n even in a college.

When he had completed his academical studies, he was sent to London to
study the law, and was entered of the Middle Temple. He troubled
himself, however, very little about pleading or conveyancing, and gave
himself up to literature and society. Two kinds of ambition early took
possession of his mind, and often pulled it in opposite directions. He
was conscious of great fertility of thought and power of ingenious
combination. His lively conversation, his polished manners, and his
highly respectable connections had obtained for him ready access to the
best company. He longed to be a great writer. He longed to be a man of
fashion. Either object was within his reach. But could he secure both?
Was there not something vulgar in letters, something inconsistent with
the easy apathetic graces of a man of the mode? Was it aristocratical to
be confounded with creatures who lived in the cocklofts of Grub Street,
to bargain with publishers, to hurry printers' devils and be hurried by
them, to squabble with managers, to be applauded or hissed by pit,
boxes, and galleries? Could he forego the renown of being the first wit
of his age? Could he attain that renown without sullying what he valued
quite as much, his character for gentility? The history of his life is
the history of a conflict between these two impulses. In his youth the
desire of literary fame had the mastery; but soon the meaner ambition
overpowered the higher, and obtained supreme dominion over his mind.

His first work, a novel of no great value, he published under the
assumed name of Cleophil. His second was the Old Bachelor, acted in
1693, a play inferior indeed to his other comedies, but, in its own
line, inferior to them alone. The plot is equally destitute of interest
and of probability. The characters are either not distinguishable, or
are distinguished only by peculiarities of the most glaring kind. But
the dialogue is resplendent with wit and eloquence, which indeed are so
abundant that the fool comes in for an ample share, and yet preserves a
certain colloquial air, a certain indescribable ease, of which Wycherley
had given no example, and which Sheridan in vain attempted to imitate.
The author, divided between pride and shame,--pride at having written a
good play, and shame at having done an ungentlemanlike thing,--pretended
that he had merely scribbled a few scenes for his own amusement, and
affected to yield unwillingly to the importuni