ful and acceptable. But young persons should be cautioned not to adopt any sentiment, or any expression, even of the most approved writer, that is not consistent with their own judgment, and with the thoughts, and feelings, of their own minds. "Nothing is beautiful but what is true," is a maxim of universal acceptation; but it applies, with peculiar force, to epistolary communications.

Letter-writing is a subject of so varied and extensive a nature, that it can scarcely be reduced to rule, or taught by precept. But some instruction respecting it, may doubtless be communicated to young persons, through the medium of rules; and the following, together with the observations that accompany them, have been formed, with particular care, for that purpose. They will, it is hoped, be found of real and practical utility; and afford considerable assistance to young persons, in avoiding error, and obtaining some degree of excellence, in epistolary composition.

I. When you write a letter to any person, express the same sentiments, and use the same language, as you would do if you were conversing with him. "Write eloquently," says Mr. Gray, "that is from your heart, in such expressions as that will furnish."

This rule is of primary importance, for the attainment of ease and simplicity in epistolary composition. But it will not, with equal efficacy, promote correctness and propriety, unless we accustom ourselves to think, and to express our thoughts, accurately and properly, in common conversation.

II. Before you begin a letter, especially when it is on any occasion of importance, weigh well in your own mind the design and purport of it; and consider, very attentively, what sentiments are most proper for you to express, and your correspondent to read.

The observance of this rule is highly useful. To those who have few thoughts, it affords an opportunity of adding to the stock; and to those who are overwhelmed by the abun dance, or perplexed by the variety, of them, it gives ample scope for selection. When he have well considered a subject, and thoroughly understand it, we can scarcely fail, with a moderate degree of attention and of literary attainments, to express ourselves clearly, distinctly, and even forcibly.Many persons make a rough draught of the letter they design to write; which, when they have corrected and improved it as much as they can, they transcribe. On occasions of particular difficulty or importance, this practice is not to be condemned. It is frequently recommended, or allowed, to children and young persons, in their first epistolary essays, though on the most trival subjects: but if it should be long continued, or become habitual, it will prove a great hinderance to facility and despatch in writing; which are always useful, and often absolutely necessary, in the commerce of the world.

To assist invention and to promote order, it may, as some writers on epistolary composition recommend, occasionally be of use to make, in the mind, a division of a letter into three parts, the beginning, middle, and end: or, in other words, into the exordium or introduction; the narration or proposition; and the conclusion. The exordium or introduction should be employed, not indeed with the formality of rhetoric, but with the ease of genuine politeness and benevolence, in conciliating favour and attention; the narration or proposition, in stating the business with clearness and precision; the conclusion, in confirming what has been premised, in making apologies where any are necessary, and in cordial expressions of respect, esteem, or affection.

"Ease and simplicity in epistolary composition," as Dr. Blair justly observes," are not to be understood as importing entire carelessness. In writing to the most intimate friend, a certain degree of attention, both to the subject and the style, is requisite and becoming. It is no more than what we owe both to ourselves, and to the friend with whom we correspond. A slovenly and negligent manner of writing, is a disobliging mark of want of respect. The liberty, besides, of writing letters with too careless a hand, is apt to betray persons into imprudence in what they write. An improper expression in conversation may be forgotten and pass away; but when we take the pen into our hand, we must remember, that, 'Litera scripta manet.'

III. Let all your sentiments and expressions be consistent with truth and virtue. Avoid exaggerated and extravagant professions of regard; suppress every unjust or malignant thought; encourage pious and benevolent affections in your own mind, and in the minds of those whom you address.

This rule is important in conversation; but much more so in letters: because, writing allows an opportunity for consideration, which renders error of every kind more inexcusable; and what is written usually makes a stronger and more permanent impression than what is merely spoken."Let me conjure you," says bishop Atterbury in a letter to his son, "6 never to say any thing, either in a letter or in common conversation, that you do not think; but always let your mind and your words go together, even on the most slight and trivial occasions. Shelter not the least degree of insincerity under the notion of a compliment; which, as far as it deserves to be practised by a man of probity, is only the most civil and obliging way of saying what we really mean:

whoever employs it otherwise, throws away truth for what he fancies good breeding; and I need not tell you how little his character gains by such an exchange."

To endeavour, in all our personal intercourse with our relatives, and friends, and acquaintances, to please and edify them, and, when we are absent from them, to make our letters to them, mementos not only of affection or of kindness, but also of an earnest desire to promote their welfare, both in this world and in the world to come, is an important duty, and one of the greatest pleasures that a pious and feeling mind can enjoy. Even in letters of business, opportunities often occur of suggesting, in the most easy and delicate manner, sentiments of a moral and religious nature, which may But such sentiments prove of great and lasting benefit. should not be introduced for the purpose of ostentatious display, or any other of a still more culpable nature: they should spring from the heart, and from a thorough conviction of their propriety, or they will produce but a faint impression either on him who writes, or on him who reads.

IV. Vary your style; and adapt it to the subject of your letter, and also to the character, the station, and other peculiar circumstances, of the person to whom you write.

As the occasion on which letters are written, and the situation, feelings, and acquirements, of those who write them, as well as of those to whom they are written, are so various, a great diversity of style necessarily becomes requisite. On important subjects, it should be strong and solemn; on lighter subjects, easy, and simple; in exhortation, earnest; in persuasion, mild; in consolation, tender; in congratulation, lively; in requests, modest; in commendation, warm; to superiors, respectful; to inferiors, courteous; to friends and companions, familiar.

The sentiments of Dr. Johnson and Dr. Knox, on this point, are highly worthy of attention. "The qualities of the epistolary style most frequently required," says the former of these writers, (Rambler, No. 152,) "are ease and simplicity, an even flow of unlaboured diction, and an artless arrangement of obvious sentiments. But these directions are no sooner applied to use, than their scantiness and imperfection become evident. Letters are written to the great and to the mean, to the learned and the ignorant; at rest and in distress; in sport and in passion. Nothing can be more improper than ease and laxity of expression, when the importance of the subject impresses solicitude, or the dignity of the person exacts reverence. That letters should be written with strict conformity to nature is true, because nothing but conformity to nature can make any composition beautiful or just. But it is natural to depart from familiarity of language upon occasions not familiar. Whatever elevates the sentiments will consequently raise the expression; whatever fills us with hope or terror, will produce some perturbation of images. Wherever we are studious to please, we are afraid of trusting our first thoughts, and endeavour to recommend our opinion by studied ornaments, accuracy of method, and elegance of style. The epistolary writer may, without censure, comply with the varieties of his matter. If great events are to be related, he may, with all the solemnity of an historian, deduce them from their causes, connect them with their concomitants, and trace them to their consequences. If a disputed position is to be established, or a remote principle to be investigated, he may detail his reasonings with all the nicety of syllogistic method. If a menace is to be averted, or a benefit implored, he may, without any violation of the edicts of criticism, call every power of rhetoric to his assis

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