GLASGOW COLLEGE. 31 



assign for it was the one now mentioned. This inability to receive 

 pleasure from descriptions such as that of ' The Idiot Boy,' is, I 

 am convinced, founded upon established feelings of human nature, 

 and the principle of it constitutes, as I dare say you recollect, 

 the leading feature of Smith's Theory of Moral Sentiments. I 

 therefore think that, in the choice of this subject, you have com- 

 mitted an error. You never deviate from nature ; in you that 

 would be impossible ; but in this case you have delineated feelings 

 which, though natural, do not please, but which create a certain 

 degree of disgust and contempt. With regard to the manner in 

 which you have executed your plan, I think too great praise cannot 

 be bestowed upon your talents. You have most admirably deline- 

 ated the idiotism of the boy's mind, and the situations in which you 

 place him are perfectly calculated to display it. The various 

 thoughts that pass through the mother's mind are highly descrip- 

 tive of her foolish fondness, her extravagant fears, and her ardent 

 hopes. The manner in which you show how bodily sufferings are 

 frequently removed by mental anxieties or pleasures, in the descrip- 

 tion of the cure of Betty Foy's female friend, is excessively well 

 managed, and serves to establish a veiy curious and important 

 truth. In short, every thing you proposed to execute has been 

 executed in a masterly manner. The fault, if there be one, lies in 

 the plan, not in the execution. This poem we heard recommended 

 as one in your best manner, and accordingly it is frequently read in 

 this belief. The judgment formed of it is, consequently, erroneous. 

 Many people are displeased with the performance ; but they are not 

 careful to distinguish faults in the plan from faults in the execution, 

 and the consequence is, that they form an improper opinion of 

 your genius. In reading any composition, most certainly the plea- 

 sure we receive arises almost wholly from the sentiment, thoughts, 

 and descriptions contained in it. A secondary pleasure arises from 

 admiration of those talents requisite to the production of it. In 

 reading ' The Idiot Boy,' all persons who allow themselves to think, 

 must admire your talents, but they regret that they have been so 

 employed, and while they esteem the author, they cannot help being 

 displeased with his performance. I have seen a most excellent 

 painting of an idiot, but it created in me inexpressible disgust. I 

 admired the talents of the artist, but I had no other source of plea- 

 sure. The poem of ' The Idiot Boy' produced upon me an effect in 



