That

most part, a just and discriminative taste. love for simplicity in design and manner, with out which neither grandeur nor beauty can exist, our author, likewise, strongly felt, and has repeatedly praised. The oldest writings, and especially the scriptures, which most abound with this engaging quality, he has occasionally brought forward as examples of this excellence; and he has particularly dwelt upon the pathetic history of Joseph, "which," says he, "is related with such majestic simplicity, that all the parts of it strike us with strong touches of nature and compassion; and he must be a stranger to both, who can read it with attention, and not be overwhelmed with the vicissitudes of joy and sorrow."*

Though, from his hurried mode of life and habitual inattention, Sir Richard, as we have already seen, devoted little labour to the accuracy and refinement of his style, he every now and then displays an ease and simplicity which delight: nor was this altogether the effect of a casual felicity of execution; he clearly saw and admired the beauties of a simple style, and has spoken of Tillotson, then the best model of this species of composition, in terms which indicate him to have been a great favourite. The following passage,

* Tatler, No. 233.

+ Spectator, No. 103.

if more proof be required, will indisputably shew that, however negligent our author might be as to the diction of his own works, he was both a critical and tasteful judge of the writings and style of others.

"All authors," observes he, are eligible either for their matter or style; if for the first, the elucidation and disposition of it into proper lights ought to employ a judicious reader: if for the last, he ought to observe how some common words are started into a new signification; how such epithets are beautifully reconciled to things that seemed incompatible; and must often remember the whole structure of a period, because by the least transposition, that assemblage of words which is called a style becomes utterly annihilated." *

Enough has probably been now said to enable every reader to appreciate the abilities of Sir Richard Steele in the departments both of taste and criticism. No deficiency of sensibility or acuteness, but an abridged education, a dissipated life, and a consequent want of time for the ne cessary researches, together with a decided preference of subjects embracing the delineation of character and manners, were the causes which

* Guardian, No. 60.

rendered Steele too negligent of topics which in the present day afford so much elegant and useful pleasure. Politics likewise, too often the bane of polite literature, absorbed a great portion of his life; and to the tumults of party were unfortunately added the distresses of poverty: a situation which almost necessarily precluded that indulgence of literary taste and high finishing which, in general, only leisure and competency can bestow.

From the specimens, adduced in this essay, however, it is but strict justice to infer that he possessed a keen relish of the beauties of painting and poetry; that he was acquainted with their principles, and has occasionally pointed out, with the accuracy of a master, their excellencies and defects. He was a lover of simplicity also both in sentiment and design; and though, from circumstances already mentioned, his own style was too frequently left loose and incomplete, we have seen that he was no incompetent judge of the requisites essential to its purity and perfection, when noticing the productions of his contemporaries.

In short, had he received the classical education which Addison enjoyed, and had he been gifted with the self-government, economy, and

calm prudence of that great man, there can be no doubt, from what we know of his writings, but that, both as a critic and a man of taste, he would have emulated, and perhaps rivalled, the productions of his friend.*

• It should not be forgotten, that Nos. 28, 51, and 86, of the Guardian, critical papers supposed to have been written by Steele, were most probably the compositions of Tickell and Young.

PART II.

ESSAY IV.

ON THE INVENTION, IMAGERY, AND PATHOS OF STEELE.

OF that species of imagination which delights to expatiate in realms of its own creation, to wander beyond the limits of nature, and "give to airy nothing a local habitation and a name," there are few specimens in the periodical compositions of Steele. For the vales of fiction and enchantment he has seldom deserted the sober walks of life; and his invention and imagery are rather employed to associate with moral and dramatic effect the features of existing character, than to insinuate precept in the garb of allegory, and the splendid colouring of a vivid fancy.

Though parsimonious in the use of imagery of this kind, however, he has, in one or two instances, given proof of his ability to employ it with elegance and propriety. In an early stage