nological order. The long dissertations on the constitution and government of particular states, might, perhaps, more agreeably, and more consistently, with the design, have been thrown into the form of narrative and dialogue. The manners, too, have not altogether preserved their ancient simplicity, but are a good deal modernized, and, if I may use the expression, Frenchified. Upon the whole, however, it is an admirable performance, and perfectly deserving of the high reputation it has attained.

GENLIS.

This list of French writers may be properly concluded by Madame de Genlis, who has produced several works of fiction, in which amusement and instruction are elegantly combined. Most of them were designed for the use of children, whose education formed the chief employment of that ingenious lady. The style is therefore studiously adapted to their comprehension. They may be of use, however, not merely

to children, but also to those who have the superintendance of their education. Every observation which they contain on this subject is entitled to respect, as being the result of long and careful experience.

The Tales of the Castle are introduced in the course of a continued dialogue, which contains reflections upon each successive tale. This is certainly preferable to a moral, as having a much better chance of being read. It may be of advantage in teaching young people habits of thinking, which are always useful, though better exercised upon real occurrences.

The only objection which I would make to these narratives, is, that the design of instructing is rather too visible. The preceptress appears too plainly in every page. This, as was formerly observed, is a danger to be guarded against by those who write with the same laudable intentions as Madame de Genlis.

From France we turn now to our own country. The first fictions produced here, that seem deserving of notice, are those which made their appearance in periodical

publications. This mode of writing was introduced about the beginning of the last century, by a society of men of the most distinguished abilities, with the view of diffusing knowledge and just views of human life, among the more illiterate part of their countrymen. Being addressed to this class of readers, it was necessary that the instruction should be communicated in an agreeable and attractive form. Fictitious narratives, therefore, have always been deemed an essential requisite in such an undertaking.

ADDISON.

Among these writers, the pre-eminence seems to be justly due to Addison. His papers form the chief ornament of the Spectators, Guardians, and Tatlers, the first, and still perhaps the best, of periodical works. In his narratives, we discover, united, a careful observation of human nature, wit the most elegant and* pleasing, and an entire freedom from every kind of coarseness and ill-nature. It would appear from the manner in which he repeatedly

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expresses himself, that many of his portraits are drawn from real life, and that the names only are changed. This is no doubt an advantage, now especially that it cannot be followed by any invidious effects. His great object seems to be the laying hold of such as are marked by amusing eccentricities, especially where these are united with genuine worth and goodness. Such, in a peculiar degree, afford scope for that delicate and good humoured satire in which he excels.

Of these characters, the most striking, and the most exquisitely drawn, is that of Sir Roger de Coverley. He is the old English country gentleman, full of goodness and simplicity, and without any of the roughness and coarseness, which were usually attendant on that mode of life. Every one is interested and delighted by this character. His harmless singularities, while they amuse, serve only to attach us the more strongly to him. Yet it may be difficult to say, how far morality is likely to derive advantage from the exhibition of such a portrait. It may certainly inspire a love of

goodness, but not, I suspect, much wish to initate it. So mortifying to human price is even the most delicate kind of ridicule, that though our regard may be no way lessened for the person who is the object of it, yet we would not, on any account, risk the becoming ourselves that object. This is a character, therefore, which we love, without wishing to resemble.

JOHNSON.

About half a century after, Johnson, treading in the footsteps of Addison, undertook the Rambler, a work similar in design, though very differently executed. He possessed nothing of the wit, the ease, or the* graces, of his predecessor. His familiar narratives representing common life and English manners, are therefore heavy and uninteresting. These subjects were not well suited to his genius, nor could they be well managed by so bulky and unwieldy a style. But he y has succeeded admirably in those which require the delineation of foreign manners,