds who never saw Mr. King, are pretty sure of seeing something of Mr. King's manner, whenever they see Sir Peter Teazle on the stage: it is much the same with all other parts we see done. The authors draw the outlines, and form the leading characteristics; but the peculiar, and personal qualities of the original performer go down to posterity, as a necessary and absolute portion of the said character.