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formed no inconsiderable part of your design. In your earlier numbers, my wishes were gratified by several judicious strictures on particular works of some ancient and modern writers. But lately, whe. ther deeming such speculations unworthy of your attention, or catching the momentary but virtuous phrensy of reformation, you have devoted your lucubrations to objects, to which his majesty's most gracious proclamation, and the exertions of those intelligent magistrates, the justices, might be directed, with equal propriety, and perhaps with as great a probability of success.

I mean not to reprehend your co-operative industry, but am desirous only of recalling to the re/ collection of your readers, that criticism was included in your original plan; and that the subject of this letter, though of a different complexion from some of your recent numbers, is not contradictory to the general tenor of your design.

It is not my intention to trouble either you or your readers with remarks on any voluminous com. position of eminent writers, or scrupulously to balance the mice discriminations of varying commentators. No, sir, mine is a virgin theme, as yet untouched by the rude hand of criticism; and unrestrained by the galling shackles of prescriptive method; and, perhaps, my efforts may not be unattended with some advantage immediately to yourself, as the compositions to which I allude have commonly been diffused through periodical channels. These compositions are those narrations of blended fiction and sentiment, which, too inconsiderable from their size to swell into circulatory duodecimos, assume the general humble denomi

nation of Tales, and are distinguished by the epi thets tender, pathetic, sentimental, founded on fact, &c. &c.

As Aristotle deduced his rules from the great originals who preceded him, it shall be my province to follow so illustrious an example, and in this primary essay to inculcate some general precepts, and not to point out in detail, or extract individual excellences which are profusely scattered through the ample labours of writers of this description.

It is essential to a tale that it should be tender; for who is there that would not desire for his works the precious balm of a sigh or a tear, rather than that they should excite the applause of a smile or the boisterous acclamation of laughter?

It should not abound too much in incident, lest the curiosity be excited as much as the finer feelings.

The opening of a tale should be abrupt, and the author should commonly profess that his knowledge of it had arisen from some unforeseen accident. This saves the trouble of a long introduction, and brings the author and reader fairly at once into the subject. A piece of butter on a torn leaf, the being benighted on a long journey, the traveller's horse losing a shoe, have been such hackneyed expedients that I cannot possibly approve their repetition. The introduction of the mail-coach is however a new and fortunate epoch; and I doubt not of its being speedily adopted by several writers in every variation of fracture, until the whole stock of casualties be exhausted.

The principal incident should not be extrava

gant, but be some common occurrence, that it may come home to the bosoms of a great number. A tender fair one seduced by her lover-a dutiful son turned out of doors by an unnatural father—a marriage of love and inclination thwarted by unfeeling parents and all common events of a similar nature, are admirable topics.

So much for the plot or ground-work, in which at intervals should be interspersed inferior circumstances, pathetic if possible; but the more minute they are, the greater will be their effect. A doga cow lowing for its calf-a weeping willow-a withered oak-an old woman-thin gray hairs on a human head-and the like, may certainly be introduced with great success.

The diction may be allowed to be generally unequal, but should unquestionably be florid and elevated at those intervals of the narration where such embellishments may be requisite. Horace's prohibition of the "purpurei panni" must be totally disregarded.

Exclamations should never be used without the most absolute necessity. They are a species of affront on the feelings of a reader, who throws down the book with indignation when he is informed at what passages he is to be affected. Alas! has had its day, and must now submit in its turn to the common chance of worldly revolutions. Indeed, it would be scarcely noticed, were not the mark of interjection commonly annexed to it.-Dashes are more striking and pathetic-and are besides a very neat addition of typographical ornament.

In respect to epithets, great caution is indispen

sable. The sun is ever golden, the moon ever silver: the sea is azure, and the meadow verdant: the foliage of the trees is commonly green, except in the sombre or dark-pathetic, when the autumnal tinge greatly enhances the pathos.

Mythology and allegory must be introduced with circumspection. The darts of Cupid, the fires of ambition, the warmth of love, the coldness of disdain, from their general acceptation, may be used without danger.

Allusions derived from natural philosophy are more novel and brilliant-the electrical shock of passion, the vibration of reciprocal feelings, and all phrases of the same cast, if the reader be a young lady at a boarding-school, or a young gentleman behind a counter, teud at once to dazzle and surprise.

To insinuate or even to directly advance a coincidence between the hero or heroine, and any relative accompanying circumstance, is wonderfully efficacious, but is a felicity, though frequently attempted, not always attained by the most eminent authors. The following instances may probably exemplify my meaning: "In one corner of the field was a venerable elm, bare at the bottom, with its top scantily crowned with leaves, which formed no inapposite similitude of the venerable owner, verging to the grave by a gradual and natural decay:" this is of the latter kind. In the direct species may be classed such passages, as, "the lovely Maria, cherished by the tender care of a parent, delighted to contemplate the fragile and fragrant woodbine twining its slender folds around the supporting poplar."

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Though at first sight it may appear inconsiderable, it is really material to assign appropriate and characteristic names and places; Cassander, Cleora, and all the list of romantic or historic appellations, have been long exploded, and invention is now freely permitted to create and to apply. The name of the hero should therefore excite respect by a due arrangement of harmonious and sonorous letters; and that of the heroine should melt into liquid softness. Titles of amiable personages should gently flow; such as are intended to create disgust, should hoarsely rumble.

Place is far from being an unimportant consideration in the texture of tales. To introduce th reader to an amiable pair, sitting by a good coal fire, is a minute but rnsentimental circumstance. I would always therefore recommend a bower, which, though not common in real, is very convenient in fictitious gardens-but lest it might be mistaken for one of the lath edifices so frequent under this denomination in the vicinity of London, it should likewise be covered with honeysuckle or jasmin, "whose truant sprigs the heroine's gentle hand may be supposed to have conducted along the convex trellis."

The denouement of a tale must be simple if the Yet it will admit endless principal incident be so. variations, and in all cases, where the author is in the least degree embarrassed, a fragment is a never-failing expedient; and here I cannot but commend the great convenience of those intervals which occur in periodical publications; for by them an author is enabled to drop his narrative all at

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