endeavour to show the folly of demurring, from two or three reflections, which I earnestly recommend to the thoughts of my fair readers.

First of all, I would have them seriously think on the shortness of their time. Life is not long enough for a coquette to play all her tricks in. A timorous woman drops into her grave before she has done deliberating. Were the age of man the same that it was before the flood, a lady might sacrifice half a century to a scruple, and be two or three ages in demurring. Had she nine hundred years good, she might hold out to the conversion of the Jews before she thought fit to be prevailed upon. But, alas! she ought to play her part in haste, when she considers that she is suddenly to quit the stage, and make room for others.

In the second place, I would desire my female readers to consider, that as the term of life is short, that of beauty is much shorter. The finest skin wrinkles in a few years, and loses the strength of its colouring so soon, that we have scarce time to admire it. I might embellish this subject with roses and rainbows, and several other ingenious conceits, which I may possibly reserve for another opportunity.

There is a third consideration, which I would likewise recommend to a demurrer, and that is, the great danger of her falling in love when she is about threescore, if she cannot satisfy her doubts and scruples before that time. There is a kind of latter spring, that sometimes gets into the blood of an old woman, and turns her into a very odd sort of an animal. I would therefore have the demurrer consider what a strange figure she will make, if she chances to get over all

difficulties, and comes to a final resolution, in that unseasonable part of her life.

I would not, however, be understood by anything I have here said, to discourage that natural modesty in the sex, which renders a retreat from the first approaches of a lover both fashionable and graceful; all that I intend is, to advise them, when they are prompted by reason and inclination, to demur only out of form, and so far as decency requires. A virtuous woman should reject the first offer of marriage, as a good man does that of a bishopric; but I would advise neither the one nor the other to persist in refusing what they secretly approve.

Sir Timothy Tittle.

IT has always been my endeavour to distinguish between realities and appearances, and separate true merit from the pretence to it. As it shall ever be my study to make discoveries of this nature in human life, and to settle the proper distinctions between the virtues and perfections of mankind, and those false colours and resemblances of them that shine alike in the eyes of the vulgar; so I shall be more particularly careful to search into the various merits and pretences of the learned world. This is the more necessary, because there seems to be a general combination among the pedants to extol one another's labours, and cry up one another's parts; while men of sense, either through that modesty which is natural to them, or the scorn they have for such trifling commendations, enjoy their stock of knowledge like a hidden treasure, with satisfaction and silence. Pedantry, indeed, in learning, is like hypocrisy in religion, a form of knowledge without the power of it, that attracts the eyes of common people, breaks out in noise and show, and finds its reward, not from any inward pleasure that attends it, but from the praises and approbations which it receives from men.

Of this shallow species there is not a more importunate, empty, and conceited animal, than that which is generally known by the name of a critic. This, in

the common acceptation of the word, is one that, without entering into the sense and soul of an author, has a few general rules, which, like mechanical instruments, he applies to the works of every writer, and as they quadrate with them, pronounces the author perfect or defective. He is master of a certain set of words, as Unity, Style, Fire, Phlegm, Easy, Natural, Turn, Sentiment, and the like; which he varies, compounds, divides, and throws together, in every part of his discourse, without any thought or meaning. The marks you may know him by are, an elevated eye, and dogmatical brow, a positive voice, and a contempt for everything that comes out, whether he has read it or not. He dwells altogether in generals. He praises or dispraises in the lump. He shakes his head very frequently at the pedantry of universities, and bursts into laughter when you mention an author that is known at Will's. He hath formed his judgment upon Homer, Horace, and Virgil, not from their own works, but from those of Rapin and Bossu. He knows his own strength so well, that he never dares praise anything in which he has not a French author for his voucher.

With these extraordinary talents and accomplishments, Sir Timothy Tittle puts men in vogue, or condemns them to obscurity, and sits as judge of life and death upon every author that appears in public. It is impossible to represent the pangs, agonies, and convulsions, which Sir Timothy expresses in every feature of his face, and muscle of his body, upon the reading of a bad poet.

About a week ago I was engaged at a friend's house of mine in an agreeable conversation with his

wife and daughters, when, in the height of our mirth, Sir Timothy, who makes love to my friend's eldest daughter, came in amongst us puffing and blowing, as if he had been very much out of breath. He immediately called for a chair, and desired leave to sit down, without any further ceremony. I asked him, 'Where he had been? Whether he was out of order?' He only replied, that he was quite spent, and fell a cursing in soliloquy. I could hear him cry, ‘A wicked rogue !-An execrable wretch!-Was there ever such a monster!'-The young ladies upon this began to be affrighted, and asked, 'Whether any one had hurt him?' He answered nothing, but still talked to himself. To lay the first scene (says he) in St. James's Park, and the last in Northamptonshire!' 'Is that all? (says I :) Then I suppose you have been at the rehearsal of the play this morning.' 'Been! (says he ;) I have been at Northampton, in the Park, in a lady's bed-chamber, in a dining-room, everywhere; the rogue has led me such a dance !'—Though I could scarce forbear laughing at his discourse, I told him I was glad it was no worse, and that he was only metaphorically weary. In short, sir, (says he,) the author has not observed a single unity in his whole play; the scene shifts in every dialogue; the villain has hurried me up and down at such a rate, that I am tired off my legs. I could not but observe with some pleasure, that the young lady whom he made love to, conceived a very just aversion towards him, upon seeing him so very passionate in trifles. And as she had that natural sense which makes her a better judge than a thousand critics, she began to rally him upon this foolish humour. For my part, (says she,) I never