ieve that they will condemn us without examination, or give up their
right of judging for themselves, we are not unconcerned at this charge,
though the most atrocious and malignant that can be brought against us.
We entreat only to be compared with our rivals, in full confidence, that
not only our innocence, but our superiority will appear[1].

FOOTNOTE:

[1] These prefaces are written with that warmth of zeal which
characterizes all Johnson's efforts in behalf of his friends. He
ever retained a grateful sense of the kindness shown to him by Cave,
his earliest patron; and, when engaged in his undertakings, he
regarded Cave's enemies or opposers as his own. We can only thus
vindicate his contemptuous references to the UNIVERSAL SPECTATOR,
which, though far inferior to that great work whose name it bears,
is very respectable; nor, on any other consideration, can we account
for his derision of COMMON SENSE, a periodical, enriched by the
contributions of lord Chesterfield and lord Lyttelton; or of the
CRAFTSMAN, which was conducted by Amhurst, the able associate of
Bolingbroke and Pulteney. Neither can we, without thus considering
his relative situation, acquit Johnson of inconsistency in his
strictures, who, in 1756, himself undertook the editorship of the
LITERARY MAGAZINE, a work which might be viewed as the most
formidable rival of the GENTLEMAN'S MAGAZINE. The full details of
his connexion with this now venerable publication are given in the
preface to the index of that work, published by Mr. Nichols.--Ed.

LETTER ON FIREWORKS.[1]

MR. URBAN,

Among the principal topicks of conversation which now furnish the places
of assembly with amusement, may be justly numbered the fireworks, which
are advancing, by such slow degrees, and with such costly preparation.

The first reflection, that naturally arises, is upon the inequality of
the effect to the cause. Here are vast sums expended, many hands, and
some heads, employed, from day to day, and from month to month; and the
whole nation is filled with expectations, by delineations and
narratives. And in what is all this to end? in a building, that is to
attract the admiration of ages? in a bridge, which may facilitate the
commerce of future generations? in a work of any kind, which may stand
as the model of beauty, or the pattern of virtue? To show the blessings
of the late change of our state[2] by