insipid, and sickly; for their tastes and understandings are too strongly braced to endure any but the most unpalatable truths and the bitterest ingredients. Their benefits are extracted by the Cæsarean operation. Their happiness, in short, is that—which will never be; just as their receipt for a popular article in a newspaper or review, is one that will never be read. _Their_ articles are never read, and if they are not popular, no others ought to be so. The more any flimsy stuff is read and admired, and the more service it does to the sale of a journal, so much the more does it debauch the public taste, and render it averse to their dry and solid lucubrations. This is why they complain of the patronage of my _Sentimentalities_ as one of the sins of the Edinburgh Review; and why they themselves are determined to drench the town with the most unsavoury truths, without one drop of honey to sweeten the gall. Had they felt the least regard to the ultimate success of their principles—of ‘the greatest happiness to the greatest numbers,’ though giving pain might be one paramount and primary motive, they would have combined this object with something like the comfort and accommodation of their unenlightened readers. _R._ I see no ground for this philippic, except in your own imagination. _S._ Tell me, do they not abuse poetry, painting, music? Is it, think you, for the pain or the pleasure these things give? Or because they are without eyes, ears, imaginations? Is that an excellence in them, or the fault of these arts? Why do they treat Shakespear so cavalierly? Is there any one they would set up against him—any Sir Richard Blackmore they patronise; or do they prefer Racine, as Adam Smith did before them? Or what are we to understand? _R._ I can answer for it, they do not wish to pull down Shakespear in order to set up Racine on the ruins of his reputation. They think little indeed of Racine. _S._ Or of Moliere either, I suppose? _R._ Not much.