all its references to those beloved and admired individuals, who were previously celebrated; while it really appears that nothing could have been farther from the intention of Caradoc, who, in the following lines, with much of the license of his profession, characterises the fate of Genius in its abstract, and certainly not in this instance under the individual capacity of living example, thus:

"GENIUS, THOU GIFT OF GOD, to thee belong

The base man's insult, and the oppressor's wrong!

Nor thine the boast, that prosperous trade bestows,

Ne'er to thy hope the golden Indus

flows,

But thine that poverty to heaven allied,*

We have relaxed the strictness of an editorial rule, for the admission of the preceding strictures in defence of Caradoc's rhyme, on which we remarked in a former Anthology. We should have neither leisure nor place for other pursuits, if we were to enter into minute contests with authors, or the friends of authors, whose wounded vanity winces at our touch, or whose checked insolence is ill at ease,under the smart of merited discipline. Much less can we descend to such a task, at the beck of an anonymous writer, whose work was noticed by us, not as being entitled to the honours of criticism, but as being obnoxious to the rigours of chas tisement. "The Picture of Bos ton" and our observations upon it are both before the publick; and whether we have exceeded either decency or justice, in the measure

of our censure, we cheerfully submit to the decision of that tribunal.

We confess that Caradoc's publication did excite in us a mixture of contempt and indignation. Sentiments, which, until Madoc's epistle came to hand, we had sup posed to be universal, at least in this place and its neighbourhood. Nor have the mincing, wire-drawn labours of the "author's friend" had any other tendency, than to strengthen our opinion of the correctness of our first impressions, The design of a work is to be collected from a view of the whole; and not from an artful selection of some of its parts. These, though altogether unexceptionable in themselves, may be so disposed in the composition with relation to the principal object, as to heighten or exhibit the most malignant purpose. Let Madoc palliate, or deny as he will, the design of Caradoc, palpable from the publication itself,

was to dishonour the general character of our city, particularly of its merchants. And all his fine display of local advantages, and ostentatious tribute to particular individuals, are obviously destined but to strengthen the general effect by the power of contrast. He admits, it is true, that here suns shine, but then it is "mid severing clouds"-mid a world of night," "Rays of Genius" there are but we are deaf as our hills, and ruder far than they." The six first lines develope the main design of the author. The impression he would make on the world, to which all the other parts of his work are subservient, is, that "Mammon is the deity to whom Boston breathes the vow; that from its exchange, a prey to christian Jews, even the hope of liberal trade is frightened; that gold is its god whose worship, absorbing the soul, causes every virtue to die." For these aspersions, as false, as they are gross, what is Madoc's palliation, and how does he apologize? Why, truly, the rhymster has "eulogized our scite," "our local advantages," and eight of our citizens !! Because among the great body of our merchants some" take usury and gripe the poor, Caradoc is quite justifiable in having represented our whole city as devoted to the worship of Mammon, and “liberal trade" and "every virtue" as frightened from our exchange !! And all this is right- such is the license of his profession"!! Lest however, we should not be altogether prepared to subscribe to a liberty, so full of outrage, Madoc has at hand another subterfuge. We must not connect, or "fit the application" of the end with the beginning, or the middle with either. They are detached "frag merts Much is unfinished."

"Much is left for the imagination to supply." We are called upon. to dissolve all the cement of composition, and to set all its rules at defiance, to make loop-holes, for the retreat, in his necessities, of this licentious assailant. Really the work of insult, which "the author" commenced, "the friend" has completed. The former represented our city, as void of morals. The latter treats it as though it were void of understanding. "Personal pique" never did, and never shall influence this miscellany. The intimation of it, on the present occasion, is but an additional proof, of which the world has already enough, that the champion of a desperate cause will never be very delicate in the choice of his weapons. We had not the most distant suspicion of the author, nor any clue to lead to the discovery of him. Our judgment concerning him had no other standard than the nature of his production. The turbid, trickling of the stream, is the natural proof of filth in the fountain. From the time and place of the publication of this "Picture of Boston" we had been led to conjecture that it was the parting requital of some "travelling foreigner" for attentions received during his residence in this metropolis; very similar to the requitals, which several other "travelling foreigners" have made for the misplaced hospitality of our country. We did not then deem it possible that any individual, though a foreigner, could have had the effrontery to prepare, or even to be the apologist of such undisguised insult, at the very moment, perhaps, when both author and friend were either living by our countenance, or enjoying our civilities.. But the confessions of Madoc will not allow us to indulge

such a delusion.

Madoc, the friend of Caradoc, nay, probably Caradoc himself, is on the spot, or at no great distance. For the shield is protruded, almost as soon as the arrow is sped. He tells us, that he saw the picture "previous to its publication." He suggests how "it was sent to the press." And almost engages that the outline, which he defends as so just, and so happy, shall in time be completed. The "Christian Jews upon our exchange"" our tradeful sons," have therefore good reason to believe that they are at this moment blackening under this foreigner's pencil, with just light enough from the splendour

of a few admitted luminaries of the pulpit and the bar "to make the darkness, with which the painter means to envelope the general character,more visible and hideous. "The confessions" of Madoc are very precious, and ought to awaken our citizens to timely circumspection.

We shall allow this topick no farther to occupy our miscellany. We have yielded enough to such foreigners as Madoc and Caradoc ; be they "travelling" or be they stationary. We rejoice to think it is in our power to acquit every native citizen of being either authour or apologist of these shameless calumnies.

In the present taste for classical literature, which prevails in this part of the Union, it is equally a subject of surprise and regret, that the works of Cicero are so strangely neglected. His orations are learnt by the school-boy as a necessary qualification for academical admission, but are seldom reviewed after his entrance into the university; whilst the other productions of this admirable writer remain unexamined, and consequently unknown. And yet the ablest critick of antiquity affirms, that he is the author, which every scholar should endeavour to emulate, and that we can best judge of our own proficiency by the pleasure we receive from perusing his works.

Mr. Addison observes, that a thought clothed in the language of Cicero, and in that of an ordinary writer, differs as much, as an object viewed by light of a taper,

compared with the light of the sun; and the most distinguished writers of harmonious prose seem to have formed their style on his model.

But as this great writer will speak with more effect himself, I shall extract such passages from his Brutus, as may excite a wish in some to become better acquainted with his works. Even under the disadvantage of a translation the sentiments of Cicero will still carry with them considerable weight.

After speaking in high terms of Hortensius, he proceeds to relate the mode of study he adopted for the acquisition of that eminence, which he afterwards obtained.

'I daily spent my time in reading, writing, and private declamation. That I might acquire a competent knowledge of the principles of jurisprudence, I then at

tached myself to Quintus Scævola, who, though he did not choose to undertake the charge of a pupil, yet by freely giving his advice to those who consulted him, he answered every purpose of instruction to such as took the trouble to apply to him. I also attended the lectures of Molo the Rhodian, who was newly come to Rome, and was both an excellent pleader, and an able teacher of the art. At this time also Philo, a philosopher of the first name in the Academy, with many of the principal Athenians, having deserted their native country, and fled to Rome, from the fury of Mithridates, I immediately became his scholar, and was exceedingly taken with his philosophy; and besides the pleasure I received from the great variety and sublimity of his matter, I was still more inclined to confine my attention to that study, because there was reason to apprehend, that our laws and judicial proceedings would be wholly overturned by the continuance of the publick disorders.

The three following years, the city was free from the tumult of arms, and I pursued my studies of every kind, day and night, with unremitting application. I lodged and boarded at my own house, where he lately died, Diodotus the Stoick, whom I employed as my preceptor in various other parts of learning,but particularly in logick, which may be considered as a close and contracted species of eloquence, and without which you yourself have declared it impossible to acquire that full and perfect eloquence, which they suppose to be an open and dilated kind of logick. Yet with all my attention to Dio-, dotus, and the various arts he was master of, I never suffered even a single day to escape me, without

some exercise of the oratorial kind. I constantly declaimed in private with Marcus Piso, Quintus Pompeius, or some other of my acquaintance; pretty often in latin, but much oftener in greek; because the greek furnishes a greater variety of ornaments, and an opportunity of imitating and introducing them into the latin; and because the greek masters, who are by far the best, could not correct and improve us, unless we declaimed in that language.

I now began, for the first time, to undertake the management of causes, both private and publick; not, as most did, with a view to learn my profession, but to make a trial of the abilities, which I had taken so much pains to acquire. I had then a second opportunity of attending the instructions of Molo; who came to Rome, while Sylla was dictator,to solicit the payment of what was due to his countrymen, for their services in the Mithridatic war. My defence of Sextius Roscius, which was the first cause I pleaded, met with such a favouralle reception, that, from that moment, I was looked upon as an advocate of the first class,and equal to the greatest and most important causes; and after this I pleaded many others, which I precomposed with all the care and accuracy I was master of.

But as you seem desirous not so much to be acquainted with any incidental marks of my character, or the first sallies of my youth, as to know me thoroughly, I shall mention some particulars, which otherwise might have seemed unnecessary. At this time my body was exceedingly weak and emaciated; my neck long and slender; a shape and habit, which I thought liable to great risk of life, if engaged in any violent fatigue, or la