The Troubadours, Conteurs, and Jongleurs, practised what is yet called in the southern parts of France, Le guay Saber, or the gay science.  I consider these as the Miscellanists of their day; they had their grave moralities, their tragical histories, and their sportive tales; their verse and their prose.  The village was in motion at their approach; the castle was opened to the ambulatory poets, and the feudal hypochondriac listened to their solemn instruction and their airy fancy.  I would call miscellaneous composition LE GUAY SABER, and I would have every miscellaneous writer as solemn and as gay, as various and as pleasing, as these lively artists of versatility.

Nature herself is most delightful in her miscellaneous scenes.  When I hold a volume of miscellanies, and run over with avidity the titles of its contents, my mind is enchanted, as if it were placed among the landscapes of Valais, which Rousseau has described with such picturesque beauty.  I fancy myself seated in a cottage amid those mountains, those valleys, those rocks, encircled by the enchantments of optical illusion.  I look, and behold at once the united seasons—­“All climates in one place, all seasons in one instant.”  I gaze at once on a hundred rainbows, and trace the romantic figures of the shifting clouds.  I seem to be in a temple dedicated to the service of the Goddess VARIETY.

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PREFACES.

I declare myself infinitely delighted by a preface.  Is it exquisitely written? no literary morsel is more delicious.  Is the author inveterately dull? it is a kind of preparatory information, which may be very useful.  It argues a deficiency in taste to turn over an elaborate preface unread; for it is the attar of the author’s roses; every drop distilled at an immense cost.  It is the reason of the reasoning, and the folly of the foolish.

I do not wish, however, to conceal that several writers, as well as readers, have spoken very disrespectfully of this species of literature.  That fine writer Montesquieu, in closing the preface to his “Persian Letters,” says, “I do not praise my ‘Persians;’ because it would be a very tedious thing, put in a place already very tedious of itself; I mean a preface.”  Spence, in the preface to his “Polymetis,” informs us, that “there is not any sort of writing which he sits down to with so much unwillingness as that of prefaces; and as he believes most people are not much fonder of reading them than he is of writing them, he shall get over this as fast as he can.”  Pelisson warmly protested against prefatory composition; but when he published the works of Sarrasin, was wise enough to compose a very pleasing one.  He, indeed, endeavoured to justify himself for acting against his own opinions, by this ingenious excuse, that, like funeral honours, it is proper to show the utmost regard for them when given to others, but to be inattentive to them for ourselves.