critics, could claim no literary merit beyond that of style. In a paper on Milton, one of whose noblest sonnets is in praise of Shakespeare, Addison, after showing how, by certain verbal expedients, bathos may be avoided and sublimity attained, calmly points to the works of Lee and Shakespeare as affording instances of the false sublime[19], adding coolly that, "_in these authors_ the affectation of greatness often hurts the perspicuity of the style." [Sidenote: THREE ENRAGED MUSICIANS.] I have spoken of Steele's and Clayton's consternation, at the success of _Rinaldo_. Some months after the production of that work, the despicable Clayton, supported by two musicians named Nicolino Haym, and Charles Dieupart, (who were becomingly indignant at a foreigner like Handel presuming to entertain a British audience), wrote a letter to the _Spectator_, which Steele published in No. 258 of that journal, introducing it by a preface, full of wisdom, in which it is set forth that "pleasure and recreation of one kind or other are absolutely necessary to relieve our minds and bodies from too constant attention and labour," and that, "where public diversions are tolerated, it behoves persons of distinction, with their power and example, to preside over them in such a manner as to check anything that tends to the corruption of manners, or which is too mean or trivial for the entertainment of reasonable creatures." The letter from the "enraged musicians" is described as coming "from three persons who, as soon as named, will be thought capable of advancing the present state of music"--that is to say, of superseding Handel. But the same perverse public, which in spite of the _Spectator's_ remonstrances, preferred _Rinaldo_ to translated Racine, persisted in admiring Handel's music, and in paying no heed whatever to the cacophony of Clayton. Here is the letter from the three miserable musicasters to their patron and fellow-conspirator.