the lighter parts of dangerous French authors—and in company had been able to talk of Mr. Burke's style, or of Chateaubriand's eloquence—had laughed at the Lyrical Ballads and admired Mr. Southey's Thalaba. She always thought that the dangerous French writers were wicked, and that her reading of them was a sin; but many sinful things were highly agreeable to her, and many things which she did not doubt to be good and true were dull and meaningless. She found ridicule of Biblical characters very amusing, and she was interested in stories of illicit passion: but she believed all the while that truth and safety lay in due attendance on prayers and sermons, in the admirable doctrines and ritual of the Church of England, equally remote from Puritanism and Popery; in fact, in such a view of this world and the next as would preserve the existing arrangements of English society quite unshaken, keeping down the obtrusiveness of the vulgar and the discontent of the poor. The history of the Jews, she knew, ought to be preferred to any profane history; the Pagans, of course, were vicious, and their religions quite nonsensical, considered as religions—but classical learning came from the Pagans; the Greeks were famous for sculpture; the Italians for painting; the middle ages were dark
