beauty which enters the heart with a certain familiarity, and cheats it into a belief, that it has received a lover as well as an object of love.  The force of their different beauties is seen also in the effects it makes on their lovers.  The admirers of Chloe are eternally gay and well-pleased:  those of Clarissa, melancholy and thoughtful.  And as this passion always changes the natural man into a quite different creature from what he was before, the love of Chloe makes coxcombs; that of Clarissa, madmen.  There were of each kind just now here.  Here was one that whistles, laughs, sings, and cuts capers, for love of Chloe.  Another has just now written three lines to Clarissa, then taken a turn in the garden, then came back again, then tore his fragment, then called for some chocolate, then went away without it.

Chloe has so many admirers in the room at present, that there is too much noise to proceed in my narration, so that the progress of the loves of Clarissa and Chloe, together with the bottles that are drank each night for the one, and the many sighs which are uttered, and songs written, on the other, must be our subject on future occasions.

Will’s Coffee-house, April 18.

Letters from the Haymarket inform us, that on Saturday night last the opera of “Pyrrhus and Demetrius"[98] was performed with great applause.  This intelligence is not very acceptable to us friends of the theatre; for the stage being an entertainment of the reason and all our faculties, this way of being pleased with the suspense of them for three hours together, and being given up to the shallow satisfaction of the eyes and ears only, seems to arise rather from the degeneracy of our understanding, than an improvement of our diversions.[99] That the understanding has no part in the pleasure is evident, from what these letters very positively assert, to wit, that a great part of the performance was done in Italian:  and a great critic fell into fits in the gallery, at feeling, not only time and place, but languages and nations confused in the most incorrigible manner.  His spleen is so extremely moved on this occasion, that he is going to publish a treatise against operas, which, he thinks, have already inclined us to thoughts of peace, and if tolerated, must infallibly dispirit us from carrying on the war.  He has communicated his scheme to the whole room, and declared in what manner things of this kind were first introduced.  He has upon this occasion considered the nature of sounds in general, and made a very elaborate digression upon the London cries,[100] wherein he has shown from reason and philosophy why oysters are cried, card-matches[101] sung, and turnips and all other vegetables neither cried, sung, nor said, but sold, with an accent and tone neither natural to man or beast.  This piece seems to be taken from the model of that excellent discourse of Mrs. Manly the schoolmistress, concerning samplers.[102] Advices from the upper end of Piccadilly