Hobbes and Mandeville are in the opposite extreme, and have met with a correspondent fate. The Tatler and the Spectator are in the golden mean, carry instruction as far as it can go without shocking, and give the most exquisite pleasure without one particle of pain. ‘_Desire to please, and you will infallibly please_,’ is a maxim equally applicable to the study or the drawing-room. Thus also we see actors of very small pretensions, and who have scarce any other merit than that of being on good terms with themselves, and in high good humour with their parts (though they hardly understand a word of them), who are universal favourites with the audience. Others, who are masters of their art, and in whom no slip or flaw can be detected, you have no pleasure in seeing, from something dry, repulsive, and unconciliating in their manner; and you almost hate the very mention of their names, as an unavailing appeal to your candid decision in their favour, and as taxing you with injustice for refusing it. We may observe persons who seem to take a peculiar delight in the _disagreeable_. They catch all sorts of uncouth tones and gestures, the manners and dialect of clowns and hoydens, and aim at vulgarity as desperately as others ape gentility. [This is what is often understood by a _love of low life_.] They say the most unwarrantable things, without meaning or feeling what they say. What startles or shocks other people, is to them a sport—an amusing excitement—a fillip to their constitutions; and from the bluntness of their perceptions, and a certain wilfulness of spirit, not being able to enter into the refined and agreeable, they make a merit of despising every thing of the kind. Masculine women, for example, are those who, not being distinguished by the charms and delicacy of the sex, affect a superiority over it by throwing aside all decorum. We also find another class, who continually do and say what they ought not, and what they do not intend, and who are governed almost entirely by an instinct of absurdity. Owing to a perversity of imagination or irritability of nerve, the idea that a thing is improper acts as a provocation to it: the fear of committing a blunder is so strong, that in their agitation they _bolt_ out whatever is uppermost in their minds, before they are aware of the consequence. The dread of something wrong haunts and rivets their attention to it; and an uneasy, morbid apprehensiveness of temper takes away their self-possession, and hurries them into the very mistakes they are most anxious to avoid.