An Inquiry into the Causes of the late Increase of Robbers, etc. with some proposals for remedying the growing Evil, in which the Laws relating to Felons are freely considered.

Of the Remedy of Affliction for the loss of our Friends. Translation of the first Olynthiac of Demosthenes.

An Answer to a Pamphlet, entitled "An Apology for the Conduct of a late celebrated Second-rate Minister, when he commenced Courtier."

A Clear state of the Case of Elizabeth Canning.

Case of Bosaverus Penlez.

Prefaces to David Simple, and the familiar Letters between David Simple and others.

An Ironical Imitation of Natural History, in a Description of a Guinea, as a newly discovered Insect or Animal, under the name of the Terrestrial Chrysippus, or Goldenfoot.

DRAMATIC WORKS.

LOVE in Several. Masques, a Comedy, in Three Acts.
The Temple Beau, a Comedy, in Five Acts.

The Author's Farce, with a Puppet-show, called the Pleasures of the Town, in Three Acts.

The Coffee-house Politician, or the Justice caught in his own Trap, a Comedy, in Five Acts.

The Tragedy of Tragedies, or the Life and Death of Tom Thumb the Great, with Annotations, in Three Acts.

The Letter-Writers, or a New Way to Keep a Wife at Home, a Farce.

The Lottery, a Farce.

The Grub-Street Opera, a Farce.

The Modern Husband, a Play, in Five Acts.

The Mock Doctor, or the Dumb Lady Cured, a Ballad Farce.

The Covent-Garden Tragedy, a Burlesque.

The Miser, a Farce.

The Intriguing Chambermaid, a Ballad Farce, in Two Acts.

The Debauchees, or the Jesuit Caught, a Farce.

Don Quixote in England.

The old Man taught Wisdom, or the Virgin Unmasked, a Farce.

The Universal Gallant, or the Different Husbands, a Comedy, in Five Acts.

Pasquin, a Dramatic Satire on the Times, being the Rehearsal of Two Plays, etc.

The Historical Register, for 1736.
Eurydice, a Farce.

Eurydice Hiss'd, or a Word to the Wise.

Tumble-down Dick, or Phaeton in the Suds.

Miss Lucy in Town, a Sequel to the Virgin Unmasked, a Farce.

Plutus, the God of Riches, translated from the Greek of Aristophanes.

The Wedding-day, a Comedy, in Five Acts.

An Interlude between Jupiter, Juno, Apollo, and Mercury.

The Fathers, or the Good-natured Man, a Comedy, in Five Acts.

A Dialogue between Alexander the Great and Diogenes the Cynic.

PERIODICAL PAPERS,

IN WHICH HE WAS ENGAGED.

The Champion.

The True Patriot.

The Jacobite Journal, and

The Covent-Garden Journal

POSTHUMOUS WORKS.

Journal of a Voyage to Lisbon.

Some Tracts relating to the Poor, etc. published in substance by Sir John Fielding.

Comment on Lord Bolingbroke's Essays, a fragment of which only was in a state fit for publication.

Besides these, a work remained in the hands of Sir John Fielding, on the subject of Crown Law, which was never published.

APPENDIX.

An Epistle to the Right Honourable Sir Robert Walpole.

WHILE at the helm of state you ride
Our nation's envy and its pride;

While foreign courts with wonder gaze,
And curse those councils which they praise;
Would you not wonder, sir, to view
Your bard a greater man than you?
Which that he is, you cannot doubt,
When you have read the sequel out.

You know, great sir, that ancient fellows,
Philosophers, and such folks, tell us,
No great analogy between

Greatness and happiness is seen.
If then, as it might follow straight,
Wretched to be, is to be great;
Forbid it, gods, that you should try
What 't is to be so great as I;

The family, that dines the latest,
Is in our street esteem'd the greatest;
But latest hours must surely fall
'Fore him, who never dines at all.

Your taste in architect, you know,
Hath been admired by friend and foe;
But can your earthly domes compare
With all my castles--in the air?

We 're often taught, it doth behove us
To think those greater, who 're above us;
Another instance of my glory,

Who live above you, twice two story;
And from my garret can look down
On the whole street of Arlington.*

* Where Sir Robert lived.

Greatness by poets still is painted,
With many followers acquainted;
This too doth in my favour speak;
Your levee is but twice a week;

From mine I can exclude but one day,
My door is quiet on a Sunday.

Nor, in the manner of attendance,

Doth your great bard claim less ascendance.

Familiar you to admiration,

May be approached by all the nation;

While I, like the Mogul in Indo,

Am never seen but at my window.

If with my greatness you're offended,
The fault is easily amended;

For I'll come down, with wond'rous ease,

Into whatever place you please.

I'm not ambitious; little matters

Will serve us great, but humble creatures.
Suppose a secretary o' this Isle,

Just to be doing with a while;
Admiral, gen'ral, judge or bishop :
Or I can foreign treaties dish up.
If the good genius of the nation
Should call me to negotiation,
Juscan and French are in my head,
Latin I write, and Greek-I read.

If you should ask, what pleases best?
To get the most, and do the least.
What fittest for ?-You know, I'm sure;
I'm fittest for- a sine-cure

LIFE

OF

HENRY FIELDING, ESQ.

THIS ingenious and popular writer was born at Sharpham Park, in Somersetshire, near Glastonbury, April 22, 1707. He descended from an ancient and honourable family: his father served in the wars under the duke of Marlborough, and arrived at the rank of lieutenant-general.

Henry was educated partly at home, and afterward at Eton and Leyden, where he studied civil law for about two years; but owing to the increase of the expense of his father's numerous family, he was obliged to return to London when not quite twenty years of age, and here his means, scanty as they were, became still more insufficient, from his associating with men of wit and gaiety, to whom he recommended himself by a congenial flow of vivacity and spirit. After struggling for some time with difficulties, he commenced writer for the stage; and about the year 1727 produced a piece entitled, "Love in several Masques," which was favourably received. In the year following he produced his "Temple Beau," and before the year 1736, the whole of his dramatic performances were exhibited, amounting to eighteen, with various success. In these pieces, if we consider that they were all produced before the author had attained his thirtieth year, we shall be surprised to find so many characters sketched with the hand of a master, and so much neatness of dialogue and smartness of repartee. If, however, without making allowance for his age, and the hurry in which his pieces were produced, we apply the test of comparison to them, they will perhaps be justly thought to rise very superior to the loose and vapid compositions which modern taste has introduced and en