His aversion to duplicity had flowed from experience of its evils. He had frequently been made its victim; inconsequence of this his temper had become suspicious, and he was apt to impute deceit on occasions when others, of no inconsiderable sagacity, were abundantly disposed to confidence. One transaction had occurred in his life, in which the consequences of being misled by false appearances were of the utmost moment to his honour and safety. The usual mode of salving his doubt he deeded insufficient, and the eagerness of his curiosity tempted him, for, the first time, to employ, for this end, his talent at imitation. He therefore assumed a borrowed character and guise, and performed his part with so much skill as fully to accomplish life design. He whose mask would have secured him from all other attempts, was thus taken through an avenue which his caution had overlooked, and the hypocrisy of his pretensions unquestionably ascertained. Perhaps, in a comprehensive view, the success of this expedient was unfortunate. It served to recommend this method of encountering deceit, and informed him of the extent of those powers which are so liable to be abused. A subtlety much inferior to Ormond would suffice to recommend this mode of action. It was defensible on no other principle than necessity. The treachery of mankind compelled him to resort to it. If they should deal in a manner as upright and explicit as himself, it would be superfluous. But since they were in the perpetual use of stratagems and artifices, it was allowable, he thought, to wield the same arms. It was easy to perceive, however, that this practice was recommended to him by other considerations. He was delighted with the power it conferred. It enabled him to gain access, as if by supernatural means, to the privacy of others, and baffle their profoundest contrivances to hide themselves from his view. It flattered him with the possession of something like omniscience. It was besides an art, in which, as in others, every accession of skill was a source of new gratification. Compared with this, the performance of the actor is the sport of children. This profession he was accustomed to treat with merciless ridicule, and no doubt some of his contempt arose from a secret comparison between the theatrical species of imitation and his own. He blended in his own person the functions of poet and actor, and his dramas were not fictitious but real. The end that he proposed was not the amusement of a playhouse mob. His were scenes in which hope and fear exercised a genuine influence, and in which was maintained that resemblance to truth so audaciously and grossly violated on the stage.