fancy. At length he went so far as to commence a correspondence with her, the letters on both sides being, of course, written by himself. These on a review, pleased him so much, as to give rise to the design of publishing them. But how appear as the author of a work so different from those which preceded it, so opposite to those severe and stern maxims, which he had formerly inculcated? No art is more common than that of finding reasons to justify what inclination leads to; nor is there any with which Rousseau appears to be better acquainted. He soon persuaded himself that there were circumstances in the manners of the times, which would render the Heloise preferable to works conducted with a stricter regard to morality. He urges, that the disorder of which it presents an example, is of a different, and less criminal nature, than that which had then become general throughout France. His object is therefore to substitute the one for the other. But it is surely a hazardous mode of inspiring any nation with new virtues, to begin by depriving them

of those they already possess. There is an evident danger of their at once retaining the old vices, and adopting the new. He urges also, that the lower the standard is brought down, the more chance there is of its becoming the object of imitation. This point has been discussed already in a former part of the work. Every one, I think, must allow, that Rousseau's standard is, in one instance at least, brought rather too low.

I would not, however, be understood to deny, that improvement may be drawn from some parts of the Heloise, particularly towards the conclusion. Still it is, on the whole, a dangerous performance, and one which it can hardly be thought safe to put into the hands of youthful readers.

VOLTAIRE.

Voltaire, who attempted every thing, has also composed romances. They are written very much in that extravagant oriental style, which seem to have been rendered fashionable in France by the success of the Arabian

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Nights Entertainment. He has carried it, however, to a still greater excess than in these tales. The history, the manners, the mythology, of all ages and nations, are jumbled together. Nothing can be imagined more entirely devoid of nature or probability.

His view appears to have been not merely the amusement of his readers, but chiefly the propagation of certain opinions, not always of the best and most useful kind; and, indeed, it is difficult to conceive how truth could be at all promoted by fictions so extravagant. Besides false philosophy, they abound also with licentious morality. It must be owned, however, that they are frequently enlivened by those sallies of wit and gaiety, which render the general writings of this author so amusing.

PREVOT.

It would be improper here not to mention Prevôt, though he does not appear to have attained the same celebrity in this country

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as in France. This writer excels in a lively and natural mode of narration, which makes it difficult to believe that the events which he relates are not real. He possesses, also, very great pathetic powers. These appear particularly in the story of Manon L'Escaut ; nothing can be more affecting than the conclusion of that little work.

His chief fault is the want of connection, and the desultory and unconnected manner in which the events succeed each other. And as there is little appearance of design in their structure, so there is as little in their tendency. He seems to have written whatever occurred to him, without much regard to either of these circumstances.

MARIVAUX.

The peculiar talent of Marivaux, is that of penetrating into the inmost recesses of the human heart, and laying open those secret motives, unperceived often by ourselves, which guide many of our actions. This is a talent in which the French writers have

surpassed those of most other nations. It may no doubt be the means of giving men a better knowledge both of their own character, and that of their neighbours. Yet I know not whether these researches may not become too minute; or whether there be not something ungenerous in prying so closely into the little weaknesses of our nature. The habit of tracing good, or at least indifferent actions, to mean and unworthy motives, is apt to induce doubts as to the very existence of virtue and dignity of character. Marianne, however, the best of his productions, is not only very interesting, but, on the whole, of a good tendency.

BARTHELEMI.

Works of fiction, in general, do not require, or, at least, do not afford, an opportunity of displaying much of that knowledge which is derived from books. We have now, however, to notice one, for the execution of which, the most profound and extensive learning was requisite.