apparently fails to realize that a "humourist" like Sir Roger verges on
individuality. Indeed, while discussing the need for writers to study
their own and other men's passions, he emphasizes that "without a
Knowledge of these Things, 'twill be impossible ever to draw a Character
so to the Life, as that it shall hit one Person, and him only." Here
Gally might well be talking of the Clarendon kind of portrait. If a
character is "one Person, and him only," he is no longer a type, but
somebody peculiarly himself.

Gally, then, is not as Theophrastan as he professes to be. True, he
harks back to Theophrastus in matters of style and technique. And he
does not criticize him, as does La Bruyère,[6] for paying too much
attention to a man's external actions, and not enough to his "Thoughts,
Sentiments, and Inclinations." Nevertheless his mind is receptive to
the kind of individuated characterization soon to distinguish the
mid-eighteenth century novel. The type is still his measuring-stick, but
he calibrates it far less rigidly than a Rymer analyzing Iago or Evadne.
A man can be A Flatterer or A Blunt Man and still retain a private
identity: this private identity Gally recognizes as important. Gally's
essay thus reflects fundamental changes in the English attitude toward
human nature and its literary representation.

Alexander H. Chorney
Fellow, Clark Library
Los Angeles, California


Notes to the Introduction

1. _The Characters, Or The Manners of the Age. By Monsieur De La