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phrases. Scorning to imitate realities, they are unable to invent any thing, to strike out one original idea. They are not copyists of nature, it is true: but they are the poorest of all plagiarists, the plagiarists of words. All is farfetched, dear-bought, artificial, oriental in subject and allusion: all is mechanical, conventional, vapid, formal, pedantic in style and execution. They startle and confound the understanding of the reader, by the remoteness and obscurity of their illustrations: they soothe the ear by the monotony of the same everlasting round of circuitous metaphors. They are the mockschool in poetry and prose. They founder about between fustian in expression, and bathos in sentiment. They tantalise the fancy, but never reach the head nor touch the heart. Their Temple of Fame is like a shadowy structure raised by Dulness to Vanity, or like Cowper's description of the Empress of Russia's palace of ice, “as worthless as in shew 'twas glittering”
“ It smiled, and it was cold !”
ON EFFEMINACY OF CHARACTER.
EFFEMINACY of character arises from a prevalence of the sensibility over the will : or it consists in a want of fortitude to bear pain or to undergo fatigue, however urgent the occasion. We meet with instances of people who cannot lift up a little finger to save themselves from ruin, nor give up the smallest indulgence for the sake of any other person. They cannot put themselves out of their way on any account. No one makes a greater outcry when the day of reckoning comes, or affects greater compassion for the mischiefs they have occasioned; but till the time comes, they feel nothing, they care for nothing. They live in the present moment, are the creatures of the present impulse (whatever it may be)—and beyond that, the universe is nothing to them. The slightest toy countervails the empire of the world; they will not forego the smallest inclination they feel, for any object that can be proposed to them, or