Mr. Blake idly turned over the books on his bedroom table. I had taken the precaution of looking at them, when we first entered the room. The Guardian; The Tatler; Richardson’s Pamela; Mackenzie’s Man of Feeling; Roscoe’s Lorenzo de’ Medici; and Robertson’s Charles the Fifth—all classical works; all (of course) immeasurably superior to anything produced in later times; and all (from my present point of view) possessing the one great merit of enchaining nobody’s interest, and exciting nobody’s brain.
