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It is asserted by Horace, that "if matter be once "got together, words will be found with very little difficulty;" a position which, though sufficiently plausible to be inserted in poetical precepts, is by no means strictly and philosophically true. If words were naturally and necessarily consequential to sentiments, it would always follow, that he who has most knowledge must have most eloquence, and that every man would clearly express what he fully understood: yet we find, that to think, and discourse, are often the qualities of different persons: and many books might surely be produced, where just and noble sentiments are degraded and obscured by unsuitable diction.

Words, therefore, as well as things, claim the care of an author. Indeed of many authors, and those not useless or contemptible, words are almost the only care: many make it their study, not so much to strike out new sentiments, as to recommend those which are already known to more favourable notice by fairer decorations; but every man, whether he copies or invents, whether he delivers his own thoughts or those of another, has often found himself deficient in the power of expression, big with ideas which he could not utter, obliged to ransack his memory for terms adequate to his conceptions, and at last unable to impress upon his reader the image existing in his own mind.

It is one of the common distresses of a writer be within a word of a happy period, to want only single epithet to give amplification its full force, to require only a correspondent term in order to finish a paragraph with elegance, and make one of its

members answer to the other: but these deficiencies cannot always be supplied; and after a long study and vexation, the passage is turned anew, and the web unwoven that was so nearly finished.

But when thoughts and words are collected and adjusted, and the whole composition at last concluded, it seldom gratifies the author, when he comes coolly and deliberately to review it, with the hopes which had been excited in the fury of the performance: novelty always captivates the mind; as our thoughts rise fresh upon us, we readily believe them just and original, which when the pleasure of production is over, we find to be mean and common, or borrowed from the works of others, and supplied by memory rather than invention.

But though it should happen that the writer finds no such faults in his performance, he is still to remember, that he looks upon it with partial eyes: and when he considers, how much men who could judge of others with great exactness, have often failed of judging of themselves, he will be afraid of deciding too hastily in his own favour, or of allowing himself to contemplate with too much complacence, treasure that has not yet been brought to the test, nor passed the only trial that can stamp its value.

From the public, and only from the public, is he to await a confirmation of his claim, and a final justification of self-esteem: but the public is not easily persuaded to favour an author. If mankind were left to judge for themselves, it is reasonable to imagine, that of such writings, at least, as describe the movements of the human passions, and of which every man carries the archetype within him, a just

opinion would be formed; but whoever has remarked the fate of books, must have found it governed by other causes, than general consent arising from general conviction. If a new performance happens not to fall into the hands of some, who have courage to tell, and authority to propagate their opinion, it often remains long in obscurity, and perishes unknown and unexamined. A few, a very few, commonly constitute the taste of the time; the judgment which they have once pronounced, some are too lazy to discuss, and some too timorous to contradict: it may however be, I think, observed, that their power is greater to depress than exalt, as mankind are more credulous of censure than of praise.

This perversion of the public judgment is not to be rashly numbered amongst the miseries of an author; since it commonly serves, after miscarriage, to reconcile him to himself. Because the world has sometimes passed an unjust sentence, he readily concludes the sentence unjust by which his performance is condemned; because some have been exalted above their merits by partiality, he is sure to ascribe the success of a rival, not to the merit of his work, but the zeal of his patrons. Upon the whole, as the author seems to share all the common miseries of life, he appears to partake likewise of its lenitives and abate

ments.

YE who listen with credulity to the whispers of fancy, and pursue with eagerness the phantoms of hope; who expect that age will perform the promises of youth, and that the deficiencies of the present day will be supplied by the morrow; attend to the history of Rasselas prince of Abissinia.

Rasselas was the fourth son of the mighty emperor, in whose dominions the Father of Waters begins his course; whose bounty pours down the streams of plenty, and scatters over half the world the harvests of Egypt.

According to the custom which has descended from age to age among the monarchs of the torrid zone, Rasselas was confined in a private palace, with the other sons and daughters of Abissinian royalty, till the order of succession should call him to the throne.

The place, which the wisdom or policy of antiquity had destined for the residence of the Abissi