ut two months, succeeded the Spectator: a series
of essays of the same kind, but written with less levity, upon a more
regular plan, and published daily. Such an undertaking showed the
writers not to distrust their own copiousness of materials or facility
of composition, and their performance justified their confidence. They
found, however, in their progress many auxiliaries. To attempt a single
paper was no terrifying labour; many pieces were offered, and many were
received.

Addison had enough of the zeal of party; but Steele had at that time
almost nothing else. The Spectator, in one of the first papers, showed
the political tenets of its authors; but a resolution was soon taken of
courting general approbation by general topics, and subjects on which
faction had produced no diversity of sentiments--such as literature,
morality, and familiar life. To this practice they adhered with
few deviations. The ardour of Steele once broke out in praise of
Marlborough; and when Dr. Fleetwood prefixed to some sermons a preface
overflowing with Whiggish opinions, that it might be read by the Queen,
it was reprinted in the Spectator.

To teach the minuter decencies and inferior duties, to regulate the
practice of daily conversation, to correct those depravities which are
rather ridiculous than criminal, and remove those grievances which, if
they produce no lasting calamities, impress hourly vexation, was first
attempted by Casa in his book of "Manners," and Castiglione in his
"Courtier:" two books yet celebrated in Italy for purity and elegance,
and which, if they are now less read, are neglected only because they
have effected that reformation which their authors intended, and their
precepts now are no longer wanted. Their usefulness to the age in which
they were written is sufficiently attested by the translations which
almost all the nations of Europe were in haste to obtain.

This species of instruction was continued, and perhaps advanced, by the
French; among whom La Bruyere's "Manners of the Age" (though, as Boileau
remarked, it is written without connection) certainly deserves praise
for liveliness of description and justness of observation. Before the
Tatler and Spectator, if the writers for the theatre are excepted,
England had no masters of common life. No writers had yet undertaken
to reform either the savageness of neglect, or the impertinence of
civility; to show when to speak, or to be silent; how to refuse, or how