equal the ancient poets in point of genius. they were resolved to
excel them in fiction, and apply to the wonder, rather than the
judgment, of their readers. Accordingly, they brought necromancy to
their aid, and instead of supporting the character of their heroes
by dignity of sentiment and practice, distinguished them by their
bodily strength, activity, and extravagance of behaviour. Although
nothing could be more ludicrous and unnatural than the figures
they drew, they did not want patrons and admirers; and the world
actually began to be infected with the spirit of knight-errantry,
when Cervantes, by an inimitable piece of ridicule, reformed the
taste of mankind, representing chivalry in the right point of view,
and converting romance to purposes far more useful and entertaining,
by making it assume the sock, and point out the follies of ordinary
life.

The same method has been practised by other Spanish and French
authors, and by none more successfully than by Monsieur Le Sage,
who, in his Adventures of Gil Blas, has described the knavery and
foibles of life, with infinite humour and sagacity. The following
sheets I have modelled on his plan, taking me liberty, however, to
differ from him in the execution, where I thought his particular
situations were uncommon, extravagant, or peculiar to the country
in which the scene is laid. The disgraces of Gil Blas are, for the
most part, such as rather excite mirth than compassion; he himself
laughs at them; and his transitions from distress to happiness, or
at least ease, are so sudden, that neither the reader has time to
pity him, nor himself to be acquainted with affliction. This conduct,
in my opinion, not only deviates from probability, but prevents
that generous indignation, which ought to animate the reader against
the sordid and vicious disposition of the world. I have attempted