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loaded. Chivalry became thus a fit subject for ridicule; and, at this juncture, appeared the work in question, from the pen of one of the greatest geniuses of the age.

We are here presented with an instance of that species of partial madness, which occurs not unfrequently in real life. A worthy man, in other respects of a sound judgment, has his head so turned by reading books of chivalry, that he sees nothing in nature but castles and palaces, giants and enchanters. Into these he transforms every thing he meets with; and the author has very happily chosen the meanest objects of common life for the subject of this metamorphosis. The striking contrasts which are thus produced, the monstrous mistakes and ludicrous distresses of the hero, are painted in so lively a manner, as to render this the most laughable performance perhaps that the wit of man ever produced.

No work was ever productive of such great and decicive effects on the manners of Not that it can be considered as

the age.

the sole, or even the principal, cause of the

decline of chivalry: but it certainly accelerated and formed the epoch of its final downfal.

DESCRIPTIVE.-MRS. RADCLIFFE.

The next we shall notice are those which may be termed Descriptive romances. This name, I think, may be properly given to those of Mrs. Radcliffe, one of the most original and powerful writers of the present age. These do not tend to fulfil any of the practical purposes above mentioned. They are to be considered chiefly as poetry, and in many parts, as the very finest of poetry. She appears, indeed, to excel less in the minute detail of natural scenery, than in grand and comprehensive views of it; and with these she has blended a peculiar vein of sentiment, which greatly heightens their charm.

It may be doubted, indeed, whether works of this kind, especially such as, like hers, rest very much upon incident, be well suited to frequent and long descriptions. Perhaps she does not always choose the best

time for introducing them, when there is a pause in the action; but sometimes thrusts them in, when the reader is intent upon something altogether different. Certain it is, that, by ordinary readers, who have in view only the gratification of curiosity, they are looked upon rather as a blemish.

This writer also excels greatly in the representation of fierce and terrible characters; not the internal workings of these characters, but the picturesque appearance which they exhibit in the eye of a spectator. Nor must we omit the talent she so strikingly possesses, of conjuring up scenes of horror. The pleasure, indeed, which this affords, though natural, is not of a very high order; and, till her time, was confined chiefly to the nursery. Nor is it of a very improving nature, but, on the contrary, tends rather to weaken the mind, and make it liable to superstitious apprehensions. But it is impossible not to admire her power of raising this impression to its utmost height, and of combining the circumstances best calculated to produce it.

In those parts where she goes over similar

ground with other writers of the same description, she does not rise very much above mediocrity. It is in those paths which she has traced out for herself, that the superiority of her genius chiefly appears.

ALLEGORICAL.

Another kind is that which goes by the name of Allegory. Here some qualities of mind are personified, and are introduced as the principal or sole actors in the story. Its aim is generally to communicate a knowledge of abstract or moral truths to such as would not willingly bave read a formal treatise on the subject. In this view it may be of some use; yet I am afraid little attention is to be expected to any thing beyond the mere story. Nor is this likely to be very interesting. We cannot take any deep concern in the adventures of an abstract idea; whenever the name of any of the actors is mentioned, we are reminded that he could not possibly have any real existence. Hence these compositions rest their merit chiefly on

the poetical and descriptive passages. The most elegant and instructive that I remember to have seen, is the Vision of Mirza in the Spectator.

In countries where a severe restraint is laid on the liberty of speech and writing, the allegory is used as a vehicle of bold truths, which could not have been safely expressed in any other form. This is probably the cause of its being so favourite a mode of com、 position among the oriental nations. There is not, in this case, the same reason to apprehend inattention on the part of the reader. Being excluded from any other means of acquiring information on the subject, he will naturally exert all his ingenuity in order to discover the concealed meaning. It is much to be regretted, when truth can find no other way of coming into the world; when such, however, is the case, it may be necessary and useful to have recourse to this.

SENTIMENTAL.

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The last description of fictitious composis

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