supposed fitted for their purpose. The origin of this mode of writing is easily accounted for. The invention of printing, and consequent diffusion of books, has given birth to a multitude of readers, who seek only for amusement, and wish to find it without trouble or thought. Works thus conducted, supply them with one which is level to the lowest capacities. How well they are adapted to the taste of this description of readers appears plainly from the extraordinary avidity with which they are devoured.

No good effect seems likely to result from such a kind of reading besides the mere childish pleasure it affords. It tends to give false views of human life; to inspire fantastic and visionary expectations; discontent with the uniformity of common life; and a disposition to choose the plan of conduct which leads to extraordinary adventures, rather than that which true wisdom points out. A crowd of incidents will leave little room for the display of character and sentiment, or any higher beauties, of which this kind of

writing is susceptible. Even supposing them to exist there, the attention of the reader is likely to be too much occupied to admit of his receiving from them any deep impression.

It is true, among probable events, the writer must make a selection of those which possess the requisite degree of dignity and interest. Not that he ought to confine himself entirely to such as are great and striking. It must often be his object to embellish, and render interesting, the most simple scenes of ordinary life.

Unity also has been regarded by the most distinguished critics as essential to every work of invention. One action must run through the whole, to which all the rest are subordinate. The advantage of this is not to be denied; though I hardly think it entitled to hold the first rank among the merits of these compositions.

Nor is that pleasure to be altogether neglected, which arises from exciting and gratifying the reader's curiosity. We must only take care not to make it interfere with

those of an higher order, nor to sacrifice to it, in any considerable degree, probability or the truth of nature.

Having examined these questions regarding the manner in which narratives writtenwith this design ought to be conducted, it may be proper to say a few words on the preparation which is requisite for the author before engaging in them. And here there seems to be a difference between this and the generality of other literary pursuits. In these the writer ought to devote himself chiefly to the attentive study of those who have preceded him in the same path. But this does not appear to me to take place with regard to fiction. When founded When founded upon the observation of real events, it may, if used with moderation, be a salutary mental food; but not, I suspect, when founded upon other fictions. The merit of a man's conduct must depend upon its being adapted to his real circumstances. It is by considering these, that his duties are to be ascertained; nor could it be of much use to represent any one acting with the most perfect propriety in si

tuations altogether imaginary. The knowledge of real life, therefore, derived from observation, and from history and biography, forms the best foundation for success to the writer of fiction. It is by selecting whatever is most excellent in real characters, by purifying and refining it from every kind of alloy, that he is to form his portrait of ideal perfection. Besides, though the communicating a knowledge of human life and manners be not, as I have endeavoured to shew, the end at which he is principally to aim, yet it is desirable, that he should, as little as possible, convey any erroneous ideas respecting it.

The science of morals he ought to be well acquainted with, both on his own account, and with the view of regulating more correctly the conduct of his hero. Religion, as it is in itself an object of the highest interest, so the opportunities, which he may have of bringing it forward in the course of the narrative, impose on him an additional obli gation to employ every means of forming just views in regard to it.

Certainly, in the general plan and nature of the work, a sacred regard is to be paid to the improvement of his readers. Yet it may be proper to warn him against making that regard too scrupulous and minute. Fancy must have ample range. He must become present at every scene which he describes, must enter into all the views and sentiments of the actors, must make them, as it were, his own. His mind must therefore, as much as possible, be free from any kind of restraint. Besides, the reader might be apt to revolt against his appearing as a dictator in matters of conduct. That instruction is likely to be most effectual which appears to be undesigned, and to flow from the natural impulse of taste and feeling. The most desirable object for him, therefore, would be, to form his mind to such a tone, as that it might produce spontaneously, and without effort, a work calculated to accomplish the end at which he aims.

Having done with the authors, it may be proper to say a few words to the readers of such productions. And first, it must not be