to ourselves, that lie in ambush around us, have they no right to our tears? If so, why should we want the courage to reprefent to the world the virtues of a man in humble life? Let him be born in the loweft rank of fociety, believe me (if his poet be a man of genius) he will appear greater in our eyes [we fuppofe the Author means he will intereft us more] than those kings whose lofty language has fo long ftunned our ears. Where new regulations are to take place [alluding to the drama] they ought undoubtedly to be adapted to the manners of a nation, from which the dramatic characters are taken. We are justly delighted with natural expreffion, says Pascal, for where we expected to find an author, we find a man.' We will allow our Author the truth of the above obfervations, but not without exceptions. We agree with him that the highest utility to be hoped from theatrical representations muft proceed from those whose characters lie nearer upon a level with our own. But we are of opinion that those which might be taken from the very lowest ranks in fociety,' would be unfit for exhibition. However far from other diftinctions, they should at least be supposed to have had the advantages of liberal knowledge and fentiment, to give dignity to their virtue. Characters from the lowest ranks, from the cells of loathfome penury, and brutal ignorance, however virtuous they might be, and into the hands of whatever poet they might fall, would be unfit for representation. Neither, to rife a ftep higher, would the illiterate and unfentimental peafant, who brought up his family with decency, with all the domeftic diftreffes that the poet's imagination could give him, be an object more proper for the ftage. 'Tis true, we might pity the poor man, but then, probably, we fhould pity his author too. In enumerating yet unoccupied fubjects, fuch as our Author thinks proper for the drama, he mentions the following. Has the Atheist been reprefented on the ftage, who blafphemes to give himfelf airs, who is not even fenfible of his own folly, who thinks that an efprit fort, and a philofopher are fynonimous terms, and who endeavours to make profelytes by way of encouraging himself in a way where he is afraid of walking alone? Could it not be proved to such a man, that he was a barbarous wretch, who wanted to deprive mankind of the hope of futurity, of the idea that they exifted under the eye of a Being, who heard and recorded their fighs? With fuch a character might be contrafted a man living in indigent obfcurity, far from the interest or attention of fociety, yet fupported by religious hope in peace beneath the eye of Providence. Though loft to the comforts and conveniences of life, his eye looks not to the last and horrible resource of guilty mifery. He bleffes every pang that he he endures, because every one brings him nearer to that final object on which his hope and his foul were fufpended. Let the Atheist approach and endeavour to deprive him of that hope, tell him that his fufferings are without remedy, that he has nothing to expect from a Being who does not exift! Would not the unnatural wretch infpire, on fuch an occafion, the higheft horror? Would not his odious fyftem appear in the trueft light? And would not the poor man be an image of mankind in general; for who dares say to his heart, Thou haft no hope? Though we do moft readily give every degree of credit to this fuggeftion that fo meritorious an idea can deserve, yet furely we must conclude that the Author's piety and benevolence far exceed his knowledge of the world. If that be not the cafe, and if we be mistaken, we must take it for granted that the theatres on the Continent are more aufpicious to divinity than our own; for fhould fuch a drama appear at DruryLane, it would, most affuredly, be remanded to the pulpit. We difmifs this Writer, under a firm perfuafion, that his imagination is fuperior to his judgment, and that his heart is better than either. L'Art D'Aimer, et Poefies Diverfes, De M. Bernard.-The Art of Love, and other Poems, by M. Bernard. 8vo. THESE Poems are introduced with a complimentary epigram on the Author, by Mr. Voltaire, entitled, Les Trois Bernards. The Three Bernards: the Saint, the Financier, and the Poet. The laft of whom he fays, will be known when the other two are forgot: and, indeed, it feems very probable. There is a delicate vein of wit and fancy, as well as an easy gentility in the verfes of M. Bernard, which will fufficiently appear from the few following ftanzas on his being in love with a fhepherdess. Quand fes traits frappent mes yeux, Mais mille amours font fes freres: Son cœur tout au fentiment Ce n'eft pas Newton qu'elle aime. Bifer, Baifer, regard, & foupir, Deux ames femblent preffer Something a little like it in English : Delia's fmile is wealth to me, Eyes that languish, heart that glows Charms like thefe could learning give? The kifs, the figh, the tender look Her voice, the foul's foft mufic plays, We recommend thefe poems of M. Bernard, as the most ele gant French verses we have lately met with. INDEX To the REMARKABLE PASSAGES in this Volume, including the FOREIGN ARTICLES in the Reviews April, May, June, and Appendix. N. B. To find any particular Book, or Pamphlet, fee the Table of Contents, prefixed to the Volume. AIKIN, Mr. See TACITUS, 152. ANATOMY, Comparative, new fpecies ANIMALCULES, &c. natural hiftory of, ANTIMONIALS. See FEVERS. grefs in England enquired into, 300 AUGER, M. his difc. on education, 536. AUSTRIA, general history of, 350. ton and Leibnitz concerning space and a vacuum, 568. His memoir concerning the equilibrium of the mind between equal and oppofite motives, and the principle of choice, 579. BEHAVIOUR, polite and the contrary, exemplified, 115. BELLES LETTRES. See PHILOSOPHY. BITAUBE, M. his investigation of the BLACKSTONE, Judge, his mistake con cerning the divifion of tythings, 502. BLAKE, Mr. introduces the art of ma nufacturing Morocco leather into England, 557 Bossuт, Abbé, his course of mathematics, 441. BRISTOL, prefent Bp. of, charge against him retracted, 279. BUCHOz, M. his univerfal hiftory of the vegetable world, 440. His engravings relative to the above work, 535. BUFFON'S natural history of birds, Vol. III. 437. BUSCHING's topography of Brandenburg, 444. C. ADMUS, a different perfonage from A what he is generally fuppofed to have been, 484. CAMPBELL, Mr. his cafe, relating to U u CAR CARRACCIOLI, Mr. his life of Pope CASANOVA's hiftory of the troubles in CACE, Dr. account of, 203. CHABANON on the phrenzy of imitating CHEMISTRY, legerdemain tricks per- CISTERCIAN Monks, great privileges DELISLE, Abbé, his poem on rural life, DE L'OR ME's Gouvernement Oeconomique, DEMONIACS, of the New Testament, FAVART. See Bucнoz. DUSAULX, M. his letters, &c, on the DU SEJOUR, his effay on comets, 524. E. ARTH, curious fuggeftions concern- CLARENDON, Lord, wrote his hiftory Eing the age of, 615. Its deftruc- under prejudices and fuperftition, 135. CROCODILE, the vertebra of an huge D. ALMATIA, &c. hiftory of, 594. DDANIEL, his prophecy of feventy weeks, new explication of, 487. tion prognofticated from extreme cold, EDUCATION, rural, preferable to that EEL, quaking, account of the phenome- EMPHASIS explained, 402. EPIGRAM on the Welch, Scotch, and cers, 533. FEVERS, reflections on the theory of, DEBT, national, inconveniences and ad- FIRE, experim. on the weight of, vantages arising from, 39-41. DE HAEN, his defence of magic, 591. 610 ball of, extraordinary one obferved in France, 622, FLETCHER, |