Dictionary. In London the two friends met frequently, and agreed most harmoniously. One tie, indeed, was wanting to their mutual attachment. Burney loved his own art passionately; and Johnson just knew the bell of Saint Clement's church from the organ. They had, however, many topics in common; and on winter nights their conversations were sometimes prolonged till the fire had gone out, and the candles had burned away to the wicks. Burney's admiration of the powers which had produced Rasselas and The Rambler bordered on idolatry. Johnson, on the other hand, condescended to growl out that Burney was an honest fellow, a man whom it was impossible not to like.

Garrick, too, was a frequent visitor in Poland Street and Saint Martin's Lane. That wonderful actor loved the society of children, partly from good nature, and partly from vanity. The ecstasies of mirth and terror, which his gestures and play of countenance never failed to produce in a nursery, flattered him quite as much as the applause of mature critics. He often exhibited all his powers of mimicry for the amusement of the little Burneys, awed them by shuddering and crouching as if he saw a ghost, scared them by raving like a maniac in Saint Luke's, and then at once became an auctioneer, a chimneysweeper, or an old woman, and made them laugh till the tears ran down their cheeks.

But it would be tedious to recount the names of all the men of letters and artists whom Frances Burney had an opportunity of seeing and hearing. Colman, Twining, Harris, Baretti, Hawkesworth, Reynolds, Barry, were among those who occasionally surrounded the tea table and supper tray at her father's modest dwelling. This was not all. The distinction which Dr. Burney had acquired as a musician, and as the historian of music, attracted to his house the most eminent musical performers of that age. The greatest Italian singers who visited England regarded him as the dispenser of fame in their art, and exerted themselves to obtain his suffrage. Pachierotti became his intimate friend. The rapacious Agujari, who sang for nobody else under fifty pounds an air, sang her best for Dr. Burney without a fee; and in the company of Dr. Burney even the haughty and eccentric Gabrielli constrained herself to behave with civility. It was thus in his power to give, with scarcely any expense, concerts equal to those of the aristocracy. On such occasions the quiet street in which he lived was blocked up by coroneted chariots, and his little drawingroom was crowded with peers, peeresses, ministers,

and ambassadors. On one evening, of which we happen to have a full account, there were present Lord Mulgrave, Lord Bruce, Lord and Lady Edgecumbe, Lord Barrington from the War Office, Lord Sandwich from the Admiralty, Lord Ashburnham, with his gold key dangling from his pocket, and the French Ambassador, M. De Guignes, renowned for his fine person and for his success in gallantry. But the great show of the night was the Russian Ambassador, Count Orloff, whose gigantic figure was all in a blaze with jewels, and in whose demeanour the untamed ferocity of the Scythian might be discerned through a thin varnish of French politeness. As he stalked about the small parlour, brushing the ceiling with his toupee, the girls whispered to each other, with mingled admiration and horror, that he was the favoured lover of his august mistress; that he had borne the chief part in the revolution to which she owed her throne; and that his huge hands, now glittering with diamond rings, had given the last squeeze to the windpipe of her unfortunate husband.

With such illustrious guests as these were mingled all the most remarkable specimens of the race of lions, a kind of game which is hunted in London every spring with more than Meltonian ardour and perseverance. Bruce, who had washed down steaks cut from living oxen with water from the fountains of the Nile, came to swagger and talk about his travels. Omai lisped broken English, and made all the assembled musicians hold their ears by howling Otaheitean love songs, such as those with which Oberea charmed her Opano.

With the literary and fashionable society, which occasionally met under Dr. Burney's roof, Frances can scarcely be said to have mingled. She was not a musician, and could therefore bear no part in the concerts. She was shy almost to awkwardness, and scarcely ever joined in the conversation. The slightest remark from a stranger disconcerted her; and even the old friends of her father who tried to draw her out could seldom extract more than a Yes or a No. Her figure was small, her face not distinguished by beauty. She was therefore suffered to withdraw quietly to the background, and, unobserved herself, to observe all that passed. Her nearest relations were aware that she had good sense, but seem not to have suspected that, under her demure and bashful deportment, were concealed a fertile invention and a keen sense of the ridiculous. She had not, it is true, an eye for the fine shades of character. But every marked pecu

liarity instantly caught her notice and remained engraven on her imagination. Thus while still a girl, she had laid up such a store of materials for fiction as few of those who mix much in the world are able to accumulate during a long life. She had watched and listened to people of every class, from princes and great officers of state down to artists living in garrets, and poets familiar with subterranean cookshops. Hundreds of remarkable persons had passed in review before her, English, French, German, Italian, lords and fiddlers, deans of cathedrals and managers of theatres, travellers leading about newly caught savages, and singing women escorted by deputy husbands.

So strong was the impression made on the mind of Frances by the society which she was in the habit of seeing and hearing, that she began to write little fictitious narratives as soon as she could use her pen with ease, which, as we have said, was not very early. Her sisters were amused by her stories: but Dr. Burney knew nothing of their existence; and in another quarter her literary propensities met with serious discouragement. When she was fifteen, her father took a second wife. The new Mrs. Burney soon found out that her stepdaughter was fond of scribbling, and delivered several goodnatured lectures on the subject. The advice no doubt was well meant, and might have been given by the most judicious friend; for at that time, from causes to which we may hereafter advert, nothing could be more disadvantageous to a young lady than to be known as a novelwriter. Frances yielded, relinquished her favourite pursuit, and made a bonfire of all her manuscripts.*

She now hemmed and stitched from breakfast to dinner with scrupulous regularity. But the dinners of that time were early; and the afternoon was her own. Though she had given up novel writing she was still fond of using her pen. She began to keep a diary, and she corresponded largely with a person who seems to have had the chief share in the formation of her mind. This was Samuel Crisp, an old friend of her father. His name, well known, near a century ago, in the most splendid circles of London, has long been forgotten. His history is, however, so interesting and instructive, that it tempts us to venture on a digression.

*There is some difficulty here as to the chronology. "This sacrifice," says the editor of the Diary, "was made in the young authoress's fifteenth year." This could not be; for the sacrifice was the

effect, according to the editor's own showing, of the remonstrances of the second Mrs. Burney; and Frances was in her sixteenth year when her father's second marriage took place.

Long before Frances Burney was born, Mr. Crisp had made his entrance into the world, with every advantage. He was well connected and well educated. His face and figure were conspicuously handsome; his manners were polished; his fortune was easy; his character was without stain; he lived in the best society; he had read much; he talked well; his taste in literature, music, painting, architecture, sculpture, was held in high esteem. Nothing that the world can give seemed to be wanting to his happiness and respectability, except that he should understand the limits of his powers, and should not throw away distinctions which were within his reach in the pursuit of distinctions which were unattainable.

"It is an uncontrolled truth," says Swift, "that no man ever made an ill figure who understood his own talents, nor a good one who mistook them." Every day brings with it fresh illustrations of this weighty saying; but the best commentary that we remember is the history of Samuel Crisp. Men like him have their proper place, and it is a most important one, in the Commonwealth of Letters. It is by the judgment of such men that the rank of authors is finally determined. It is neither to the multitude, nor to the few who are gifted with great creative genius, that we are to look for sound critical decisions. The multitude, unacquainted with the best models, are captivated by whatever stuns and dazzles them. They deserted Mrs. Siddons to run after Master Betty; and they now prefer, we have no doubt, Jack Sheppard to Von Artevelde. A man of great original genius, on the other hand, a man who has attained to mastery in some high walk of art, is by no means to be implicitly trusted as a judge of the performances of others. The erroneous decisions pronounced by such men are without number. It is commonly supposed that jealousy makes them unjust. But a more creditable explanation may easily be found. The very excellence of a work shows that some of the faculties of the author have been developed at the expense of the rest; for it is not given to the human intellect to expand itself widely in all directions at once, and to be at the same time gigantic and well proportioned. Whoever becomes preeminent in any art, nay, in any style of art, generally does so by devoting himself with intense and exclusive enthusiasm to the pursuit of one kind of excellence. His perception of other kinds of excellence is therefore too often impaired. Out of his own department he praises and blames at random,

and is far less to be trusted than the mere connoisseur, who produces nothing, and whose business is only to judge and enjoy. One painter is distinguished by his exquisite finishing. He toils day after day to bring the veins of a cabbage leaf, the folds of a lace veil, the wrinkles of an old woman's face, nearer and nearer to perfection. In the time which he employs on a square foot of canvass, a master of a different order covers the walls of a palace with gods burying giants under mountains, or makes the cupola of a church alive with seraphim and martyrs. The more fervent the passion of each of these artists for his art, the higher the merit of each in his own line, the more unlikely it is that they will justly appreciate each other. Many persons who never handled a pencil probably do far more justice to Michael Angelo than would have been done by Gerard Douw, and far more justice to Gerard Douw than would have been done by Michael Angelo.

It is the same with literature. Thousands, who have no spark of the genius of Dryden or Wordsworth, do to Dryden the justice which has never been done by Wordsworth, and to Wordsworth the justice which, we suspect, would never have been done by Dryden. Gray, Johnson, Richardson, Fielding, are all highly esteemed by the great body of intelligent and well informed men. But Gray could see no merit in Rasselas; and Johnson could see no merit in the Bard. Fielding thought Richardson a solemn prig; and Richardson perpetually expressed contempt and disgust for Fielding's lowness.

Mr. Crisp seems, as far as we can judge, to have been a man eminently qualified for the useful office of a connoisseur. His talents and knowledge fitted him to appreciate justly almost every species of intellectual superiority. As an adviser he was inestimable. Nay, he might probably have held a respectable rank as a writer, if he would have confined himself to some department of literature in which nothing more than sense, taste, and reading was required. Unhappily he set his heart on being a great poet, wrote a tragedy in five acts on the death of Virginia, and offered it to Garrick, who was his personal friend. Garrick read, shook his head, and expressed a doubt whether it would be wise in Mr. Crisp to stake a reputation, which stood high, on the success of such a piece. But the author, blinded by ambition, set in motion a machinery such as none could long resist. His intercessors were the most eloquent man and the most lovely woman of