recent collection of miscellaneous essays we have on our table; and we have perused it without any very alarming symptoms of lassitude. The author, who was but a mere stripling, when he commenced his literary career, fancies sometimes that he is a poet, and, at other times, that he is a success ful imitator of the style of doctor Johnson. In both these respects, we think that he is deplorably mistaken. But candor must allow that he often acquits himself very adroitly in his Essay Exercise. As a favourable specimen of his powers we have transcribed for preservation in The Port Folio his self biography, which we think will invigorate the literary efforts of many a struggling scholar.

EDITOR.

I was born at Mary-Port in Cumberland, on the 16th of March 1787. From my 5th till my 11th year I was occasionally at school; but the greatest part of the learning I acquired at that period was gained by my own exertion. My father whom some unexpected misfortunes prevented from sending me to a public seminary, as he at first intended, endeavoured to divert my mind from books to the pursuits of commerce. His efforts, however, were ineffectual: my love of study was too ardent to be destroyed by the dictates of prudence, and after a long struggle, he relinquished the contest. I was now completely happy, I rose every morning at 7, and continued in uninterrupted study till midnight, when, if I sunk into the arms of sleep, it was only to dream of the books I had read the preceding evening, or anticipate the pleasures of the succeeding day. My reading was desultory, but industry long continued must always have a perceptible effect; in the course of three years I had taught myself to read and write French with tolerable facility, had gained a slight knowledge of arithmetic and Latin, and had read nearly thirteen hundred books on various subjects. My happiness, however, was interrupted by the removal of my parents to London in the beginning of the year 1800. In the metropolis I did little but saunter in the streets, lounging at the bookseller's, or examining the physiognomies of the passengers. My stay in London was not of long continu

ance. In the month of June I arrived at Newcastle. In the beginning of 1801, when I had nearly attained my fourteenth year I' formed the intention of publishing a periodical paper at Newcastle. An introductory essay under the title of the Genius and some other papers were already written, and I looked

forward to the execution of my project with all the ardour and anxiety which is natural to youth. As I knew that my plan would be ridiculed, if I was discovered, I wrote a letter, signed with my real name, to an eminent printer in the town and carried it myself. I was told to deliver the answer to my father (for so they supposed Hewson Clarke to be) in which I was informed that it would be necessary to know the author of the paper, and that fifty pounds must be deposited previous to the commencement of its publication. As fifty pounds was more than I could possibly command, and as I had resolved not to disclose the secret to any one, this information totally disconcerted me, and I was obliged to defer the gratification of my literary ambition till a more favourable opportunity.

On the twenty-second August 1802, I engaged myself as assistant to a surgeon and apothecary. In this situation, I had very little leisure. My time was engaged in the daily routine of busi, ness from seven in the morning till eight in the evening, besides the casual employment to which my profession subjected me. My ardour however, for reading and composition did not forsake me. In the hours stolen from sleep and business, I read the principal books of the neighbouring library and composed a number of essays in prose and poetry, some of which have since been published and the rest committed to the flames. About this period, the Tyne Mercury, a literary newspaper, was established at Newcastle and conducted with great spirit and liberality. In this paper I commenced the publication of the Saunterer, on the 7th of June 1804. They who pursue literature in solitude and leisure, undisturbed by the intrusion of the world, and the cares of active life, have little conception of the difficulties that attend the author who composes his productions amid the noise and bustle of business; his attention distracted by a variety of objects, his ideas confused by the interruptions to which his situation perpetually exposes him; always in a hurry, lest the next moment should prevent him from concluding what he has with difficulty begun; and obliged to commit his productions to the press, without perusal or correction. The greater number of the Saunterers were composed upon the bottom of an inverted mortar, amid the cla

mours and the rudeness of vulgarity and ignorance, and sent to the printer without their author being able to correct them, even when he knew that correction was necessary. Many of them were written at intervals, when the ideas which inspired his mind at the commencement were totally forgotten at their conclusion; and when he was glad to express the thoughts which crowded into his mind without any regard to their arrangement. The Saunterer was continued in the Mercury till the 22nd number. When I found that the public were satisfied with my writings, I ventured to disclose myself. In the metropolis, an author is treated like other men. He is neither an object of wonder nor curiosity. But in a town like Newcastle the case is very different; a writer whether his productions be excellent or otherwise, is there considered as an extraordinary being. Every speech he utters is considered as oracular, and his person becomes the object of vulgar curiosity. In a town, where the title of an author excites so much astonishment, it was not to be expected that one, who pretended to criticise its manners or amusements should pass unnoticed. Before I had finished my 10th number, I could not pass the streets, without being pointed at as the Saunterer; the writer who was so severe upon the ladies, &c. I was continually assailed by anonymous letters, censure, ridicule, advice, or admiration. If I expressed any opinion in conversation, which did not perfectly agree with a passage in the Saunterer, a letter of remark was sent to the newspaper; and if I was seen walking with a lady, then, the Saunterer who ridiculed the ladies in his works was actually in love!

It is with pleasure that I turn from the ignorant wonder of a foolish multitude to the more gratifying approbation of a scholar and a gentleman, of one who knows how to praise with discrimination and to censure with politeness. From him I received the offer of a friendship, which I hope will end only in the grave. By his kindness I have been enabled to relinquish a profession, which I now look back upon only with disgust. Of this gentleman I cannot conclude without regretting that I am not permitted to mention his name.

RHETORIC-FOR THE PORT FOLIO.

LECTURE XI,

Of the different figures of speech, and the peculiar method of justly communicating to each its proper expression both in reading and recitation.

GENTLEMEN,

The intention of our wise and benevolent Creator, in endowing us with the faculty of speech, was, that we might communicate our thoughts and ideas to each other. Language, therefore, is the channel of thought; and the two great properties of language are perspicuity and ornament: or, first, the power of conveying our sentiments clearly or intelligibly to the minds of others, and, secondly, that of doing it in a polished and impressive manner.

The former property, or perspicuity, relates more immcdiately to composition: the latter, ornament, in a very considerable degree to elocution; because a figure or ornament of language would be very imperfectly and ineffectually introduced, if it were not enlivened by an appropriate mode of communication.

Rhetoricians have recommended the use of these figures, and elucidated their various powers. They are considered by Cicero as the chief source of light, of lustre, of energy, and of beauty, in language; he calis them the eyes of eloquence. They are embellishments of language, dictated either by the imagination, or the passions; and Quinctilian, the father of the oratorical school, divides them into two general classes; viz. those which respect the sense, and those which respect the sound. Of the former class are metaphors, allegories, &c. which have little reference to delivery, their perfection depending upon the accuracy of composition. But irony, climax, antithesis, &c. suppose a pronunciation throughout suitable to each, without which they cannot have their appropriate expression.

They were termed figures or attitudes of language by the Greeks, because they considered them as certain forms or positions given to words and thoughts, in order to heighten their beauty or increase their effect; as painters, by the attitudes of

their portraits, render them more striking, or show them to greater advantage. It is my intention to define and exemplify, in my present address to you, some of the most important, and those in most general use; the whole collection being too extensive to admit of proper discussion within the prescribed limits of a lecture. To more elaborate treatises upon elocution I refer you for the remainder: many of which, however, will be found by a judicious critic to be nothing but pedantic subtleties, and, therefore, unnecessary appendages instead of real orna

ments,

The following I consider to be of the number I have alluded to as the most interesting and useful, as well as most immedi ately connected with the subject which here demands your particular attention.

The first and most general figure to be met with in compositions of every description is Metaphor, under which, the language, relinquishing its precise and literal meaning, by a natural and animated description, directs the mind of the hearer or reader to the contemplation of the subject it is applied to, by the aid of imagery and allusion, so as to be rendered visible, as it were, to the mental eye, as it would be if represented on canvass to the corporeal. Hence a good rule has been established by rhetoricians to test the accuracy of a metaphor or allegory, when it is suspected to be imperfect or mixed, viz. to consider what sort of appearance the image or images presented to the mind would exhibit if delineated with a pencil. By which me thod we should immediately become sensible, whether incongruous circumstances were mixed, or the object was presented in one natural and consistent point of view.

A metaphor is sometimes confined to a single word, and is then called a trope; as, when we call a stupid man an ass. Of tropes the principal are metaphor, metonymy, synecdoche, and irony. When the name of one thing is applied to another on account of a supposed or real resemblance, it is called a metaphor; as, clouds of dust. When a trope changes the names of things by putting the adjunct for the subject, the effect for the cause, or the cause for the effect, the matter for the form, or rather for