seems to have been the result partly of design, and partly of
circumstances, including Addison's influence on the work. Steele himself
said, as we have seen, that the _Tatler_ was raised to a greater height
than he had designed; but no doubt he realised that he must feel his
way, and be at first a tatler rather than a preacher. After some grave
remarks about duelling in an early paper (No. 26), he makes Pacolet,
Bickerstaff's familiar, say, "It was too soon to give my discourse on
this subject so serious a turn; you have chiefly to do with that part of
mankind which must be led into reflection by degrees, and you must treat
this custom with humour and raillery to get an audience, before you come
to pronounce sentence upon it."

Follies and weaknesses are ridiculed in the _Tatler_ in a genial
spirit, by one who was fully alive to his own imperfections, and point
is usually given to the papers by a sketch of some veiled or imaginary
individual. In this way Bickerstaff treats of fops,[15] of wags,[16] of
coquettes,[17] of the lady who condemned the vice of the age, meaning
the only vice of which she was not guilty;[18] of impudence;[19] and of
pride and vanity.[20] In a graver tone he attacks the practice of
duelling;[21] gamesters and sharpers;[22] drunken "roarers" and
"scowrers";[23] and brutal pastimes at the Bear Garden and
elsewhere.[24] The campaign against swindlers exposed Steele to serious
threats on more than one occasion.[25]

Of what Coleridge called Steele's "pure humanity" there is nowhere
better evidence than in the _Tatler_. It is enough to cite once more the
well-known examples of the account of his father's death and his
mother's grief;[26] the stories of Unnion and Valentine,[27] of the
Cornish lovers,[28] of Clarinda and Chloe,[29] and of Mr. Eustace,[30]
and the charming account of the married happiness of an old friend, with