How little can be done in the way of extracting virtues or intellect from a piece of broad-cloth or a beaver hat, we have an instance in the Quakers, who are the most remarkable, and the most unexceptionable class of professors in this kind. They bear the same relation to genuine characters, not brought up in the trammels of dress and custom, that a clipped yew-tree, cut into the form of a peacock or an armchair, does to the natural growth of a tree in the forest, left to its own energies and luxuriance. The Quakers are docked into form, but they have no spirit left. They are without ideas, except in trade; without vices or virtues, unless we admit among the latter those which we give as a character to servants when we turn them away, viz. ‘that they are cleanly, sober, and honest.’ The Quaker is, in short, a negative character, but it is the best that can be formed in this mechanical way. The Priest is not a negative character; he is something positive and disagreeable. He is not, like the Quaker, distinguished from others merely by singularity of dress and manner, but he is distinguished from others by pretensions to superiority over them. His faults arise from his boasted exemption from the opposite vices; and he has one vice running through all his others—hypocrisy. He is proud, with an affectation of humility; bigotted, from a pretended zeal for truth; greedy, with an ostentation of entire contempt for the things of this world; professing self-denial, and always thinking of self-gratification; censorious, and blind to his own faults; intolerant, unrelenting, impatient of opposition, insolent to those below, and cringing to those above him, with nothing but Christian meekness and brotherly love in his mouth. He thinks more of external appearances than of his internal convictions. He is tied down to the opinions and prejudices of the world in every way. The motives of the heart are clogged and checked at the outset, by the fear of idle censure; his understanding is the slave of established creeds and formulas of faith. He can neither act, feel, or think for himself, or from genuine impulse. He plays a part through life. He is an actor upon a stage. The public are a spy upon him, and he wears a mask the better to deceive them. If in this sort of theatrical assumption of character he makes one false step, it may be fatal to him, and he is induced to have recourse to the most unmanly arts to conceal it, if possible. As he cannot be armed at all points against the flesh and the devil, he takes refuge in self-delusion and mental imposture; learns to play at fast and loose with his own conscience, and to baffle the vigilance of the public by dexterous equivocations; sails as near the wind as he can, shuffles with principle, is punctilious in matters of form, and tries to reconcile the greatest strictness of decorum and regularity of demeanour with the least possible sacrifice of his own interest or appetites.