which gets them into scrapes, hinders them from seeing their way out of them. Such persons (often of ingenious and susceptible minds) are constantly at cross-purposes with themselves and others; will neither do things nor let others do them; and whether they succeed or fail, never feel confident or at their ease. They spoil the freshness and originality of their own thoughts by asking contradictory advice; and in befriending others, while they are about it and about it, you might have done the thing yourself a dozen times over.

There is nothing more to be esteemed than a manly firmness and decision of character. I like a person who knows his own mind and sticks to it; who sees at once what is to be done in given circumstances and does it. He does not beat about the bush for difficulties or excuses, but goes the shortest and most effectual way to work to attain his own ends, or to accomplish a useful object. If he can serve you, he will do so; if he cannot, he will say so without keeping you in needless suspense, or laying you under pretended obligations. The applying to him in any laudable undertaking is not like stirring "a dish of skimmed milk.” There is stuff in him, and it is of the right practicable sort. He is not all his life at hawk and buzzard whether he shall be a Whig or a Tory, a friend or foe, a knave or a fool; but thinks that life is short, and that there is no time to play fantastic tricks in it, to tamper with principles, or trifle with individual feelings. If he gives you a character, he does not add a damning clause to it: he does not pick holes in you, lest others should, or anticipate objections lest he should be thought to be blinded by a childish partiality. His object is to serve you; and not to play the game into your enemies' hands.

"A generous friendship no cold medium knows,

Burns with one love, with one resentment glows."

I should be sorry for any one to say what he did not think of me; but I should not be pleased to see him slink out of his acknowledged opinion, lest it should not be confirmed by malice or stupidity. He who is well acquainted and well inclined to you, ought to give the tone, not to receive it from others, and may set it to what key he pleases in certain cases.

There are those of whom it has been said, that to them an obligation is a reason for not doing anything, and there are others who are invariably led to do the reverse of what they should. The last are perverse, the first impracticable people. Opposed to the effeminate in disposition and manners are the coarse and brutal. As those were all softness and smoothness, these affect or are naturally attracted to whatever is vulgar and violent, harsh and repulsive in tone, in modes of speech, in forms of address, in gesture and behavior. Thus there are some who ape the lisping of the fine lady, the drawling of the fine gentleman, and others who all their lives delight in and catch the uncouth dialect, the manners and expressions of clowns and hoydens. The last are governed by an instinct of the disagreeable, by an appetite and headlong rage for violating decorum, and hurting other people's feelings, their own being excited and enlivened by the shock. They deal in home truths, unpleasant reflections, and unwelcome matters of fact; as the others are all compliment and complaisance, insincerity and insipidity.

We may observe an effeminacy of style, in some degree corresponding to effeminacy of character. Writers of this stamp are great interliners of what they indite, alterers of indifferent phrases, and the plague of printers' devils. By an effeminate style I would be understood to mean one that is all florid, all fine; that cloys by its sweetness, and tires by its sameness. Such are what Dryden calls "calm, peaceable writers." They only ain to please, and never offend by truth or disturb by singularity. Every thought must be beautiful per se, every expression equally fine. They do not delight in vulgarisms, but in common-places, and dress out unmeaning forms in all the colors of the rainbow. They do not go out of their way to think-that would startle the indolence of the reader: they cannot express a trite thought in common words that would be a sacrifice of their own vanity. They are not sparing of tinsel, for it costs nothing. Their works should be printed, as they generally are, on hot-pressed paper, with vignette margins. The Della Cruscan school comes under this description, but is now nearly exploded. Lord Byron is a pampered and aristocratic writer, but he is not effeminate, or we should not have his works with only the printer's name to them!

I cannot help thinking that the fault of Mr. Keats's poems was a deficiency in masculine energy of style. He had beauty, tenderness, delicacy, in an uncommon degree, but there was a want of strength and substance. His Endymion is a very delightful description of the illusions of a youthful imagination, given up to airy dreams-we have flowers, clouds, rainbows, moonlight, all sweet sounds and smells, and Oreads and Dryads flitting by-but there is nothing tangible in it, nothing marked or palpable—we have none of the hardy spirit or rigid forms of antiquity. He painted his own thoughts and character; and did not transport himself into the fabulous and heroic ages. There is a want of action, of character, and so far, of imagination, but there is exquisite fancy. All is soft and fleshy, without bone or muscle. We see in him the youth, without the manhood of poetry. His genius breathed" vernal delight and joy."-" Like Maia's son he stood and shook his plumes," with fragrance filled. His mind was redolent of spring. He had not the fierceness of summer, nor the richness of autumn, and winter he seemed not to have known, till he felt the icy hand of death!

ESSAY XXIX.

Whether Actors ought to sit in the Boxes?

I THINK not; and for the following reasons, as well as I can give them :

Actors belong to the public: their persons are not their own property. They exhibit themselves on the stage: that is enough, without displaying themselves in the boxes of the theatre. I conceive that an actor, on account of the very circumstances of his profession, ought to keep himself as much incognito as possible. He plays a number of parts disguised, transformed into them as much as he can "by his so potent art," and he should not disturb this borrowed impression by unmasking before company, more than he can help. Let him go into the pit, if he pleases, to see -not into the first circle, to be seen. He is seen enough without that he is the centre of an illusion that he is bound to support, both, as it appears to me, by a certain self-respect which should repel idle curiosity, and by a certain deference to the public, in whom he has inspired certain prejudices which he is covenanted not to break. He represents the majesty of successive kings; he takes the responsibility of heroes and lovers on himself; the mantle of genius and nature falls on his shoulders; we "pile millions" of associations on him, under which he should be "buried quick," and not perk out an inauspicious face upon us, with a plain-cut coat, to say "What fools you all were !—I am not Hamlet the Dane!"

It is very well and in strict propriety for Mr. Matthews, in his AT HOME, after he has been imitating his inimitable Scotchwoman, to slip out as quick as lightning, and appear in the side-box shaking hands with our old friend Jack Bannister. It adds to our surprise at the versatility of his changes of place and appearance, and he had been before us in his own person during a great part

of the evening. There was no harm done-no imaginary spell broken-no discontinuity of thought or sentiment. Mr. Matthews is himself (without offence be it spoken) both a cleverer and more respectable man than many of the characters he represents. Not so when

"O'er the stage the Ghost of Hamlet stalks,

Othello rages, Desdemona mourns,

And poor Monimia pours her soul in love."

A different feeling then prevails:-close, close the scene upon them, and never break that fine phantasmagoria of the brain. Or if it must be done at all, let us choose some other time and place for it let no one wantonly dash the Circean cup from our lips, or dissolve the spirit of enchantment in the very palace of enchantment. Go, Mr. and sit somewhere else! What a thing it is, for instance, for any part of an actor's dress to come off unexpectedly while he is playing! What a cut it is upon himself and the audience! What an effort he has to recover himself, and struggle through this exposure of the naked truth! It has been considered as one of the triumphs of Garrick's tragic power, that once, when he was playing Lear, his crown of straw came off, and nobody laughed or took the least notice, so much had he identified himself with the character. Was he, after this, to pay so little respect

to the feelings he had inspired, as to tear off his tattered robes, and take the old, crazed king with him to play the fool in the boxes?

"No; let him pass Vex not his parting spirit,

Nor on the rack of this rough world

Stretch him out farther!"

Some lady is said to have fallen in love with Garrick from being present when he played the part of Romeo, on which he observed, that he would undertake to cure her of her folly if she would only come and see him in Abel Drugger. So the modern tragedian and fine gentleman, by appearing to advantage, and conspicuously, in propriâ personâ, may easily cure us of our predilection for all the principal characters he shines in. "Sir! do you think Alexander looked o' this fashion in his life-time, or was perfumed so?