It is with the utmost diffidence that the following pages are submitted to the inspection of the Public: yet, however the limited abilities of the author may have prevented her from succeeding to her wish in the execution of her present attempt, she humbly trusts that the uprightness of her intention will procure it a candid and favourable reception. The following little Essays are chiefly calculated for the younger part of her own sex, who, she flatters herself, will not esteem them the less, because they were written immediately for their service. She by no means pretends to have composed a regular system of morals, or a finished plan of conduct: she has only endeavoured to make a few remarks on such circumstances as seemed to her susceptible of some improvement, and on such subjects as she imagined were particularly interesting to young ladies, on their first introduction into the world. She hopes they will not be offended if she has occasionally pointed out certain qualities, and suggested certain tempers, and dispositions, as peculiarly feminine, and hazarded some observations which naturally arose from the subject, on the different characters which mark the sexes. And here again she takes the liberty to repeat that these distinctions cannot be too nicely maintained; for besides those important qualities common to both, each sex has its respective, appropriated qualifications, which would cease to be meritorious, the instant they ceased to be appropriated. Nature, propriety, and custom have prescribed certain bounds to each; bounds which the prudent and the candid will never attempt to break down; and indeed it would be highly impolitic to annihilate distinctions from which each acquires excellence, and to attempt innovations, by which both would be losers.

Women therefore never understand their own interests so little, as when they affect those qualities and accomplishments, from the want of which they derive their highest merit. "The porcelain clay of human kind," says an admired writer, speaking of the sex. Greater delicacy evidently implies greater fragility; and this weakness, natural and moral, clearly points out the necessity of a superior degree of caution, retirement, and reserve.

If the author may be allowed to keep up the allusion of the poet, just quoted, she would ask if we do not put the finest vases, and the costliest images in places of the greatest security, and most remote from any probability of accident, or destruction? By being so situated, they find their protection in their weakness, and their safety in their delicacy. This metaphor is far from being used with a design of placing young ladies in a trivial, unimportant light; it is only introduced to insinuate, that where there is more beauty, and more weakness, there should be greater circumspection, and superior prudence.

Men, on the contrary, are formed for the more public exhibitions on the great theatre of human life. Like the stronger and more substantial wares, they derive no injury, and lose no polish by being always exposed, and engaged in the constant commerce of the world. It is their proper element, where they respire their natural air, and exert their noblest powers, in situations which call them into action. They were intended by Providence for the bustling scenes of life; to appear terrible in arms, useful in commerce, shining in counsels.

The Author fears it will be hazarding a very bold remark, in the opinion of many ladies, when she adds, that the female mind, in general, does not appear capable of attaining so high a degree of perfection in science as the male. Yet she hopes to be forgiven when she observes also, that as it does not seem to derive the chief portion of its excellence from extraordinary abilities of this kind, it is not at all lessened by the imputation of not possessing them. It is readily allowed, that the sex have lively imaginations, and those exquisite perceptions of the beautiful and defective, which come under the denomination of Taste. But pretensions to that strength of intellect, which is requisite to penetrate into the abstruser walks of literature, it is presumed they will readily relinquish. There are green pastures, and pleasant vallies, where they may wander with safety to themselves, and delight to others. They may cultivate the roses of imagination, and the valuable fruits of morals and criticism; but the steeps of Parnassus few, comparatively, have attempted to scale with success. And when it is considered, that many languages, and many sciences, must contribute to the perfection of poetical composition, it will appear less strange. The lofty Epic, the pointed Satire, and the more daring and successful flights of the Tragic Muse, seem reserved for the bold adventurers of the other sex.

Nor does this assertion, it is apprehended, at all injure the interests of the women; they have other pretensions, on which to value themselves, and other qualities much better calculated to answer their particular purposes. We are enamoured of the soft strains of the Sicilian and the Mantuan Muse, while, to the sweet notes of the pastoral reed, they sing the Contentions of the Shepherds, the Blessings of Love, or the innocent Delights of rural Life. Has it ever been ascribed to them as a defect, that their Eclogues do not treat of active scenes, of busy cities, and of wasting war? No: their simplicity is their perfection, and they are only blamed when they have too little of it.

On the other hand, the lofty bards who strung their bolder harps to higher measures, and sung the Wrath of Peleus' Son, and Man's first Disobedience, have never been censured for want of sweetness and refinement. The sublime, the nervous, and the masculine, characterise their compositions; as the beautiful, the soft, and the delicate, mark those of the others. Grandeur, dignity, and force, distinguish the one species; ease, simplicity, and purity, the other. Both shine from their native, distinct, unborrowed merits, not from those which are foreign, adventitious, and unnatural. Yet those excellencies, which make up the essential and constituent parts of poetry, they have in common.

Women have generally quicker perceptions; men have juster sentiments.—Women consider how things may be prettily said; men how they may be properly said.—In women, (young ones at least) speaking accompanies, and sometimes precedes reflection; in men, reflection is the antecedent.—Women speak to shine or to please; men, to convince or confute.—Women admire what is brilliant; men what is solid.—Women prefer an extemporaneous sally of wit, or a sparkling effusion of fancy, before the most accurate reasoning, or the most laborious investigation of facts. In literary composition, women are pleased with point, turn, and antithesis; men with observation, and a just deduction of effects from their causes.—Women are fond of incident, men of argument.—Women admire passionately, men approve cautiously.—One sex will think it betrays a want of feeling to be moderate in their applause, the other will be afraid of exposing a want of judgment by being in raptures with any thing.—Men refuse to give way to the emotions they actually feel, while women sometimes affect to be transported beyond what the occasion will justify.

As a farther confirmation of what has been advanced on the different bent of the understanding in the sexes, it may be observed, that we have heard of many female wits, but never of one female logician—of many admirable writers of memoirs, but never of one chronologer.—In the boundless and aËrial regions of romance, and in that fashionable species of composition which succeeded it, and which carries a nearer approximation to the manners of the world, the women cannot be excelled: this imaginary soil they have a peculiar talent for cultivating, because here,

The merit of this kind of writing consists in the vraisemblance to real life as to the events themselves, with a certain elevation in the narrative, which places them, if not above what is natural, yet above what is common. It farther consists in the art of interesting the tender feelings by a pathetic representation of those minute, endearing, domestic circumstances, which take captive the soul before it has time to shield itself with the armour of reflection. To amuse, rather than to instruct, or to instruct indirectly by short inferences, drawn from a long concatenation of circumstances, is at once the business of this sort of composition, and one of the characteristics of female genius[1].

In short, it appears that the mind in each sex has some natural kind of bias, which constitutes a distinction of character, and that the happiness of both depends, in a great measure, on the preservation and observance of this distinction. For where would be the superior pleasure and satisfaction resulting from mixed conversation, if this difference were abolished? If the qualities of both were invariably and exactly the same, no benefit or entertainment would arise from the tedious and insipid uniformity of such an intercourse; whereas considerable advantages are reaped from a select society of both sexes. The rough angles and asperities of male manners are imperceptibly filed, and gradually worn smooth, by the polishing of female conversation, and the refining of female taste; while the ideas of women acquire strength and solidity, by their associating with sensible, intelligent, and judicious men.

On the whole, (even if fame be the object of pursuit) is it not better to succeed as women, than to fail as men? To shine, by walking honourably in the road which nature, custom, and education seem to have marked out, rather than to counteract them all, by moving awkwardly in a path diametrically opposite? To be good originals, rather than bad imitators? In a word, to be excellent women, rather than indifferent men?