We take a dislike to our favourite books, after a time, for the same reason. We cannot read the same works for ever. Our honey-moon, even though we wed the Muse, must come to an end; and is followed by indifference, if not by disgust. There are some works, those indeed that produce the most striking effect at first by novelty and boldness of outline, that will not bear reading twice: others of a less extravagant character, and that excite and repay attention by a greater nicety of details, have hardly interest enough to keep alive our continued enthusiasm. The popularity of the most successful writers operates to wean us from them, by the cant and fuss that is made about them, by hearing their names everlastingly repeated, and by the number of ignorant and indiscriminate admirers they draw after them:—we as little like to have to drag others from their unmerited obscurity, lest we should be exposed to the charge of affectation and singularity of taste. There is nothing to be said respecting an author that all the world have made up their minds about: it is a thankless as well as hopeless task to recommend one that nobody has ever heard of. To cry up Shakespeare as the God of our idolatry, seems like a vulgar, national prejudice: to take down a volume of Chaucer, or Spenser, or Beaumont and Fletcher, or Ford, or Marlowe, has very much the look of pedantry and egotism. I confess it makes me hate the very name of Fame and Genius when works like these are ‘gone into the wastes of time,’ while each successive generation of fools is busily employed in reading the trash of the day, and women of fashion gravely join with their waiting-maids in discussing the preference between Paradise Lost and Mr. Moore’s Loves of the Angels. I was pleased the other day on going into a shop to ask, ‘If they had any of the _Scotch Novels_?’ to be told—‘That they had just sent out the last, Sir Andrew Wylie!’—Mr. Galt will also be pleased with this answer! The reputation of some books is raw and _unaired_: that of others is worm-eaten and mouldy. Why fix our affections on that which we cannot bring ourselves to have faith in, or which others have long ceased to trouble themselves about? I am half afraid to look into Tom Jones, lest it should not answer my expectations at this time of day; and if it did not, I should certainly be disposed to fling it into the fire, and never look into another novel while I lived. But surely, it may be said, there are some works, that, like nature, can never grow old; and that must always touch the imagination and passions alike! Or there are passages that seem as if we might brood over them all our lives, and not exhaust the sentiments of love and admiration they excite: they become favourites, and we are fond of them to a sort of dotage. Here is one: