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of severity, and, with the known old story in his
head, assured them they need not scruple to be-
lieve that the fear of anything can make a man's
hair gray, since he knew one whose periwig had
suffered so by it. Thus he stopped the talk, and
made them easy. Thus is the same method taken
to bring us to shame, which we fondly take to in-
crease our character. It is indeed a kind of mim-
icry, by which another puts on our air of conver-
sation to show us to ourselves. He seems to look
ridiculous before, that you may remember how
near a resemblance you bear to him, or that you
may know he will not lie under the imputation of
believing you. Then it is that you are struck
dumb immediately with a conscientious shame for
what you have been saying. Then it is that you
are inwardly grieved at the sentiments which you
cannot but perceive others entertain concerning
you. In short, you are against yourself; the
laugh of the company runs against you; the cen-
suring world is obliged to you for that triumph
which you have allowed them at your own expense;
and truth, which you have injured, has a near way
of being revenged on you, when by the bare repe-
tition of your story you become a frequent diver-
sion for the public.
"MR. SPECTATOR,

"The other day, walking in Pancras churchyard, I thought of your paper wherein you men tion epitaphs, and am of opinion this has a thought in it worth being communicated to your readers:

Here innocence and beauty lies, whose breath
Was snatch'd by early, not untimely, death.
Hence she did go, just as she did begin
Sorrow to know, before she knew to sin.

Death, that does sin and sorrow thus prevent,
Is the next blessing to a life well spent.

"I am, Sir, your Servant."

I have a ruddy, heedless look, which covers arti-
fice the best of anything. Though I can dance
very well, I affect a tottering untaught way of
walking, by which I appear an easy prey and
never exert my instructed charms, until I find I
have engaged a pursuer. Be pleased, Sir, to print
this letter, which will certainly begin the chase of
a rich widow. The many foldings, escapes, re-
turns, and doublings, which I make, I shall from
time to time communicate to you, for the better
instruction of all females, who set up, like me, for
reducing the present exorbitant power and inso-
lence of man.
"I am, Sir,

"Your faithful Correspondent,
"RELICTA LOVELY."

"DEAR MR. SPECTATOR,

"I depend upon your professed respect for virtuous love for your immediately answering the design of this letter; which is no other than to lay before the world the severity of certain parents, who desire to suspend the marriage of a discreet young woman of eighteen three years longer, for no other reason but that of her being too young to enter into that state. As to the consideration of riches, my circumstances are such, that I cannot such low motives as avarice or ambition. If ever be suspected to make my addresses to her on innocence, wit, and beauty, united their utmost charms, they have in her. I wish you would expatiate a little on this subject, and admonish her parents that it may be from the very imperfection of human nature itself, and not any personal frailty of her or me, that our inclinations, baffled at present, may alter; and while we are arguing with ourselves to put off the enjoyment of our present passions, our affections may change their objects in the operation. It is a very delicate subject to talk upon; but if it were but hinted, I am in hopes it would give the parties concerned some reffec

No. 539.] TUESDAY, NOVEMBER, 18, 1712. tion that might expedite our happiness. There

Heteroclita sunto.-QUE GENUS.

Be they heteroclites.

"MR. SPECTATOR,

"I AM a young widow of a good fortune and family, and just come to town; where I find I have clusters of pretty fellows come already to visit me, some dying with hopes, others with fears, though they never saw me. Now, what I would beg of you would be to know whether I may venture to use these pert fellows with the same freedom as I did my country acquaintance. I desire your leave to use them as to me shall seem meet, without imputation of a jilt: for since I

make declaration that not one of them shall have me, I think I ought to be allowed the liberty of insulting those who have the vanity to believe it is in their power to make me break that resolution. There are schools for learning to use foils, frequented by those who never design to fight; and this useless way of aiming at the heart, without design to wound it on either side, is the play with which I am resolved to divert myself. The man who pretends to win, I shall use like him who comes into a fencing-school to pick a quarrel. I hope upon this foundation you will give me the free use of the natural and artificial force of my eyes, looks, and gestures. As for verbal promises, I will make none, but shall have no mercy on the conceited interpreters of glances and motions. I am particularly skilled in the downcast eye, and the recovery into a sudden full aspect and away again, as you may have seen sometimes practiced by us country beauties beyond all that you have observed in courts and cities. Add to this Sir, that

is a possibility, and I hope I may say it without imputation of immodesty to her I love with the highest honor: I say there is a possibility this delay may be as painful to her as it is to me; if it be as much, it must be more, by reason of the severe rules the sex are under, in being denied even the relief of complaint. If you oblige me in this, and I succeed, I promise you a place at my wedding, and a treatment suitable to your spectatorial dig nity.

"SIR,

"Your most humble Servant,

" EUSTACE."

"I yesterday heard a young gentleman, that looked as if he was just come to the gown and a scarf, upon evil speaking: which subject, you know Archbishop Tillotson has so nobly handled in a sermon in his folio. As soon as ever he had named his text, and had opened a little the drift of his discourse, I was in great hopes he had been one of Sir Roger's chaplains. I have conceived so great an idea of the charming discourse above, that I should have thought one part of my Sabbath very well spent in hearing a repetition of it. But, alas! Mr. Spectator, this reverend divine gave us his grace's sermon, and yet I do not know how; even I, that I am sure have read it at least twenty times, could not tell what to make of it, and was at a loss sometimes to guess what the man aimed at. He was so just, indeed, as to give us all the heads and the subdivisions of the sermon, and further I think there was not one beautiful thought in it but what we had. But then, Sir, this gentleman made so many pretty additions; and

he could never give us a paragraph of the sermon, but he introduced it with something which, me thought, looked more like a design to show his own ingenuity, than to instruct the people. In short, he added and curtailed in such a manner, that he vexed me; insomuch that I could not for bear thinking (what I confess I ought not to have thought of in so holy a place), that this young spark was as justly blamable as Bullock or Penkethman, when they mend a noble play of Shakspeare or Jonson. Pray, Sir, take this into your consideration; and, if we must be entertained with the works of any of those great men, desire these gentlemen to give them us as they find them, that so when we read them to our families at home, they may the better remember that they have heard them at church.

"Sir, your humble Servant."

No. 540.] WEDNESDAY, NOV. 19, 1712.

-Non deficit alter.-VIRG. Æn. vi. 143.
A second is not wanting.

"MR. SPECTATOR,

"

Chastity being the first female virtue, Britomartis is a Briton; her part is fine, though it requires explication. His style is very poetical; no puns, affectations of wit, forced antitheses, or any of that low tribe.

"His old words are all true English, and numbers exquisite; and since of words there is the multa renascentur, since they are all proper, such a poem should not (any more than Milton's) consist all of it of common ordinary words. See instances of descriptions.

Causeless jealousy in Britomartis, v. 6, 14, in its

restlessness.

Like as a wayward child, whose sounder sleep
Is broken with some fearful dream's affright,
With froward will doth set himself to weep,
Ne can be still'd for all his nurse's might,
But kicks and squalls, and shrieks for fell despite;
Now scratching her, and her loose locks misusing,
Now seeking darkness, and now seeking light;
Then craving suck, and then the suck refusing:
Such was this lady's fit in her love's fond accusing.

Curiosity occasioned by jealousy, upon occasion of her lover's absence. Ibid. Stan. 8, 9.

Then as she look'd long, at last she spy'd
One coming toward her with hasty speed:
Well ween'd she then, ere him she plain descry'd,
That it was one sent from her love indeed:
Whereat her heart was fill'd with hope and dread,
Ne would she stay till he in place could come,
But ran to meet him forth to know his tiding's scamme:
Even in the door him meeting, she begun.
And where is he, thy lord, and how far hence?
Declare at once; and hath he lost or won?'

"THERE is no part of your writings which I have in more esteem than your criticism upon Milton. It is an honorable and candid endeavor to set the works of our noble writers in the graceful light which they deserve. You will lose much of my kind inclination toward you, if you do not attempt the encomium of Spenser also, or at least indulge my passion for that charming author so Care and his house are described thus, iv. 6, 33–35.

far as to print the loose hints I now give you on that subject.

"Spenser's general plan is the representation of six virtues-holiness, temperance, chastity friendship, justice, and courtesy-in six legends by six personages, these personages are supposed, under proper allegories suitable to their respective characters, to do all that is necessary for the full manifestation of the respective virtues which they are to exert.

"These one might undertake to show under the several heads are admirably drawn; no images improper, and most surprisingly beautiful. The Redcross Knight runs through the whole steps of the Christian life; Guyon does all that temperance can possibly require; Britomartis (a woman) observes the true rules of unaffected chastity; Arthegal is in every respect of life strictly and wisely Just; Calidore is rightly courteous.

"In short, in Fairy land, where knights-errant have a full scope to range, and to do even what Ariostos or Orlandos could not do in the world without breaking into credibility, Spenser's knights have, under those six heads, a full and truly poetical system of Christian, public, and low life.

"His legend of friendship is more diffuse, and yet even there the allegory is finely drawn, only the heads various: one knight could not there support all the parts.

"To do honor to his country, Prince Arthur is a universal hero; in holiness, temperance, chastity, and justice, superexcellent. For the same reason, and to compliment Queen Elizabeth, Gloriana, queen of fairies, whose court was the asylum of the oppressed, represents that glorious queen. At her commands all these knights set forth, and only at hers the Redcross Knight destroys the dragon, Guyon overturns the Bower of Bliss, Arthegal (i. e. Justice) beats down Geryoneo (i. e. Philip II, king of Spain) to rescue Belge (i. e. Holland), and he beats the Grantorto (the same Philip in another light) to restore Irena (i. e. Peace to Europe).

Not far away, nor meet for any guest,

They spy'd a little cottage, like some poor man's nest.

34.

There entering in, they found the good man's self,
Full busily unto his work ybent,

Who was so weel a wretched wearish elf,
With hollow eyes and rawbone cheeks far spent,
As if he had in prison long been pent.
Full black and griesly did his face appear,
Besmear'd with smoke that near his eye-sight blent,
With rugged beard, and hoary shaggy heare,
The which he never wont to comb, or comely sheer.

35.

Rude was his garment, and to rags all rent;
No better had he, ne for better car'd:
His blistered hands among the cinders brent,
And fingers filthy with long nails prepared,
Right fit to rend the food on which he fared.
His name was Care; a blacksmith by his trade,
That neither day nor night from working spared,
But to small purpose iron wedges made:

These be unquiet thoughts that careful minds invade.

"Homer's epithets were much admired by antiquity: see what great justness and variety there are in these epithets of the trees in the forest, where the Redcross Knight lost Truth. B. i, Cant. i, Stan. 8, 9.

The sailing pine, the cedar proud and tall,
The vine-prop elm, the poplar never dry,
The builder-oak, sole king of forests all,
The aspine good for staves, the cypress funeral.
9.

The laurel, meed of mighty conquerors, And poets sage: the fir that weepeth still, The willow worn of forlorn paramours, The yew obedient to the bender's will, The birch for shafts, the sallow for the mill: The myrrhe sweet, bleeding in the bitter wound, The war-like beech, the ash, for nothing ill, The fruitful olive, and the plantane round, The carver holm, the maple seldom inward sound. "I shall trouble you no more, but desire you to let me conclude with these verses, though I think they have already been quoted by you. They are directions to young ladies oppressed with calumny, vi. 6, 14.

The best (said he) that I can you advise, Is to avoid the occasion of the ill:

For when the cause whence evil doth arise
Removed is, the effect surceaseth still.
Abstain from pleasure and restrain your will,
Subdue desire and bridle loose delight,
Use scanted diet and forbear your fill,
Shun secrecy, and talk in open sight;

So shall you soon repair your present evil plight."

T.

ing to the various touches which raise them, form themselves into an acute or grave, quick or slow, loud or soft, tone. These, too, may be subdivided into various kinds of tones, as the gentle, the rough, the contracted, the diffuse, the continued, the intermitted, the broken, abrupt, winding, softened, or elevated. Every one of these may be employed with art and judgment; and all supply the actor, as colors do the painter, with an expressive variety.

Anger exerts its peculiar voice in an acute,

No. 541.] THURSDAY, NOVEMBER 20, 1712. raised, and hurrying sound. The passionate char

Format enim natura prius nos intus ad omnem
Fortunarum habitum: juvat, aut impellit ad iram,
Aut ad humum, mærore gravi deducit, et angit:
Post effert animi motus interprete lingua.
HOR. Ars Poet. v. 108.

For nature forms and softens us within,

And writes our fortune's changes in our face:
Pleasure enchants, impetuous rage transports,
And grief dejects, and wrings the tortur'd soul:
And these are all interpreted by speech.-RosCOMMON.

My friend the Templar, whom I have so often mentioned in these writings, having determined to lay aside his poetical studies, in order to a closer pursuit of the law, has put together, as a farewell essay, some thoughts concerning pronunciation and action, which he has given me leave to communicate to the public. They are chiefly collected from his favorite author, Cicero, who is known to have been an intimate friend of Roscius, the actor, and a good judge of dramatic performances, as well as the most eloquent pleader of the time in which he lived.

Cicero concludes his celebrated books De Oratore with some precepts for pronunciation and action, without which part he affirms that the best orator in the world can never succeed: and an indifferent one, who is master of this, shall gain much greater applause. "What could make a stronger impression," says he, "than those exclamations of Gracchus? Whither shall I turn? Wretch that I am! to what place betake myself? Shall I go to the Capitol? Alas! it is overflowed with my brother's blood. Or shall I return to my house? Yet there I behold my mother plunged in misery, weeping and despairing!" These breaks and turns of passion, it seems, were so enforced by the eyes, voice, and gesture, of the speaker, that his very enemies could not refrain from tears. "I insist," says Tully, "upon this the rather because our orators, who are as it were actors of the truth itself, have quitted this manner of speaking; and the players, who are but the imitators of truth, have taken it up."

I shall therefore pursue the hint he has here given me, and for the service of the British stage I shall copy some of the rules which this great Roman master has laid down; yet without confining myself wholly to his thoughts or words: and to adapt this essay the more to the purpose for which I intend it, instead of the examples he has inserted in this discourse out of the ancient tragedies, I shall make use of parallel passages out of the most celebrated of our own.

The design of art is to assist action as much as possible in the representation of nature; for the appearance of reality is that which moves us in all representations, and these have always the greater force the nearer they approach to nature, and the less they show of imitation.

Nature herself has assigned to every motion of soul its peculiar cast of the countenance, tone of voice, and manner of gesture through the whole person; all the features of the face and tones of the voice answer, like strings upon musical instruments, to the impressions made on them by the mind. Thus the sounds of the voice, accord

acter of King Lear, as it is admirably drawn by Shakspeare, abounds with the strongest instances of this kind.

-Death! confusion!

Fiery! what quality?-why Gloster! Gloster!
I'd speak with the Duke of Cornwall and his wife;
Are they informed of this? my breath and blood!
Fiery the fiery duke!- -etc.

Sorrow and complaint demand a voice quite different; flexible, slow, interrupted, and modulated in a mournful tone: as in that pathetic soliloquy of Cardinal Wolsey on his fall:

Farewell! a long farewell to all my greatness!
This is the state of man!-to-day he puts forth
The tender leaves of hope; to-morrow blossoms,
And bears his blushing honors thick upon him;
The third day comes a frost, a killing frost,
And when he thinks, good easy man, full surely
His greatness is a ripening, nips his root,
And then he falls as I do.

We have likewise a fine example of this in the whole part of Andromache in the Distrest Mother, particularly in these lines

I'll go, and in the anguish of my heart

Weep o'er my child- -If he must die, my life
Is wrapt in his, I shall not long survive.
"Tis for his sake that I have suffer'd life,
Groan'd in captivity, and outliv'd Hector.
Yes, my Astyanax, we'll go together!
Together to the realms of night we'll go:
There to thy ravish'd eyes thy sire I'll show,
And point him out among the shades below.

Fear expresses itself in a low, hesitating, and abject sound. If the reader considers the following speech of Lady Macbeth, while her husband is about the murder of Duncan and his grooms, he will imagine her even affrighted with the sound of her own voice while she is speaking it:

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Here satiate all your fury;

Let Fortune empty her whole quiver on me;

I have a soul that like an ample shield

Can take in all, and verge enough for more.

Pleasure dissolves into a luxurious, mild, tender, and joyous modulation; as in the following lines in Caius Marius:

Lavinia! O there's music in the name, That softening me to infant tenderness, Makes my heart spring like the first leap of life. And perplexity is different from all these; grave but not bemoaning, with an earnest, uniform sound of voice; as in that celebrated speech of Hamlet

To be, or not to be!that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune;
Or to take arms against a sea of troubles,
And by opposing end them? To die, to sleep;
No more; and by a sleep to say we end
The heart-ache, and a thousand natural shocks
That flesh is heir to: 'tis a consummation
Devoutly to be wish'd! To die, to sleep!-

To sleep; perchance to dream! Ay, there's the rub;

For, in that sleep of death, what dreams may come,
When we have shuffled off this mortal coil,
Must give us pause-There's the respect
That makes calamity of so long life;

For who would bear the whips and scorns of time,
Th' oppressor's wrongs, the proud man's contumely,
The pangs of despis'd love, the law's delay,
The insolence of office, and the spurns
That patient merit of the unworthy takes,
When he himself might his quietus make
With a bare bodkin? Who would fardels bear,
To groan and sweat under a weary life,
But that the dread of something after death,
The undiscover'd country, from whose bourne
No traveler returns, puzzles the will,
And makes us rather bear those ills we have
Than fly to others that we know not of.

As all these varieties of voice are to be directed by the sense, so the action is to be directed by the voice, and with a beautiful propriety, as it were, to enforce it. The arm, which by a strong figure Tully calls the orator's weapon, is to be sometimes raised and extended; and the hand, by its motion, sometimes to lead, and sometimes to follow, the words as they are uttered. The stamping of the foot, too, has its proper expression in contention, anger, or absolute command. But the face is the epitome of the whole man, and the eyes are as it were the epitome of the face; for which reason, he says, the best judges among the Romans were not extremely pleased even with Roscius himself in his mask. No part of the body, beside the face, is capable of as many changes as there are different emotions in the mind, and of expressing them all by those changes. Nor is this to be done without the freedom of the eyes; therefore Theophrastus called one, who barely rehearsed his speech with his eyes fixed, an "absent actor."

through all the variety of tones naturally, and without touching any extreme. Therefore," says he, "leave the pipe at home, but carry the sense of this custom with you."

No. 542.] FRIDAY, NOVEMBER 21, 1712.
Et sibi præferri se gaudet-
OVID, Met. ii. 430.

He heard,

Well pleas'd, himself before himself preferr'd.-ADDEROS. WHEN I have been present in assemblies, where my paper has been talked of, I have been very well pleased to hear those who would detract from the author of it observe, that the letters which are sent to the Spectator are as good, if not better, than any of his works. Upon this occasion many letters of mirth are usually mentioned, which some think the Spectator wrote to himself, and which others commend because they fancy he received them from his correspondents. Such are those from the valetudinarian; the inspector of the signposts; the master of the fan exercise; with that of the hooped petticoat; that of Nicholas Hart the annual sleeper; that from Sir John Envil; that upon the London Cries; with multitudes of the same nature. As I love nothing more than o mortify the ill-natured, that I may do it effectually, I must acquaint them they have very often praised me when they did not design it, and that they have approved my writings when they thought they had derogated from them. I have heard sev eral of these unhappy gentlemen proving, by undeniable arguments, that I was not able to pen a As the countenance admits of so great variety, letter which I had written the day before. Nay, 1 it requires also great judgment to govern it. Not have heard some of them throwing out ambigcous that the form of the face is to be shifted on every expressions, and giving the company reason to occasion, lest it turn to farce and buffoonery; but it suspect that they themselves did me the honor to is certain that the eyes have a wonderful power send me such and such a particular epistle, which of marking the emotions of the mind; sometimes happened to be talked of with the esteem or apby a steadfast look, sometimes by a careless one- probation of those who were present. These rigid now by a sudden regard, then by a joyful spark- critics are so afraid of allowing me anything which ling, as the sense of the words is diversified; for does not belong to me, that they will not be pos action is, as it were, the speech of the features and tive whether the lion, the wild boar, and the flowerlimbs, and must therefore conform itself always to pots in the play-house, did not actually wr the sentiments of the soul. And it may be ob- those letters which came to me in their names. I served, that in all which relates to the gesture there must therefore inform these gentlemen, that I often is a wonderful force implanted by nature; since choose this way of casting my thoughts int the vulgar, the unskillful, and even the most bar-letter, for the following reasons: First, out of the barous, are chiefly affected by this. None are moved by the sound of words but those who understand the language; and the sense of many things is lost upon men of a dull apprehension; but action is a kind of universal tongue; all men are subject to the same passions, and consequently know the same marks of them in others, by which they themselves express them.

Perhaps some of my readers may be of opinion that the hints I have here made use of out of Cicero are somewhat too refined for the players on our theater; in answer to which I venture to lay it down as a maxim, that without good sense no one can be a good player, and that he is very unfit to personate the dignity of a Roman hero who cannot enter into the rules for pronunciation and gesture delivered by a Roman orator.

There is another thing which my author does not think too minute to insist on, though it is purely mechanical; and that is the right pitching of the voice. On this occasion he tells the story of Gracchus, who employed a servant with a little ivory pipe to stand behind him, and give him the right pitch, as often as he wandered too far from the proper modulation. "Every voice," says Tully, has its peculiar medium and compass, and the sweetness of speech consists in leading it

policy of those who try their jest upon another, before they own it theniselves. Secondly, becaus I would extort a little praise from such who w never applaud anything whose author is known and certain. Thirdly, because it gave me an op portunity of introducing a great variety of ch acters into my work, which could not have been done had I always written in the person of the Spectator. Fourthly, because the dignity spanatorial would have suffered had I published as f myself those several ludicrous compositions whic I have ascribed to fictitious names and charact And lastly, because they often serve to bring i more naturally such additional reflections as here been placed at the end of them.

There are others who have likewise done se very particular honor, though undesignedly. The are such who will needs have it that I have tre lated or borrowed many of my thoughts cei d books which are written in other languages have heard of a person, who is more fauoc tươ his library than his learning, that has assered 24 more than once in his private conversation.

*The person here alluded to was most probably mas Rawlison, ridiculed by Addison under the rage Folio, in the Tatler, No. 168.

it true, I am sure he could not speak it from his own | ject; and question not, if you do not give us the knowledge; but, had he read the books which he slip very suddenly, that you will receive addresses has collected, he would find his accusation to be from all parts of the kingdom to continue so usewholly groundless. Those who are truly learned ful a work. Pray deliver us out of this perplexity; will acquit me in this point, in which I have been and, among the multitude of your readers, you so far from offending, that I have been scrupulous, will particularly oblige perhaps to a fault, in quoting the authors of several passages which I might have made my own. But, as this assertion is in reality an encomium on what I have published, I ought rather to glory in it than endeavor to confute it.

0.

"Your most sincere Friend and Servant,
"PHILO-SPEC."

Facies non omnibus una,
Nec diversa tamen- OVID, Met. ii. 12.
Similar, though not the same.————

Some are so very willing to alienate from me No. 543.] SATURDAY, NOVEMBER 22, 1712. that small reputation which might accrue to me from any of these my speculations, that they attribute some of the best of them to those imaginary manuscripts with which I have introduced them. There are others, I must confess, whose objections have given me a greater concern, as they seem to reflect, under this head, rather on my morality than on my invention. These are they who say an author is guilty of falsehood, when he talks to the public of manuscripts which he never saw, or describes scenes of action or discourse in which he was never engaged. But these gentlemen would do well to consider, there is not a fable or parable, which ever was made use of, that is not liable to this exception; since nothing, according to this notion, can be related innocently, which was not once matter of fact. Beside, I think the most ordinary reader may be able to discover, by my way of writing, what I deliver in these occurrences as truth, and what as fiction.⚫

Since I am unawares engaged in answering the several objections which have been made against these my works, I must take notice that there are some who affirm a paper of this nature should always turn upon diverting subjects, and others who find fault with every one of them that hath not an immediate tendency to the advancement of religion or learning. I shall leave these gentlemen to dispute it among themselves; since I see one half my conduct patronized by each side. Were I serious on an improper subject, or trifling in a serious one, I should deservedly draw upon me the censure of my readers; or, were I conscious of anything in my writings that is not innocent at least, or that the greatest part of them were not sincerely designed to discountenance vice and ignorance, and support the interest of truth, wisdom, and virtue, I should be more severe upon myself than the public is disposed to be. In the meanwhile I desire my reader to consider every particpaper or discourse as a distinct tract by itself, and independent of everything that goes before or

ular

after it.

I shall end this paper with the following letter, which was really sent me, as some others have been which I have published, and for which I must own myself indebted to their respective writers: "SIR,

THOSE who were skillful in anatomy, among the ancients, concluded, from the outward and inward make of a human body, that it was the work of a Being transcendently wise and powerful. As the world grew more enlightened in this art, their discoveries gave them fresh opportunities of admiring the conduct of Providence in the formation of a human body. Galen was converted by his dissections, and could not but own a Supreme Being upon a survey of this his handy-work. There were, indeed, many parts, of which the old anatomists did not know the certain use; but, as they saw that most of these which they examined were adapted with admirable art to their several functions, they did not question but those, whose use they could not determine, were contrived with the same wisdom for respective ends and purposes. Since the circulation of the blood has been found out, and many other great discoveries have been made by our modern anatomists, we see new wonders in the human frame, and discern several important uses for those parts, which uses the ancients knew nothing of. In short, the body of man is such a subject as stands the utmost test of examination. Though it appears formed with the nicest wisdom, upon the most superficial survey of it, it still mends upon the search, and produces our surprise and amazement in proportion as we pry into it. What I have here said of a human body may be applied to the body of every animal which has been the subject of anatomical observations.

The body of an animal is an object adequate to our senses. It is a particular system of Providence that lies in a narrow compass. The eye is able to command it, and by successive inquiriescan search into all its parts. Could the body of the whole earth, or indeed the whole universe, be thus submitted to the examination of our senses, were it not too big and disproportioned for our inquiries, too unwieldy for the management of the eye and hand, there is no question but it would appear to us as curious and well contrived a frame as that of a human body. We should see the same concatenation and subserviency, the same necessity and usefulness, the same beauty and harmony, in "I was this morning in a company of your well-all and every of its parts, as what we discover wishers, when we read over, with great satisfac- in the body of every single animal. sion, Tully's observation on action adapted to the The more extended our reason is, and the more British theater; though, by the way, we were very able to grapple with immense objects, the greater sorry to find that you have disposed of another still are those discoveries which it makes of wismember of your club. Poor Sir Roger is dead, dom and providence in the works of the creation. and the worthy clergyman dying; Captain Sentry A Sir Isaac Newton, who stands up as the miracle has taken possession of a good estate; Will Hon- of the present age, can look through a whole planeycomb has married a farmer's daughter; and the etary system; consider it in its weight, number, Templar withdraws himself into the business of and measure; and draw from it as many demonhis own profession. What will all this end in?strations of infinite power and wisdom, as a more We are afraid it portends no good to the public. confined understanding is able to deduce from the Unless you very speedily fix the day for the elec- system of a human body. tion of new members, we are under apprehensions of losing the British Spectator. I hear of a party of ladies who intend to address you on this sub

But to return to our speculations on anatomy, I shall here consider the fabric and texture of the bodies of animals in one particular view; which,

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