great man by the people, Plutarch says, "this was the natural result of their new regained liberty; and the true character of a popular state, which is only a liberty for all persons to be slaves to the wild, arbitrary, and extravagant humours of a giddy, rash, and inconsistent multitude of fools, managed by a set of more cunning knaves."

Odd Men and their Keepers.

There are many characters, when unattended, who are troublesome by their arrogance and ill temper, and some other unsocial quality, to the society which they frequent: yet who in the presence of one individual change their conduct, and behave themselves properly and decorously. Such an one may be called Mr. Such-a-one's keeper, as when he is absent, this ex parte madman is very outrageous and ungovernable; at his approach the tumult of his passions is laid at rest. This keeper shall be, perhaps, by no means the other's superior in wit, wisdom, or courage; but yet shall have an influence that the odd man would wish to restrain, but cannot control. The submission may arise from a consciousness of our faults, &c. being known internally more to that person than to any other-

"So conscience does make cowards of us all."

Dirty Work.

Though many men contract dirty habits, and wear them long, yet are they very unwilling that the dirt should be seen on them. This custom is true of dirty habits, in a literal sense of the term. How often do we hear the expression used, and by way of recommendation, between prudent housewives! This is a nice-coloured gown, it will hide the dirt so well.' The slattern in one case, and the hypocrite in the other, does not consider that it is disreputable alike to suffer the dirt to attach itself to their habits, or to possess the artifice to conceal it.

The Harlot's cheek, beautied with plastering art,
Is not more ugly to the thing that helps it.

A Critic's View of his Own Lot,

Hamlet.

On the approaching death of a French critic, M. Barbier d'Aucour, some friend told him that he left an immortal name behind him. 'Alas!' said the critic, if my works should have any sort of value of themselves, I have been wrong in the choice of my subjects: I have dealt only in criticism, which never lasts long. For if the book criticised should fall into contempt, the criticism falls with it, since it is immediately seen to be

useless; and if, in spite of the criticism, the book stands its ground, then the criticism is equally forgotten, since it is immediately thought to be unjust! Yet,

'Tis hard to say, if greater want of skill Appear in writing or in judging ill.

Courtship.

Pope.

It seems very singular that men should debase their personal characters by servility, at the very time in which they wish most particularly to recommend themselves. Yet such is the conduct of many interested lovers, and their mien, and gestures, and language, on these occasions, are unmanly, bombastical, and ridiculous, in the eyes of any sensible woman. Butler has most excellently quizzed these hyperbolical and mercenary orators, in the answer of the sage widow to Hudibras's epistle to her—

'Tis not those oriental pearls our teeth
That you are so transported with,
But those we wear about our.necks
Produce those amorous effects.

Nor is't those threads of gold, our hair,
The periwigs you make us wear;
But those bright guineas in our chests,
That light the wildfire in your breasts.
These love-tricks I have been vers'd in so
That all their sly intrigues I know,
And can unriddle by their tones
Their mystic cabals and jargones.

Vanity.

This foible or rather mainspring of the mind is too much censured by the unthinking and fastidious. Much charitable exertions, many noble actions of valour, many eminent productions in literature, are the offspring of vanity. Indeed, without this motive to activity, many of the virtues of the heart, many of the faculties of the mind, would be lost in indolence or stagnate in apathy. The fop and the hero are actuated by the same principle, i. e. of being admired: the difference between them is the choice of the object which they pursue in their aim at eminence.

Abuse of Words.

Many persons, from want of education or reflection, make a very whimsical abuse of terms. When they see a building of odd and unusual

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pearance, or some singular piece of furniture, they say it is quite gothic. When they see a man of peculiar manners, and differing from all his neighbours, and wish to censure him, they call him a strange genius.

Shyness of Scholars in Company.

Some men, though well loaded with learning and intelligence, yet can never discharge their

head-pieces till they are well primed with a glass or two of the Falernian; and then they go off sharply enough. It is said that the celebrated author of the Spectator could not fire his joke, till he was charged with a bottle.

True Spirit of a Gentleman.

When a real gentleman is in company with his inferiors, he never shews by any part of his behaviour that he thinks them so; when in the presence of his superiors in birth, rank, or situation, he never betrays any feeling of his own inferiority so he is at his ease with both, and so communicates it. Condescension, as it is very often exhibited, is insolence in disguise of manners.

Fits of Politeness.

There are many persons who are never polite or decorous, till some occasion suggests to them that you may gain a superiority over them by being rude. They then "draw up," as the phrase is, look very decorous, make ugly faces of seeming civility and suppressed indignation, and their distorted features and newly-adopted reserve cry loudly, "Pam, be civil." This is really 'playing the knave," when they are within an "ace" of losing the game.

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