that disposition to sigh after the abodes of elegance and fashion, to which young ladies, at the age of Evelina, are of themselves in general sufficiently inclined.

Cecilia is more varied in incident, but of a somewhat more romantic and extravagant cast. Many of the characters, too, are a good deal outrés. In Harrel, however, is given an admirable picture of the thoughtless and unfeeling man of pleasure, and in the Delvilles, of family pride, shewing itself under various aspects, according to the different age and disposition of each.

Camilla discovers a vein of good sense, and of accommodation to the actual circumstances of society, which is rarely found in compositions of this kind. Sir Hugh Tyrold is a complete original, and admirably drawn. He may almost be placed by the side of Sir Roger de Coverley.

Notwithstanding the just views of human life which abound in the writings of this lady, it may be observed, that their groundwork does not essentially differ from the generality of similar performances. How far

this is to be considered as matter of praise or censure, we shall presently have occasion to examine.

MOORE.

Dr. Moore has given an admirable picture of the manners of young men of fashion, and of the various follies to which they are liable. With them, his former habits of life had led him very much to associate. The portraits of this writer appear to me juster, more free from exaggeration and caricature, than those of any other that has yet been mentioned. This may probably be ascribed to his great knowledge of the world, and to that good sense which, rather than any brilliancy of parts, seems to have formed the predominant feature in his character.

Zeluco is a singular and somewhat whimsical performance. Fiction affords an opportunity of representing, not better only, but also worse characters than are to be found in real life; and the representation may not be altogether without its use. The

picture is strongly drawn; yet Zeluco does not appear to me to be the best of Dr. Moore's productions, nor that which affords most scope for the display of his peculiar excellencies. This place I would assign to Edward, a work abounding with knowledge of the world, and lively delineation of character. That of its hero, too, is such as enables it to hold a respectable rank among the third order of fictions.

Mordaunt is exceptionable in the character of its hero, which is that of a dissolute man of fashion, entirely devoid of principle, and with almost no good qualities except wit and good nature. Yet, by means of these, united with a large fortune and a handsome person, he becomes the complete fine gentle man, the the envy of one sex, and the admiration of the other. This is evidently holding oat a very dangerous and seductive example. As a picture of manners, this novel is very inferior to Edward; yet some parts, particularly towards the conclusion, possess great merit in this respect.

The English writers whom we have now surveyed, with the exception of Richardson, rest their merit chiefly on the representation of life and manners. But this cannot be said of the more ordinary novels, which are poured forth in such multitudes, and read with such cager avidity. Works so extensively circulated, and which form the principal, if not the sole, reading of a great variety of persons, can hardly fail to have a considerable influence on national manners. It may be proper, therefore, to spend some time in examining the materials of which they are composed, and whether or not their tendency be favourable to the public improvement. My judg ment on this subject will be formed chiefly from those of Mrs. Smith, the only writer among this numerous class with whom I can boast any intimate acquaintance. The following may be given as a general outline

of the manner in which these works are condacted.

The

A young gentleman and lady, paragons of beauty and excellence, meet accidentally with each other. Both are instantly seized with the most violent passion, over which reason possesses no kind of controul. lover throws himself at the feet of his mis. tress. or, by expressive gestures, makes a sufficiently evident declaration of his sentiments. She, on her part, is equally enamoured, but is withheld by modesty, and by the necessity of lengthening out the story, from making an immediate confession. This is at last obtained; but, if the affair, as in ordinary cases, were to end here, the reader might have reason to complain of the scanty amusement afforded him. Obstacles must therefore be raised: inhuman parents, and detested rivals, must unite in opposing the completion of the lovers' felicity. Embarrassments arising from want of fortune are generally resorted to as the means of placing an insuperable bar to their