ous, that they do not redeem this want of propriety by the possession of any remarkable literary merit. Three (or two and part of a third) seemed to escape this double censure--the first two acts of the Author's Farce (practically a piece to themselves, for the Puppet Show which follows is almost entirely independent); the famous burlesque of Tom Thumb, which stands between the Rehearsal and the Critic, but nearer to the former; and Pasquin, the maturest example of Fielding's satiric work in drama. These accordingly have been selected; the rest I have read, and he who likes may read. I have read many worse things than even the worst of them, but not often worse things by so good a writer as Henry Fielding. The next question concerned the selection of writings more miscellaneous still, so as to give in little a complete idea of Fielding's various powers and experiments. Two difficulties beset this part of the task--want of space and the absence of anything so markedly good as absolutely to insist on inclu
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