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time or other aspires; power, which all wish to obtain within their circle of action; and fame, which no man, however high or mean, however wise or ignorant, was yet able to despise. Now prudence and foresight exert their influence: no hour is devoted wholly to any present enjoyment, no act or purpose terminates in itself, but every motion is referred to some distant end; the accomplishment of one design begins another, and the ultimate wish is always pushed off to its former distance. At length fame is observed to be uncertain, and power to be dangerous; the man whose vigour and alacrity begin to forsake him, by degrees contracts his designs, remits his former multiplicity of pursuits, and extends no longer his regard to any other honour than the reputation of wealth, or any other influence than his power. A varice is generally the last passion of those lives of which the first part has been squandered in pleasure, and the second devoted to ambition. He that sinks under the fatigue of getting wealth, lulls his age with the milder business of saving it. I have in this view of life considered man as actuated only by natural desires, and yielding to their own inclinations, without regard to superior principles, by which the force of external agents may be counteracted, and the temporary prevalence of passions restrained. Nature will indeed always operate, human desires will be always ranging; but these motions, though very powerful, are not resistless; nature may be regulated, and desires governed; and, to contend with the predominance of successive passions, to be endangered first by one affection, and then by another, is the condition upon which we are to pass our time, the time of our preparation for that state which shall put an end to experiment, to disappointment, and to change.
No. 152. SATURDAY, AUGUST 31, 1751
Disastrous words can best disaster shew;
66 IT was the wisdom,” says Seneca, “ of ancient times, to consider what is most useful as most illustrious.” If this rule be applied to works of genius, scarcely any species of composition deserves more to be cultivated than the epistolary style, since none is of more various or frequent use through the whole subordination of human life. It has yet happened that, among the numerous writers which our nation has produced, equal, perhaps, always in force and genius, and of late in elegance and accuracy, to those of any other country, very few have endeavoured to distinguish themselves by the publication of letters, except such as were written in the discharge of publick trusts, and during the transaction of great affairs; which, though they afford precedents to the minister, and memorials to the historian, are of no use as examples of the familiar style, or models of private correspondence. If it be inquired by foreigners, how this deficiency has happened in the literature of a country, where all indulge themselves with so little danger in speaking and writing, may we not without either bigotry or arrogance inform them, that it must be imputed to our contempt of trifles, and our due sense of the dignity of the publick & We do not think it reasonable to fill the world with volumes from which nothing can be learned, nor expect that the employments of the busy, or the amusements of the gay, should give way to narratives of our private affairs, complaints of absence, expressions of fondness, or declarations of fidelity. A slight perusal of the innumerable letters by which the wits of France have signalized their names, will prove that other nations need not be discouraged from the like attempts by the consciousness of inability; for surely it is not very difficult to aggravate trifling misfortunes, to magnify familiar incidents, repeat adulatory professions, accumulate servile hyperboles, and produce all that can be found in the despicable remains of Voiture and Scarron. Yet, as much of life must be passed in affairs considerable only by their frequent occurrence, and much of the pleasure which our condition allows, must be produced by giving elegance to trifles, it is necessary to learn how to become little without becoming mean, to maintain the necessary intercourse of civility, and fill up the vacuities of actions by agreeable appearances. It had therefore been of advantage, if such of our writers as have excelled in the art of decorating insignificance, had supplied us with a few sallies of innocent gaiety, effusions of honest tenderness, or exclamations of unimportant hurry. Precept has generally been posterior to performance. The art of composing works of genius has never been taught but by the example of those who performed it by natural vigour of imagination, and rectitude of judgment. As we have few letters, we have likewise few criticisms upon the epistolary style. The observations with which Walsh has introduced his pages of inanity, are such as give him little claim to the rank assigned him by Dryden among the criticks. Letters, says he, are intended as resemblances of conversation, and the chief earcellencies qf conversation are good humour and good breeding. This remark, equally valuable for its novelty and propriety, he dilates and enforces with an appearance of complete acquiescence in his own discovery. No man was ever in doubt about the moral qualities of a letter. It has been always known that he who endeavours to please must appear pleased, and he who would not provoke rudeness must not practise it. But the question among those who establish rules for an epistolary performance is how gaiety or civility may be properly expressed; as among the criticks in history it is not contested whether truth ought to be preserved, but by what mode of diction it is best adorned. As letters are written on all subjects, in all states of mind, they cannot be properly reduced to settled rules, or described by any single characteristick; and we may safely disentangle our minds from critical embarrassments, by determining that a letter has no peculiarity but its form, and that nothing is to be refused admission, which would be proper in any other method of treating the same subject. The qualities of the epistolary style most frequently required, are ease and simplicity, an even flow of unlaboured diction, and an artless arrangement of obvious sentiments. But these directions are no sooner applied to use, than their scantiness and imperfection become evident. Letters are written to the great and to the mean, to the learned and the ignorant, at rest and in distress, in sport and in passion. Nothing can be more improper than ease and laxity of expression, when the importance of the subject impresses solicitude, or the dignity of the person exacts reverence. That letters should be written with strict conformity to nature is true, because nothing but conformity to nature can make any composition beautiful or just. But it is natural to depart from familiarity of language upon occasions not familiar. Whatever elevates the sentiments will consequently raise the expression; whatever fills us with hope or terrour, will produce some perturbation of images and some figurative distortions of phrase. Wherever