which would be proper in any other method of treating the same subject. The qualities of the epistolary style most frequently required 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, and some figurative distortions of phrase. 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.

If the personages of the comick scene be allowed by Horace to raise their language in the transports of anger to the turgid vehemence of tragedy, the epistolary writer may likewise 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