ten assumed the form of dialogue. Plato is em inent for the beauty of his dialogues. In richness of imagination no philosophic writer, ancient or modern, is equal to him. His only fault is the excessive fertility of his imagination, which sometimes obscures his judgment and frequent. ly carries him into allegory, fiction. enthusiasms, and the airy regions of mystical theology. Cicero's dialogues are not so spirited and characteristical as those of Plato. They are however agreeable, and well supported; and show us conversation, carried on among some principal persons of ancient Rome with freedom, good breeding, and dignity. Of the light and humourous dialogue, Lucian is a model; and he has been imitated by several modern writers. Fontenelle has written dialogues, which are sprightly and agreeable; but his characters, whoever his personages be, all became Frenchmen. The divine dialogues of Dr. Henry More amid the academic stiffness of the age, are often remarkable for character and vivacity. Bishop Berkeley's dialogues are abstract, yet perspicu

ous.

EPISTOLARY WRITING.

In epistolary writing we expect ease and familiarity and much of its charm depends on its introducing us into some acquaintance with the writer. Its fundamental requisites are nature and simplicity, sprightliness and wit. The style of letters, like that of conversation, should flow sily. It ought to be neat and correct, but no

more. Cicero's epistles are the most valuable collection of letters, extant in any language. They are composed with purity and elegance, but without the least affectation. Several letters of Lord Bolingbroke and of Bishop Atterbury are masterly In those of Pope there is generally too much study; and his letters to ladies in particular are full of affectation. Those of Swift and Arbuthnot are written with ease and simplicity. Of a familiar correspondence, the most accomplished model are the letters of Madame de Sevigne. They are easy, varied, lively and beautiful The letters of Lady Mary Wortly Montague, are perhaps more agreeable to the epistolary style, than any in the English language.

FICTITIOUS HISTORY.

This species of composition includes a very numerous, and in general a very insignificant class of writing, called romances and novels. Of these however the influence is known to be great both on the morals and taste of a nation. Notwithstanding the bad ends to which this mode of writing is applied, it might be employed for very useful purposes. Romances and novels describe human life and manners and discover the errors into which we are betrayed by the passions. Wise men in all ages have used fables and fictions as vehicles of knowledge; and it is an observation of Lord Bacon. that the common affairs of the world are insufficient to fill the mind of man. He must create worlds of his own, and wander in the regions of imagination.

All nations whatsoever have discovered a love. of fiction, and talents for invention. The Indians, Persians, and Arabians abounded in fables and parables. Among the Greeks, we hear of the Ionian and Milesian tales. During the dark ages, fiction assumed an unusual form from the prevalence of chivalry. Romances arose, and carried the marvellous to its summit. Their knights were patterns not only of the most heroic courage, but of religion, generosity, courte sy, and fidelity; and the heroines were no less distinguished for modesty, delicacy, and dignity of manners. Of these romances the most perfect model is the Orlando Furioso. But, as magic and enchantment came to be disbelieved and ridiculed, the chivallerian romances were discontinued, and were succeeded by a new species of fictitious writing.

Of the second stage of romance writing the Cleopatra of Madame Scuderi and the Arcadia of Sir Philip Sidney are good examples. In these, however, there was still too large a proportion of the marvellous; and the books were too voluminous and tedious. Romance writing appeared therefore in a new form and dwindied down to the familiar novel. Interesting situations in real life are the ground work of novel writing. Upon this plan, the French have produced some works of considerable merit. Such are the Gil Blas of Le Sage and the Marianne of Marivaux.

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In this mode of writing, the English are inferior to the French; yet in this kind there are some performances which discover the strength of the British genius. No fiction was ever bet

ter supported than the Adventures of Robinson Crusoe Fielding's novels are highly distinguished for humour and boldness of character. Richardson, the author of Clarissa, is the most moral of all our novel writers; but he possesses the unfortunate talents of spinning out pieces of amusement into an immeasurable length. The trivial performances which daily appear under the title of lives, adventures, and histories, by anonymous authors, are most insipid, and, it must be confessed, often tend to deprave the morals, and to encourage dissipation and idleness.

NATURE OF POETRY. ITS ORIGIN AND PROGRESS. VERSIFICATION.

What, it may be asked, is poetry? and how does it differ from prose? Many disputes have been maintained among critics upon these questions. The essence of poetry is supposed by Aristotle, Plato, and others, to consist in fiction. But this is too limited a description. Many think the characteristic of poetry, lies in imitation. But imitation of manners and characters may be carried on in prose as well as in poetry.

Perhaps the best definition is this, poetry is "the language of passion, or of enlivened ima"gination, formed most commonly into regular "numbers." (As the primary object of a poet is to please and to move, it is to the imagination and the passions that he addresses himself. It is by pleasing and moving, that he aims to in

struct and reform.

Poetry is older than prose. In the beginning of society there were occasions upon which men met together for feasts and sacrifices, when music, dancing, and songs were the chief entertainment. The meetings of American tribes are distinguished by music and songs. In songs they celebrate their religious rites and martial achievments; and in such songs we trace the beginning of poetic composition.

Man is by nature both a poet and musician. The same impulse which produced a poetic style, prompted a certain melody or modulation of sound, suited to the emotions of joy or grief, love or anger. Music and poetry are united in song and mutually assist and exalt each other. The first poets sung their own verses. Hence the origin of versification, or the arrangement of words to tune or melody,

Poets and songs are the first objects that make their appearance in all nations. Apollo, Orpheus and Amphion were the first tamers of mankind among the Greeks. The Gothic nations had their scalders or poets. The Celtic tribes had their bards. Poems and songs are among the antiquities of all countries; and, as the occasions of their being composed are nearly the same, so they remarkably resemble each other in style. They comprise the celebration of gods, and heroes, and victories. They abound in fire and enthusiasm; they are wild, irregular, and glowing.

During the infancy of poetry, all its different kinds were mingled in the same composition; but in the progress of society, poems assumed their different regular forms. Time separated