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the revolutions of government, and the operation of political caufes on publick affairs. With regard to political knowledge, the ancients wanted fome advantages which are enjoyed by the moderns. In ancient times there was lefs communication among neighbouring ftates; no intercourfe by established pofts, nor by ambaffadors at diftant courts. Larger experience too of the different modes of government has improved the modern hiftorian beyond the hiftorian of antiquity.

It is however in the form of narrative, and not by differtation, that the hiftorian is to impart his political knowledge. Formal difcuffions expofe him to fufpieion of being willing to accommodate his facts to his theory. They have alfo an air of pedantry, and evidently refult from want of art. For reflections, whether moral, political, or philofophical, may be infinuated in the body of a narrative.

Clearnefs, order, and connexion are primary virtues in historical narration. These are attained when the hiftorian is complete master of his fubject; can fee the whole at one view; and comprehend the dependence of all its parts. History being a dignified fpecies of compofition, it fhould alfo be confpicuous for gravity. There should be nothing mean nor vulgar in the ftyle; no quaintnefs, no smartnefs, no affectation, no wit.. A history fhould likewise be interesting; and this is the quality which chiefly distinguishes a writer of genius and eloquence.

To be interesting, a historian must preserve a medium between rapid recital and prolix detail. He fhould know when to be concife, and when to enlarge. He fhould make a proper felection of circumftances. Thefe give life, body, and colouring to his narration. They conftitute what is termed historical painting,

In all these virtues of narration, particularly in picturefque defcription, the ancients eminently excel. Hence the pleasure of reading Thucydides, Livy, Salluft, and Tacitus. In hiftorical painting there are great varieties. Livy and Tacitus paint in very dif ferent ways. The defcriptions of Livy are full, plain, and natural; thofe of Tacitus are fhort and bold.

One embellishment, which the moderns have laid a fide, was employed by the ancients. They put orations into the mouths of celebrated perfonages. By thefe, they diversified their history, and conveyed both moral and political inftruction. Thucydides was the first who adopted this method; and the orations with which his history abounds, are valuable remains of antiquity. It is doubtful, however, whether this embellishment fhould be allowed to the historian; for they form a mixture, unnatural to history, of truth and fiction. The moderns are more chafte when on great occafions the hiftorian delivers in his own perfon the fentiments and reafonings of oppofite parties. Another fplendid embellishment of history is the delineation of characters. Thefe are confidered as exhibitons of fine writing; and hence the difficulty of excelling in this province. For characters may be too fhining and laboured. The accomplished hiftorian avoids here to dazzle too much. He is folicitous to give the resemblance in a style equally removed from meannefs and affectation. He ftudies the grandeur of fimplicity.

Sound morality fhould always reign in history. A hiftorian fhould ever show himself on the fide of virtue. It is not, however, his province to deliver moral inftructions in a formal manner. He fhould excite in

dignation against the defigning and the vicious; and by appeals to the paffions, he will not only improve his reader, but take away from the natural coolness of historical narration.

In modern times historical genius has shone most in Italy. Acuteness, political fagacity, and wisdom are all confpicuous in Machiavel, Guicciardin, Davila, Bentivoglio, and Father Paul. In Great Britain history has been fashionable only a few years. For, though Clarendon and Burnet are confiderable hiftorians, they are inferiour to Hume, Robertson, and Gibbon.

The inferior kinds of historical compofition are an-nals, memoirs, and lives. Annals are a collection of facts in chronological order; and the properties of an annalist are fidelity and distinct̃nefs. Memoirs are a fpecies of compofition, in which an author pretends not to give a complete detail of facts, but only to record what he himself knew, or was concerned in, or what illuftrates the conduct of fome perfon, or fome tranfaction which he chooses for his fubject. It is not therefore expected of such a writer, that he poffefs the fame profound research, and those superiour talents which are requifite in a historian. It is chiefly required of him that he be fprightly and interesting. The French during two centuries have poured forth a flood of memoirs; the most of which are little more than agreeable trifles. We muft, however, except from this cenfure the memoirs of the Cardinal de Retz, and thofe of the Duke of Sully. The former join to a lively narrative great knowledge of human nature. The latter deferve very particular praife. They approach to the ufefulness and dignity of legitimate history. They are full of virtue and good fenfe; and are well calculated to form both the heads and hearts of

those who are defigned for publick business and high ftations in the world.

Biography is a very useful kind of composition; less stately than history; but perhaps not lefs inftructive. It affords full opportunity of displaying the characters of eminent men, and of entering into a thorough acquaintance with them. In this kind of writing. Plutarch excels; but his matter is better than his manner; he has no peculiar beauty nor elegance. His judgment and accuracy alfo are fometimes taxed. But he is a very humane writer, and fond of displaying great men in the gentle lights of retirement.

Before we conclude this fubject, it is proper to ob ferve, that of late years a great improvement has been introduced into historical compofition. More particu lar attention than formerly, has been given to laws, customs, commerce, religion, literature, and to every thing that shows the fpirit and genius of nations. It is now conceived that a hiftorian ought to illuftrate manners as well as facts and events. Whatever difplays the state of mankind in different periods; whatever illuftrates the progrefs of the human mind, is more useful than details of fieges and battles.

PHILOSOPHICAL WRITING AND DIA

LOGUE.

OF F philofophy the profeffed design is instruction. With the philofopher therefore style, form and drefs are inferiour objects. But they must not be wholly neglected. The fame truths and reasonings, deliv ered with elegance, will strike more than in a dull and dry manner.

Beyond mere perfpicuity, the ftrictest precision and accuracy are required in a philofophical writer; and these qualities may be poffeffed without drynefs. Philofophical writing admits a polished, neat and elegant ftyle. It admits the calm figures of speech; but rejects whatever is florid and tumid. Plato and Cicero have left philofophical treatises, compofed with much elegance and beauty. Seneca is too fond of an affected, brilliant, fparkling manner. Locke's Treatise on Human Understanding is a model of a clear and diftinct philofophical style. In the writings of Shaftesbury, on the other hand, philosophy is dreffed up with too much ornament and finery.

Among the ancients, philofophical writing often affumed the form of dialogue. Plato is eminent for the beauty of his dialogues. In richness of imagination no philofophick writer, ancient or modern, is equal to him. His only fault is the exceffive fertility of his imagination, which fometimes obfcures his judgment, and frequently carries him into allegory, fiction, enthusiasm, and the airy regions of myftical theology. Cicero's dialogues are not so spirited and characteristical as those of Plato. They are however agreeable, and well fupported; and fhow us conversation, carried on among fome principal perfons of ancient Rome with freedom, good breeding, and dignity. Of the light and humorous dialogue, Lucian is a model; and he has been imitated by feveral modern writers. Fontenelle has written dialogues, which are sprightly and agreeable; but his characters, whoever his perfonages be, all became Frenchmen. The divine dialogues of Dr.Henry More amid the academick ftiffness of the age are often remarkable for character and vivacity. Bishop Berkley's dialogues are abftract, yet perfpicuous.