over its insipid pages with disgust. Alas! If the heroine of one
novel be not patronized by the heroine of another, from whom can
she expect protection and regard? I cannot approve of it. Let us
leave it to the reviewers to abuse such effusions of fancy at their
leisure, and over every new novel to talk in threadbare strains of
the trash with which the press now groans. Let us not desert one
another; we are an injured body. Although our productions have
afforded more extensive and unaffected pleasure than those of any
other literary corporation in the world, no species of composition
has been so much decried. From pride, ignorance, or fashion, our
foes are almost as many as our readers. And while the abilities
of the nine-hundredth abridger of the History of England, or of
the man who collects and publishes in a volume some dozen lines
of Milton, Pope, and Prior, with a paper from the Spectator, and
a chapter from Sterne, are eulogized by a thousand pens -- there
seems almost a general wish of decrying the capacity and undervaluing
the labour of the novelist, and of slighting the performances
which have only genius, wit, and taste to recommend them. "I am
no novel-reader -- I seldom look into novels -- Do not imagine that
I often read novels -- It is really very well for a novel." Such
is the common cant. "And what are you reading, Miss -- ?" "Oh!
It is only a novel!" replies the young lady, while she lays down
her book with affected indifference, or momentary shame. "It
is only Cecilia, or Camilla, or Belinda"; or, in short, only some
work in which the greatest powers of the mind are displayed, in
which the most thorough knowledge of human nature, the happiest
delineation of its varieties, the liveliest effusions of wit and
humour, are conveyed to the world in the best-chosen language. Now,
had the same young lady been engaged with a volume of the Spectator,
instead of such a work, how proudly would she have produced the book,