manner.

Section III of Gally's essay, like Section I thoroughly conventional,
is also omitted here. Gally attributes to Theophrastus the spurious
"Proem," in which Theophrastus, emphasizing his ethical purpose,
announces his intention of following up his characters of vice with
characters of virtue. At one point Gally asserts that Theophrastus
taught the same doctrine as Aristotle and Plato, but

accommodated Morality to the Taste of the _Beau Monde_, with all the
Embellishments that can please the nice Ears of an intelligent Reader,
and with that inoffensive Satir, which corrects the Vices of Men,
without making them conceive any Aversion for the Satirist.

It is Gally's concept of the character as an art-form, however, which
is most interesting to the modern scholar. Gally breaks sharply with
earlier character-writers like Overbury who, he thinks, have departed
from the Theophrastan method. Their work for the most part reflects
corrupted taste:

A continued Affectation of far-fetched and quaint Simile's, which
runs thro' almost all these Characters, makes 'em appear like so many
Pieces of mere Grotesque; and the Reader must not expect to find
Persons describ'd as they really are, but rather according to what
they are thought to be like.

And Gally attacks one of the favorite devices of the seventeenth-century
character:

An Author, in this Kind, must not dwell too long upon one Idea; As