Swift's writings; whoever examines them will find, that, through the whole piece, no one episode or allusion is introduced for its own sake, but every part appears not only consistent with, but written for the express purpose of strengthening and supporting, the whole.

Upon the style of Swift, Dr Johnson has made the following observations, which are entitled to great weight from the learning and character of the critic. It is, however, to be considered, that the author of the Rambler may be supposed in some degree to undervalue a structure of composition, so strikingly opposed to his own, and that Dr Johnson, as has already been observed, appears to have been unfriendly to the memory of Dean Swift.*

* When employed in writing the Dean's life, Dr Johnson received two invitations from Deane Swift, Esq. to spend some time at his house in Worcestershire, one of which was conveyed by Mr Theophilus Swift, his son, to whom I owe this information. The purpose was to make every communication in his power, that might throw light on the history of his great and beloved relative. But Dr Johnson declined the invitation, and even refused to receive the information offered, or to communicate with Mr Deane Swift upon the subject. It would be difficult to assign a motive for the prejudice against Swift, so obvious in Dr Johnson's conduct on this occasion, as well as in many passages of his life of the Dean, especially considering that these great men coincided in political sentiments. There is a letter from Earl Gower to some friend of Swift, dated 1st August, 1738, in which he endeavours to secure the Dean's interest for the purpose of procuring for Johnson the degree of Mas

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"In his works he has given very different specimens both of sentiments and expression. His Tale of a Tub' has little resemblance to his other pieces. It exhibits a vehemence and rapidity of mind, a copiousness of images, and vivacity of diction, such as he afterward never possessed, or never exerted. It is of a mode so distinct and peculiar, that it must be considered by itself; what is true of that, is not true of anything else which he has written.

"In his other works is found an equable tenor of easy language, which rather trickles than flows. His delight was in simplicity. That he has in his works no metaphor, as has been said, is not true; but his few metaphors seem to be received rather by necessity than choice. He studied purity; and though perhaps all his strictures are not exact, yet it is not often that solecisms can be found; and whoever depends on his authority may generally conclude him

ter of Arts in the University of Dublin, in order to render him eligible to be teacher of a charity-school at Appleby. The Dean may have refused or neglected this application. The late Bishop of Dromore, who had many opportunities of personal observation, was of opinion, that Dr Johnson's dislike to Swift arose from the Dean's having opposed Dr Madden's scheme for distributing prizes in Trinity College. It must be remembered, that Dr Johnson himself revised Madden's poem on the death of Boulter. Yet certainly it is unlikely that, so late as 1742, when that primate died, the Dean should have publicly interested himself in the affairs of the university.

self safe. His sentences are never too much dilated, or contracted; and it will not be easy to find any embarrassment in the complication of his clauses, any inconsequence in his connections, or abruptness in his transitions.

"His style was well suited to his thoughts, which are never subtilized by nice disquisitions, decorated by sparkling conceits, elevated by ambitious sentences, or variegated by far-sought learning. He pays no court to the passions; he excites neither surprise nor admiration; he always understands himself, and his readers always understand him. The peruser of Swift wants little previous knowledge; and it will be sufficient that he is acquainted with common words and common things; he is neither required to mount elevations, nor to explore profundities; his passage is always on a level, along solid ground, without asperities, without obstruction.”

The general character of Swift has been excellently drawn by the learned and candid Granger, with which I request permission to close these memoirs:

"Jonathan Swift was blessed in a higher degree than any of his contemporaries, with the powers of a creative genius. The more we dwell upon the character and writings of this great man, the more they improve upon us in whatever light we view him, he still appears to be an original. His wit, his humour, his patriotism, his charity, and even his piety,

were of a different cast from those of other men. He had in his virtues few equals, and in his talents no superior. In that of humour, and more especially in irony, he ever was, and probably ever will be, unrivalled. He did the highest honour to his country by his parts, and was a great blessing to it by the vigilance and activity of his public spirit. His style, which generally consists of the most naked and simple terms, is strong, clear, and expressive; familiar, without vulgarity or meanness; and beautiful, without affectation or ornament. He is sometimes licentious in his satire; and transgresses the bounds of delicacy and purity. He, in the latter part of his life, availed himself of the privilege of his great wit to trifle; but when, in this instance, we deplore the misapplication of such wonderful abilities, we at the same time admire the whims, if not the dotages, of a Swift. He was, perhaps, the only clergyman of his time, who had a thorough knowledge of men and manners. His Tale of a Tub,' his Gulliver's Travels,' and his Drapier's Letters,' are the most con

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Poetry,' are at the head of his poetical performances. His writings, in general, are regarded as standing models of our language, as well as perpetual monuments of their author's fame."