principle or observation, with such force and beauty that justice can only be done to the idea in the author's own words. Such, for instance, are many of the passages to be found in Burke, which shine by their own light, belong to no class, have neither equal nor counterpart, and of which we say that no one but the author could have written them! There is neither the same boldness of design, nor mastery of execution in Johnson. In the one, the spark of genius seems to have met with its congenial matter: the shaft is sped; the forked lightning dresses up the face of nature in ghastly smiles, and the loud thunder rolls far away from the ruin that is made. Dr. Johnson's style, on the contrary, resembles rather the rumbling of mimic thunder at one of our theatres; and the light he throws upon a subject is like the dazzling effect of phosphorus, or an _ignis fatuus_ of words. There is a wide difference, however, between perfect originality and perfect common-place: neither ideas nor expressions are trite or vulgar because they are not quite new. They are valuable, and ought to be repeated, if they have not become quite common; and Johnson's style both of reasoning and imagery holds the middle rank between startling novelty and vapid common-place. Johnson has as much originality of thinking as Addison; but then he wants his familiarity of illustration, knowledge of character, and delightful humour. What most distinguishes Dr. Johnson from other writers is the pomp and uniformity of his style. All his periods are cast in the same mould, are of the same size and shape, and consequently have little fitness to the variety of things he professes to treat of. His subjects are familiar, but the author is always upon stilts. He has neither ease nor simplicity, and his efforts at playfulness, in part, remind one of the lines in Milton:-- "----The elephant To make them sport wreath'd his proboscis lithe."