music, indulging every noisy freedom, and testifying all the insolence of beggary in exaltation.

They who held the middle region seemed not so riotous as those above them, nor yet so tame as those below; to judge by their looks, many of them seemed strangers there as well as myself; they were chiefly employed, during this period of expectation, in eating oranges, reading the story of the play, or making assignations.

Those who sat in the lowest rows, which are called the pit, seemed to consider themselves as judges of the merit of the poet and the performers; they were assembled partly to be amused, and partly to show their taste; appearing to labour under that restraint which an affectation of superior discernment generally produces. My companion, however, informed me, that not one in a hundred of them knew even the first principles of criticism; that they assumed the right of being censors because there was none to contradict their pretensions; and that every man who now called himself a connoisseur, became such to all intents and purposes.

Those who sat in the boxes appeared in the most unhappy situation of all. The rest of the audience came merely for their own amusement; these rather to furnish out a part of the entertainment themselves. I could not avoid considering them as acting parts in dumb show, not a courtesy or nod that was not the result of art; not a look nor a smile that was not designed for murder. Gentlemen and ladies ogled each other through spectacles; for my companion observed, that blindness was of late become fashionable, all affected indifference and ease, while their hearts at the same time burned for conquest. Upon the whole, the lights, the music, the ladies in their gayest dresses, the men with cheerfulness and expectation in their looks, all conspired to make a most agreeable picture, and to fill a heart that sympathises at human happiness with an inexpressible serenity.

The expected time for the play to begin at last arrived, the curtain was drawn, and the actors came on. A woman who personated a queen, came in courtesying to the audience, who clapped their hands upon her appearance. Clapping of hands is, it seems, the manner of applauding in England; the manner is absurd, but every country, you know, has its peculiar absurdities. I was equally surprised, however, at the submission of the actress, who should have considered herself as a queen, as at the little discernment of the audience who gave her such marks of applause before she attempted to deserve them. Preliminaries between her and the audience being thus adjusted, the dialogue was sup ported between her and a most hopeful youth, who acted the part of her confidant. They both appeared in extreme distress, for it

years old was learning to dance on the stage, which gave the ladies and mandarins infinite satisfaction. I am sorry,' said I, 'to see the pretty creature so early learning so bad a trade; dancing being, I presume, as contemptible here as in China.'-'Quite the reverse,' interrupted my companion, dancing is a very reputable and genteel employment here; men have a greater chance for encouragement from the merit of their heels than their heads. One who jumps up and flourishes his toes three times before he comes to the ground, may have three hundred a year; he who flourishes them four times, gets four hundred; but he who arrives at five is inestimable, and may demand what salary he thinks proper. The female dancers, too, are valued for this sort of jumping and crossing; and it is a cant word among them that she deserves most who shows highest. But the fourth act is begun, let us be attentive.'

In the fourth act the queen finds her long-lost child, now grown up into a youth of smart parts and great qualifications; wherefore, she wisely considers that the crown will fit his head better than that of her husband, whom she knows to be a driveller. The king discovers her design, and here comes on the deep distress he loves the queen, and he loves the kingdom, he resolves, there fore, in order to possess both, that her son must die. The queen exclaims at his barbarity, is frantic with rage, and at length, overcome with sorrow, falls into a fit; upon which the curtain drops, and the act is concluded.

'Observe the art of the poet,' cries my companion; when the queen can say no more, she falls into a fit. While thus her eyes are shut, while she is supported in the arms of Abigail, what horrors do we fancy! we feel it in every nerve, take my word for it, that fits are the true aposiopesis of modern tragedy.'

Scenes shifting,

The fifth act began, and a busy piece it was. trumpets sounding, mobs hallooing, carpets spreading, guards bustling from one door to another gods, demons, daggers, racks, and ratsbane. But whether the king was killed, or the queen was drowned, or the son was poisoned, I have absolutely forgotten. When the play was over, I could not avoid observing that the persons of the drama appeared in as much distress in the first act as the last: How is it possible,' said I, to sympathize with them through five long acts! Pity is but a short-lived passion; I hate to hear an actor mouthing trifles: neither startings, strainings, nor attitudes affect me, unless there be cause; after I have been once or twice deceived by those unmeaning alarms, my heart sleeps in peace, probably unaffected by the principal distress. There should be one great passion aimed at by the actor as well as the poet, all the rest should be subordinate, and only contri

bute to make that the greater; if the actor, therefore, exclaims upon every occasion in the tones of despair, he attempts to move us too soon; he anticipates the blow, he ceases to affect, though he gains our applause.'

I scarcely perceived that the audience were almost all departed, wherefore, mixing with the crowd, my companion and I got into the street; where essaying a hundred obstacles from coach-wheels and palanquin-poles, like birds in their flight through the branches of a forest, after various turnings we both at length got home in safety. Adieu.

LETTER VI.

VIRTUES OF THE ENGLISH.

YET, while I sometimes lament the case of humanity, and the depravity of human nature, there now and then appear gleams of greatness that serve to relieve the eye, oppressed with the hideous prospect; and resemble those cultivated spots that are sometimes found in the midst of an Asiatic wilderness. I see many superior excellences among the English, which it is not in the power of all their follies to hide; I see virtues, which in other countries are known only to a few, practised here by every rank of people.

I know not whether it proceeds from their superior opulence that the English are more charitable than the rest of mankind; whether, by being possessed of all the conveniences of life themselves, they have more leisure to perceive the uneasy situation of the distressed; whatever be the motive, they are not only the most charitable of any other nation, but most judicious in distinguishing the properest objects of compassion.

In other countries the giver is generally influenced by the immediate impulse of pity; his generosity is exerted as much to relieve his own uneasy sensations, as to comfort the object in distress. In England benefactions are of a more general nature. Some men of fortune and universal benevolence propose the proper objects; the wants and the merits of the petitioners are can vassed by the people; neither passion nor pity find a place in the cool discussion; and charity is then only exerted when it has received the approbation of reason.

A late instance of this finely directed benevolence forces itself strongly on my imagination; that it in a manner reconciles me