is a pity that men should so lose themselves from a certain awkwardness and rusticity at the outset. But did not Sheridan make the same melancholy ending, and run the same fatal career, though in a higher and more brilliant circle? He did; and though not from exactly the same cause (for no one could accuse Sheridan’s purple nose and flashing eye of a bashfulness—‘modest as morning when she coldly eyes the youthful Phœbus!’)—yet it was perhaps from one nearly allied to it, namely, the want of that noble independence and confidence in its own resources which should distinguish genius, and the dangerous ambition to get sponsors and vouchers for it in persons of rank and fashion. The affectation of the society of lords is as mean and low-minded as the love of that of coblers and tapsters. It is that coblers and tapsters may admire, that we wish to be seen in the company of _their_ betters. The tone of literary patronage is better than it was a hundred or a hundred and fifty years ago. What dramatic author would think now of getting a lady of quality to take a box at the first night of a play to prevent its being damned by the pit? Do we not read the account of Parson Adams taking his ale in Squire Booby’s kitchen with mingled incredulity and shame? At present literature has, to a considerable degree, found its level, and is hardly in danger, ‘deprived of its natural patrons and protectors, the great and noble, of being trodden in the mire, and trampled under the hoofs of a swinish multitude’—though it can never again hope, to be what learning once was in the persons of the priesthood, the lord and sovereign of principalities and powers. Fool that it was ever to forego its privileges, and loosen the strong hold it had on opinion in bigotry and superstition!