tempt, as indicating the absence of all sensibility and refinement.

This mode of writing has also insinuated itself where it might least be expected, into some of the philosophical productions of the age. To a certain extent, it may prove an ornament, and may have the effect of rendering them more agreeable and attractive. But where it becomes the predominant feature, it commonly gives birth to fantastic and visionary theories, which serve no purpose but that of misleading the mind of the read

er.

Nor are the persons above alluded to more inclined to the exercise of their active than

of their rational powers.

action, is their natural state.

Sensation, not

They are go

and transient

verned chiefly by occasional impulses, and incapable of that regular and consistent system of conduct which can alone render a man respectable and useful. They are too open to impression, too easily and quickly moved, like the reed shaken by every breeze. An unfitness for the affairs of common life, indeed, is assumed, and even

boasted of, as one of their peculiar characteristics. If this be an excellence, it is one to which they have an undoubted claim. And when we consider that action is not only indipensable, but that its due regulation may be justly regarded as the prime constituent of human excellence, this must certainly appear to be a very serious objection.

I would, by no means, however, be understood to insinuate, that feeling cannot be cultivated and refined without injury to the intellectual and active powers. The particulars that deserve to be approved of in this habit of mind, are probably capable of being separated from the attendant defects. These last seem to arise only from its taking an erroneous direction, or gaining too great an ascendency. At the same time, these defects are certainly to be found more or less in these writings which receive the name of sentimental; a circumstance which should put the reader on his guard against a too liberal indulgence in them.

3

1

STERNE.

Having finished this discussion, which has extended to an unexpected length, we proceen now to notice some of those who have excelled most in this kind of writing. And here, of course, we begin with Sterne. Yet of an author concerning whom so much has been said, it is difficult to say any thing new, and still more to say any thing that will give general satisfaction. That his writings abound with passages of the most exquisite interest will never be denied by any one qualified to understand or appreciate them. Originality he possesses in an eminent degree, being the creator of a mode of writing almost wholly his own. The way had no doubt been prepared by the degree of refinement to which the age had previously attained. But his being the first to strike out this new path evinces an uncommon strength of ge

nius.

He is distinguished also by wit, and by a very intimate knowledge of human nature.

The former, indeed, has been shewn, in many instances, not to be genuine, but collected from out of certain obsolete and long for gotton performances. Nor is he very delicate in his choice. A great proportion of Tristram Shandy, in particular, is filled with the lowest and most disgusting buffoonery. It seems not an improbable conjecture, that the feeling and pathetic passages only are the natural product of his own mind, and the rest introduced with the view of suiting his work to the taste of a number of readers, who would have been insensible to more refined beauties.

The Sentimental journey bears marks of an improved taste, and is nearly free from this kind of dross. Its example seems to shew, that sentiment may be grafted, with at least equal advantage, upon real, as upon imaginary, incidents.

Of the tendency of Sterne's writings, it is needless to say much, as most of the above observations will be found to apply to them.

Ferriar's Illustrations of Sterne,

Indecency is a fault peculiar to himself, and in which he has been followed by few of his successors. This propensity appears chiefly in those parts where he aims at wit. It seems to be a fault for which Sterne is individually accountable, and not to have any natural connection with that mode of writing of which he was the author.

MACKENZIE.

We frequently find, in poetry, that a writer of great and irregular genius is succeeded by another, distinguished by correct and elegant taste. This is strikingly exemplified in Homer and Virgil, Dryden and Pope. A relation somewhat similar seems to exist between Mackenzie and Sterne. The former, coming later, has not of course the same claim to originality, but is certainly preferable in point of taste and selection. If he be inferior to Sterne in wit and in knowledge of the human heart, in pathetic powers he is fully his equal. He excels particularly in minute imagery, and the affecting detail