then only a lamentable waste of time and corruption of taste.

It follows, as a natural consequence, from the above observation, that there is no kind of reading in which a nicer selection is to be made. The doom, so justly denounced by Horace against poetical mediocrity, seems to be here equally well merited. He who wishes to inquire after important facts, must often content himself with a very dry account of them. In works of reasoning, too, stile is but a secondary consideration. But works of fancy, which are not well executed, seem to have no claim whatever on the public attention. I am aware, that the general practice is very different, and that there is no department of literature, in which the public are willing to put up with such paltry performances The cause undoubtedly is, that they are resorted to as an amusement by a multitude of persons devoid of taste, and who cannot submit to the labour of thinking. The rule, however, does not the less hold good in regard to those whose aninds are better cultivated, and whose time

is too valuable to be wasted on productions altogether insignificant.

It is an important inquiry, at what age the perusal of these works may be made with the greatest advantage. This will probably appear to be that which immediately precedes and follows the entrance upon active life. Then it is that those habits are formed which generally continue through life without any great variation. Impressions made at an earlier period would be, in a great measure, effaced by the more interesting objects which then present themselves. At an after period they would come too late. These remarks, however, by no means apply to fiction in general, but only to that which is successfully conducted on the principles above explained. This is the time of life, when every thing of doubtful or dangerous tendency is to be most carefully avoided; and, if read at all, to be reserved until the attainment of a more advanced age and greater maturity of judgment.

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PART II.

HAVING thus endeavoured to discover the ends which may be answered by fiction, and the manner in which it is to be conducted, in order to accomplish those ends, I shall now make a few remarks on such works of this kind as have attracted the greatest share of the attention of mankind. Considering these chiefly in the view of their tendency, I shall offer, at the same time, occasional remarks on their merit as literary productions.

Fictions may be divided into narrative and dramatic. Although many parts of the above inquiry will apply equally to both, yet it was composed chiefly with a view to the former. To these I now mean to confine myself entirely.

Fictitious narrative may be written either in poetry or prose. Allowing the superiority of the former in several respects, there have yet appeared reasons for thinking, that the

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Hatter may be more efficacious in a practical point of view. As epic poems, however, may also be considered in this light, I shall begin with noticing a few of the most eminent.

HOMER.

Homer has long been universally regarded, at once as the father and the prince of epic poetry. In force of genius, and variety of invention, he has scarcely been equalled, and certainly never surpassed. It would be improper, however, to consider his productions as altogether fictitious. Poetry is the history of early ages. It is then the only mode of transmitting to posterity the deeds of those who have distinguished themselves by their wisdom or valour. Many causes, however, concur in altering its truth, and blending it with a large proportion of fiction. Among these we may mention the slender means which the narrator possesses of ascertaining facts, the desire he feels of embellishing his poem, with the love of the marvel