on, and the chief
excellencies of conversation are good humour and good breeding_. This
remark, equally valuable for its novelty and propriety, he dilates and
enforces with an appearance of complete acquiescence in his own
discovery.

No man was ever in doubt about the moral qualities of a letter. It has
been always known that he who endeavours to please must appear pleased,
and he who would not provoke rudeness must not practise it. But the
question among those who establish rules for an epistolary performance
is how gaiety or civility may be properly expressed; as among the
criticks in history it is not contested whether truth ought to be
preserved, but by what mode of diction it is best adorned.

As letters are written on all subjects, in all states of mind, they
cannot be properly reduced to settled rules, or described by any single
characteristick; and we may safely disentangle our minds from critical
embarrassments, by determining that a letter has no peculiarity but its
form, and that nothing is to be refused admission, which would be proper
in any other method of treating the same subject. The qualities of the
epistolary style most frequently required, are ease and simplicity, an
even flow of unlaboured diction, and an artless arrangement of obvious
sentiments. But these directions are no sooner applied to use, than
their scantiness and imperfection become evident. Letters are written to
the great and to the mean, to the learned and the ignorant, at rest and
in distress, in sport and in passion. Nothing can be more improper than
ease and laxity of expression, when the importance of the subject
impresses solicitude, or the dignity of the person exacts reverence.

That letters should be written with strict conformity to nature is true,
because nothing but conformity to nature can make any composition
beautiful or just. But it is natural to depart from familiarity of
language upon occasions not familiar. Whatever elevates the sentiments
will consequently raise the expression; whatever fills us with hope or
terrour, will produce some perturbation of images and some figurative
distortions of phrase. Wherever we are studious to please, we are afraid
of trusting our first thoughts, and endeavour to recommend our opinion
by studied ornaments, accuracy of method, and elegance of style.

If the personages of the comick scene be allowed by Horace to raise
their language in the transports of anger to the turgid vehemence