perhaps be discovered in the following passage, where, in alluding to three eminent performers on different instruments, he says: “These three illustrious personages were introduced at the Emperor’s court,” &c.; speaking of them as if they were foreign ambassadors or princes of the blood, and thus magnifying himself and his profession. This overshadowing manner carries nearly everything before it, and mystifies a great many. There is nothing like putting the best face upon things, and leaving others to find out the difference. He who could call three musicians “personages” would himself play a personage through life, and succeed in his leading object. Sir Joshua Reynolds, remarking on this passage, said: “No one had a greater respect than he had for his profession, but that he should never think of applying to it epithets that were appropriated merely to external rank and distinction.” Madame Dd'Arblay— — —, it must be owned, had cleverness enough to stock a whole family, and to set up her cousin-germans, male and female, for wits and virtuosos to the third and fourth generation. The rest have done nothing, that I know of, but keep up the name.
The most celebrated author in modern times has written without a name, and has been
