[ i8 ] 



nious integrity of the Greek and Roman models, as defer<^ the claf- 

 fic flyle of compofition, to which the beft modern writers have 

 formed themfelves, by a diligent perufal of the facred remains of 

 antiquity, in favour of produdions, of which it may be truly 

 faid that they are to be perufed with advantage, as exhibiting, by 

 contraft, the rules of good tafte, in fpecimens of the reverfe of 

 every thing that has ufually been fuppofed to form the life and 

 foul of legitimate compofition, in glaring examples of almoft 

 every fault into which a writer is liable to be feduced, by a puerile 

 imagination, a depraved tafte, and a defedive judgment. This 

 revolution in literature is the more extraordinary at a time, when 

 fafiidious delicacy and a liftlefs flownefs to be pleafed are the 

 charadcrs of the age, and with exceffive luxury, an uncommon 

 eiFcminacy and foftnefs of manners are generally difFufed. It is 

 not lefs extraordinary, that amidfl the prevalent affedation of a 

 prudifh and fandimonious morality, and a more than ordinary 

 attention, on the part of government, to corredl and controul the 

 llcentioufnefs of the prefs, writings of a tendency like that of the 

 German Dramas and Novels fhould be fuffered to fpread, and pro- 

 pagate their poifon, without moleflation or reproof from the Pul- 

 pit or the Police. 



It will appear, on a perufal of thofe German writings of the 

 neweft ftamp, which have been tranflated into Engli/h, that the 

 language is either bombaftic and tumid, often unintelligible, or 

 elfe, grofsly familiar and vulgar; the fentiments forced, unnatural, 



and 



