titles us to rank him among the most distinguished of his class. His works possess the rare and invaluable property of originality, to which all other qualities are as dust in the balance; and the sources to which he resorts to excite our interest, are rendered accessible by a path peculiarly his own. The reader's attention is not rivetted, as in Fielding's works, by strongly marked character, and the lucid evolution of a well-constructed fable; or as in Smollett's novels, by broad and strong humor, and a decisively superior knowledge of human life in all its varieties; nor, to mention authors whom Mackenzie more nearly resembles, does he attain the pathetic effect which is the object of all three, in the same manner as Richardson, or as Sterne. An accumulation of circumstances, sometimes amounting to tediousness, a combination of minutely traced events, with an ample commentary on each, were thought necessary by Richardson to excite and prepare the mind of the reader for the affecting scenes which he has occasionally touched with such force; and without denying him his due merit, it must be allowed that he has employed preparatory volumes in accomplishing what has cost Mackenzie and Sterne only a few pages, perhaps only a few sentences. On the other hand, although the two last authors have, in particular passages, a more strong resemblance to each other than those formerly named, yet there remains such essential points of difference between them, as must secure for Mackenzie the praise of originality, which we have claimed for him. It is needless to point out to the reader the difference between the general character of their writings, or how far the chaste, correct, almost studiously decorous manner and style of the works of the author of The Man of Feeling, differ from the wild wit, and intrepid contempt at once of decency, and regularity of composition, which distinguish Tristram Shandy. It is not in the general conduct or style of their works that they in the slightest degree approach; nay, no two authors in the British language can be more distinct. But even in the particular passages where both had in view to excite the reader's pathetic sympathy, the modes resorted to are different. The pathos of Sterne in some degree resembles his humor, and is seldom attained by simple means; a wild, fanciful, beautiful flight of thought and expression is remarkable in the former, as an extravagant, burlesque, and ludicrous strain of conception and language characterizes the latter. The celebrated passage, where the tear of the recording Angel blots the profane oath of Uncle Toby out of the register of heaven, a flight so poetically fanciful as to be stretched to the very verge of extravagance, will illustrate our position. To attain his object-that is, to make us thoroughly sympathize with the excited state of mind which betrays Uncle Toby into the indecorous assertion which forms the groundwork of the whole-the author calls Heaven and Hell into the lists, and represents in a fine poetic frenzy, its effects on the accusing Spirit and registering Angel. Let this be contrasted with the fine tale of La Roche, in which Mackenzie has described, with such unexampled delicacy, and powerful effect, the sublime scene of the sorrows and resignation of the bereaved father. This also is painted reflectively; that is, the reader's sympathy is excited by the effect produced on one of the drama, neither angel nor devil, but a philosopher, whose heart remains sensitive, though his studies have misled his mind into the frozen regions of scepticism. To say nothing of the tendency of the two passages, which will scarce, in the mind of the most unthinking, bear any comparison, we would only remark, that Mackenzie has given us a moral truth, Sterne a beautiful trope; and that if the one claims the palm of superior brilliancy of imagination, that due to nature and accuracy of human feeling must abide with the Scottish author. Yet while marking this broad and distinct difference between these two authors, the most celebrated certainly among those who are termed sentimental, it is but fair to Sterne to add, that although Mackenzie has rejected his license of wit, and flights of imagination, retrenched, in a great measure, his episodical digressions, and altogether banished the indecency and buffoonery to which he had too frequent recourse, still their volumes must be accounted as belonging to the same class; and amongst the thousand imitators who have pursued their path, we cannot recollect one English author who is entitled to the same honor. The foreign authors, Riccoboni and Marivaux, belong to the same department; but of the former we remember little; and the latter, though full of the most delicate touches, often depends for effect on the turn of phrase, and the protracted embarrassments of artificial gallantry, more than upon the truth and simplicity of nature. The Heloise and Emile partake of the insanity of their author, and are exaggerated, though most eloquent descriptions of overwhelming passion, rather than works of sentiment. In future compositions, the author dropped even that resemblance which the style of The Man of Feeling bears, in some particulars, to the works of Sterne; and his country may boast, that, in one instance at least, she has produced, in Mackenzie, a writer of pure musical Addisonian prose, which retains the quality of vigor, without forfeiting that of clearness and simplicity. We are hence led to observe, that the principal object of Mackenzie, in all his novels, has been to reach and sustain a tone of moral pathos, by representing the effect of incidents, whether important or trifling, upon the human mind, and especially on those which were not only just, honorable, and intelligent, but so framed as to be responsive to those finer feelings to which ordinary hearts are callous. This is the direct and professed object of Mackenzie's first work, which is in fact no narrative, but a series of successive incidents, each rendered interesting by the mode in which they operate on the feelings of Harley. The attempt had been perilous in a meaner hand; for, sketched by a pencil less nicely discriminating, Harley, instead of a being whom we love, respect, sympathize with, and admire, had become the mere Quixote of sentiment, an object of pity perhaps, but of ridicule at the same time. Against this the author has guarded with great skill; and while duped and swindled in London, Harley neither loses our consideration as a man of sense and spirit, nor is subjected to that degree of contempt with which readers in general regard the misadventures of a novice upon town, whilst they hug themselves in their own superior knowledge of the world. Harley's spirited conduct towards an impertinent passenger in the stage-coach, and his start of animated indignation on listening to Edward's story, are skilfully thrown in, to satisfy the reader that his softness and gentleness of temper were not allied to effeminacy; and that he dared, on suitable occasions, to do all that might ecome a man. We have heard that some of Harley's feelings were taken from those of the author himself, when, at his first entrance on the dry and barbarous study of the municipal law, he was looking back, like Blackstone, on the land of the Muses, which he was condemned to leave behind him. It has also been said, that the fine sketch of Miss Walton was taken froin the heiress of a family of distinction, who ranked at that time high in the Scottish fashionable world. But such surmises are little worth the tracing; for we believe no original character was ever composed by any author, without the idea having been previously suggested by something which he had observed in nature. The other novels of Mr. Mackenzie, although assuming a more regular and narrative form, are, like The Man of Feeling, rather the history of effects produced on the human mind by a series of events, than the narrative of those events themselves. The villany of Sindall is the tale of a heart hardened to selfishness, by incessant and unlimited gratification of the external senses; a contrast to that of Harley, whose mental feelings have acquired such an ascendancy as to render him unfit for the ordinary business of life. The picture of the former is so horrid, that we would be disposed to deny its truth, did we not unhappily know, that sensual indulgence, in the words of Burns, -hardens a' within, And petrifies the feeling; and that there never did, and never will exist, any thing permanently noble and excellent in character, which was a stranger to the exercise of resolute self-denial. The account of the victims of Sindall's arts and crimes, particularly the early history of the Annesleys, is exquisitely well drawn; and, perhaps, the scene between the brother and sister by the pond, equals any part of the authors writings. Should the reader doubt this, he may easily make the experiment, by putting it into the hands of any young person of feeling and intelligence, and of an age so early as not to have forgotten the sports and passions of childhood. The beautiful and tragic tale of Julia de Roubigné, is of a very different tenor from The Man of the World; and we have good authority for thinking, that it was written in some degree as a counter-part to the latter work. A friend of the author the celebrated Lord Kames, we believe, had represented to Mr. Mackenzie, in how many poems, plays, and novels, the distress of the piece is made to turn upon the designing villany of some one of the dramatis personæ. On considering his observations, the author undertook, as a task fit for his genius, the composition of a story, in which the characters should be all naturally virtuous, and where the calamities of the catastrophe should arise, as frequently happens in actual life, not out of schemes of premeditated villany, but from the excess and over-indulgence of passions and feelings, in themselves blameless, nay praiseworthy, but which, encouraged to a morbid excess, and coming into fatal though fortuitous concourse with each other, lead to the most disastrous consequences. Mr. Mackenzie executed his purpose; and as the plan fell in most happily with the views of a writer, whose object was less to describe external objects, than to read a lesson on the human passions, he has produced one of the most heart-wringing histories that has ever been written. The very circumstances which palliate the errors of the sufferers, in whose distress we interest ourselves, point out to the reader that there is neither room for hope, remedy, nor revenge. When a Lovelace or a Sindall comes forth like an Evil Principle, the agent of all the misery of the scene, we see a chance of their artifices being detected, at least the victims have the consciousness of innocence, the reader the stern hope of vengeance. But when as in Julia de Roubigné, the revival of mutual affection on the part of two pure and amiable beings, imprudently and incautiously indulged, awakens, and not unjustly, the jealous honor of a high-spirited husband,when we see Julia precipitated into misery by her preference of filial duty to early love,-Savillion, by his faithful and tender attachment to a deserving object,—and Montauban, by a jealous regard to his spotless fame, we are made aware, at the same time, that there is no hope of aught but the most unhappy catastrophe. The side of each sufferer is pierced by the very staff on which he lent, and the natural and virtuous feelings which they at first most legitimately indulged, precipitate them into error, crimes, remorse, and misery. The cruelty to which Montauban is hurried, may, perhaps, be supposed to exempt him from our sympathy, especially in an age when such crimes as that of which Julia is suspected, are usually borne by the |