Did crafty Horace his low Numbers join:
And, with a sly insinuating Grace,
Laugh’d at his Friend, and look’d him in the Face:
Wou’d raise a Blush, where secret Vice he found;
And tickle, while he gently prob’d the Wound.
With seeming Innocence the Crowd beguil’d;
But made the desp’rate Passes, when he smil’d.

Mr. Dryden.

This was the Character of one of the greatest Roman Poets; and in this Art, amongst the Moderns, [G]Benserade particularly excell’d, if we may believe his Successor and Panegyrist Pavillon.

What is the proper Style for Characteristic-Writings is briefly laid down by [H]Libanius in the following Words. Ἐργάση τὴν ἠθοποιίαν χαρακτῆρι σαφεῖ, συντόμῳ, ἀνθηρῷ, ἀπολύτῳ, ἀπηλλαγμένῳ πάσης πλοκῆς τε καὶ σχήματος. “When you describe Manners you must use a plain, concise, florid, easy Style, free from all artificial Turns and Figures.” Every Thing must be even, smooth, easy and unaffected; without any of those Points and Turns, which convey to the Mind nothing but a low and false Wit, in which our Moderns so much abound, and in which they seem to place their greatest Beauties.

The primary Standard for Style is the Nature of the Subject: And therefore, as Characteristic-Writings are professed Representations of Nature, an Author in this Way is immediately concern’d to use a simple and natural Style: Nor has he any Reason to fear, that this will any ways prejudice his Performance, and make it appear low, flat and insipid; for in Reality there is nothing more noble than a true Simplicity, and nothing more beautiful than Nature, when it appears in the easy Charms of its own native Dress.

In Characteristic-Writings both the Way of Thinking and the Style must be Laconic: Much must be contained in a little Compass. Brevity of Diction adds new Life to a good Thought: And since every perfect Stroke ought to be a distinct Representation of a particular Feature, Matters shou’d be so order’d, that every perfect Sentence may contain a perfect Thought, and every perfect Thought may represent one Feature.

Many other Particulars might have been observ’d and recommended to those, who wou’d attempt a Performance in this Kind, with some Assurance of Success. The Laws of good Writing, in general, may and ought to be applied to Characteristic-Writing, in particular, as far as the Nature of it will bear. But to pursue these Things accurately, wou’d carry me beyond the Bounds which the Title of this Work prescribes to me. To shew the peculiar Nature; to point out the principal Beauties, and to lay down the general Laws of Characteristic-Writing, is all that was propos’d. Besides, I shall have Occasion, in the Sequel of this Essay, to make some further Observations relating to the Constitution of Characteristic-Writings; which, to prevent Repetitions, I forbear mentioning here; but if the Reader be religious in the Observance of a strict Method, he is at full Liberty to alter the Situation of them, and to refer them to this Section.

[SECT. IV.]

MR. de la Bruyere has given us a Translation of the Characters of Theophrastus; to which he has annex’d what he calls the Characters or Manners of the present Age. This Work was receiv’d with Applause, and the Author gain’d by it a great Reputation amongst Men of polite Literature. And if to make a great deal of Noise in the World, and to undergo several Editions, were infallible Proofs of the intrinsick Merit of a Book, Mr. de la Bruyere’s Performance would, upon both these Accounts, sufficiently recommend itself to our Approbation.—I confess, there are very considerable Beauties in this Piece: but yet if it should be examin’d by those Rules of Characteristic-Writing, which I have already mention’d, and which I take to be essential to Performances in this Kind, I am afraid it would not be able, in every Respect, to stand the Test of an impartial Examination.

I do not intend to enter upon an exact Critique of this Piece; the intended Brevity of this Essay will permit me to take Notice of but some few Particulars.—I have no Design or Desire to derogate from the Reputation of the deceas’d Author; but this I take to be a standing Rule in Critical Writings, as well as in judicious Reading, that we ought not to be so struck with the Beauties of an Author, as to be blind to his Failings; nor yet so prejudiced by his Failings, as to be blind to his Beauties.