ut according to the success, or
otherwise, with which I was able to bring them out. I only tried to make
that which I was actually writing diverting and interesting, leaving the
rest to fate. I have been often amused with the critics distinguishing
some passages as particularly laboured, when the pen passed over the
whole as fast as it could move, and the eye never again saw them, except
in proof. Verse I write twice, and sometimes three times over. This may
be called in Spanish the _Dar donde diere_ mode of composition, in
English _hab nab at a venture_; it is a perilous style, I grant, but I
cannot help it. When I chain my mind to ideas which are purely
imaginative--for argument is a different thing--it seems to me that the
sun leaves the landscape, that I think away the whole vivacity and
spirit of my original conception, and that the results are cold, tame,
and spiritless. It is the difference between a written oration and one
bursting from the unpremeditated exertions of the speaker, which have
always something the air of enthusiasm and inspiration. I would not have
young authors imitate my carelessness, however; _consilium non currum
eape_.

Read a few pages of Will D'Avenant, who was fond of having it supposed
that Shakespeare intrigued with his mother. I think the pretension can
only be treated as Phaeton's was, according to Fielding's farce--

"Besides, by all the village boys I'm shamed,
You, the sun's son, you rascal?--you be damn'd."

Egad--I'll put that into _Woodstock_.[167] It might come well from the
old admirer of Shakespeare. Then Fielding's lines were not written. What
then?--it is an anachronism for some sly rogue to detect. Besides, it is
easy to swear they were written, and that Fielding adopted them from
tradition. Walked with Skene on the Calton Hill.

_February_ 13.--The Institution for the Encouragment of the Fine Arts
opens to-day, with a handsome entertainment in the Exhibition-room, as
at Somerset House. It strikes me that the direction given by amateurs
and professors to their _proteges_ and pupils, who aspire to be artists,
is upon a pedantic and false principle. All the Fine Arts have it for
their highest and more legitimate end and purpose, to affect the human
passions, or smooth and alleviate for a time the more unquiet feelings
of the mind--to excite wonder, or terror, or pleasure, or emotion of
some kind or other. It often happens that, in the very rise and origin
of these