stand poor Mr. Shapely has no estate; but how can he help that, you know? And yet my friends are so unreasonable as to be always teasing me about him, because he has no estate; but I am sure he has that that is better than an estate; for he is a good-natured, ingenious, modest, civil, tall, well-bred, handsome, man; and I am obliged to him for his civilities ever since I saw him. I forgot to tell you that he has black eyes, and looks upon me now and then as if he had tears in them. And yet my friends are so unreasonable, that they would have me be uncivil to him. I have a good portion which they cannot hinder me of, and I shall be fourteen on the 29th day of August next, and am therefore willing to settle in the world as soon as I can, and so is Mr. Shapely. But every body I advise with here is poor Mr. Shapely's enemy. I desire, therefore, you will give me your advice, for I know you are a wise man ; and if you advise me well, I am resolved to follow it. I heartily wish you could see him dance; and

No. 476. FRIDAY, SEPTEMBER 5, 1712.

Lucidus ordo.

HOR. ARS POET. 41.

Method gives light.

AMONG my daily papers which I bestow on the public, there are some which are written with regularity and method, and others that run out into the wildness of those compositions which go by the name of essays. As for the first, I have the whole scheme of the discourse in my mind before I set pen to paper. In the other kind of writing, it is sufficient that I have several thoughts on a subject, without troubling myself to range them in such order, that they may seem to grow out of one another, and be disposed under the proper heads. Seneca and Montaigne are patterns for writing in this last kind, as Tully and Aristotle excel in the other. When I read an author of genius who writes without method, I fancy myself in a wood that abounds with a great many noble objects, rising among one another in the greatest confusion and disorder. When I read a methodical discourse, I am in a regular plantation, and can place myself in its several centres, so as to take a view of all the lines and walks that are struck from them. You may ramble in the one a whole day together, and every moment discover something or other that is new to you; but when you have done, you will have but a confused, imperfect, notion of the place in the other, your eye commands the whole prospect, and gives you such an idea of it as is not easily worn out of the memory.

Irregularity and want of method are only supportable in men of great learning or genius, who are often too full to be exact, and therefore choose to throw down their pearls in heaps before the reader, rather than be at the pains of stringing them.

Method is of advantage to a work, both in respect to the writer and the reader. In regard to the first, it is a great help to his invention. When a man has planned his discourse, he finds a great many thoughts rising out of every head, that do not offer themselves upon the general survey of a subject. His thoughts are at the same time more intelligible, and better discover their drift and meaning, when they are placed in their proper lights, and follow one another in a regular series, than when they are thrown together without order and connexion. There is always an obscurity in confusion; and the same sentence that would have enlightened the reader in one part of a discourse, perplexes him in another. For the same reason, likewise, every thought in a methodical discourse, shows itself in its greatest beauty, as the several figures in a piece of painting receive new grace from their disposition in the picture. The advantages of a reader from a methodical discourse are correspondent with those of the writer. He comprehends every thing easily, takes it in with pleasure, and retains it long.

Method is not less requisite in ordinary conversation than in writing, provided a man would talk to make himself understood. I, who hear a thousand coffee-house debates every day, am very sensible of this want of method in the thoughts of my honest countrymen. There is not one dispute in ten which is managed in those schools of polítics, where, after the three first sentences, the question is not entirely lost. Our disputants put me in mind of the scuttle

interwoven with one another, that if a foreigner, who had seen nothing of our country, should be conveyed into my garden at his first landing, he would look upon it as a natural wilderness, and one of the uncultivated parts of our country. My flowers grow up in several parts of the garden in the greatest luxuriancy and profusion. I am so far from being fond of any particular one, by reason of its rarity, that if I meet with any one in a field which pleases me, I give it a place in my garden. By this means, when a stranger walks with me, he is surprised to see several large spots of ground covered with ten thousand different colours, and has often singled out flowers that he might have met with under a common hedge, in a field, or in a meadow, as some of the greatest beauties of the place. The only method I observe in this particular, is to range in the same quarter the products of the same season, that they may make their appearance together, and compose a picture of the greatest variety. There is the same irregularity in my plantations, which run into as great a wilderness as their natures will permit. I take in none that do not naturally rejoice in the soil; and am pleased, when I am walking in a labyrinth of my own raising, not to know whether the next tree I shall meet with is an apple or an oak, an elm or a pear tree. My kitchen has likewise its particular quarters assigned it; for, besides the wholesome luxury which that place abounds with, I have always thought a kitchen-garden a more pleasant sight than the finest orangery, or artificial green-house. I love to see every thing in its perfection: aud am more pleased to survey my rows of coleworts and cabbages, with a thousand nameless pot-herbs, springing up in their full fragrancy and verdure, than to see the tender plants of foreign countries kept alive by artificial heats, or withering

in an air and soil that are not adapted to them. I must not omit, that there is a fountain rising in the upper part of my garden, which forms a little wandering rill, and administers to the pleasure as well as the plenty of the place. I have so conducted it, that it visits most of my plantations; and have taken particular care to let it run in the same manner as it would do in an open field, so that it generally passes through banks of violets and primroses, plats of willow, or other plants that seem to be of its own producing. There is another circumstance in which I am very particular, or, as my neighbours call me, very whimsical: as my garden invites into it all the birds of the country, by offering them the conveniency of springs and shades, solitude and shelter, I do not suffer any one to destroy their nests in the spring, or drive them from their usual haunts in fruit-time; I value my garden more for being full of blackbirds than cherries, and very frankly give them fruit for their songs. By this means I have always the music of the season in its perfection, and am highly delighted to see the jay or the thrush hopping about my walks, and shooting before my eye across the several little glades and alleys that I pass through. I think there are as many kinds of gardening as of poetry: your makers of parterres and flower-gardens are epigrammatists and sonneteers in this art; contrivers of bowers and grottos, treillages and cascades, are romance writers. Wise and London are our heroic poets; and if, as a critic, I may single out any passage of their works to commend, I shall take notice of that part in the upper garden at Kensington, which was at first nothing but a gravel pit. It must have been a fine genius for gardening that could have thought of forming such an unsightly hollow into so beautiful an area,