In the fifth place, it is an obvious, but material rule, with respect to style, that we always study to adapt it to the subject, and also to the rapacity of our hearers, if we are to speak in public. Nothing merits the name of eloquent or beautiful, which is not suited to the occasion, and to the persons to whom it is addressed. It is to the last degree awkward and absurd, to attempt a poetical florid style, on occasions when it should be our business only to argue and reason; or to speak with elaborate pomp of expression, before persons who comprehend nothing of it, and who can only stare at our unseasonable magnificence. These are defects not so much in point of style, as, what is much worse, in point of common sense. When we begin to write or speak, we ought previously to fix in our minds a clear conception of the end to be aimed at; to keep this steadily in our view, and to suit our style to it. If we do not sacrifice to this great object every ill-timed ornament that may occur to our fancy, we are unpardonable; and though children and fools may admire, men of sense will laugh at us and our style.

In the last place, I cannot conclude the s bject without this admonition, that in any case, and on any occasion, attention to style must not engross us so much, as to detract from a higher degree of attention to the thoughts. 'Curam verborum,' says the great Roman critic, rerum volo esse solicitudinem.'* A direction the more necessary, as the present taste of the age in writing, seems to lean more to style than to thought. It is much easier to dress up trivial and common sentiments with some beauty of expression, than to afford a fund of vigorous, ingenious, and useful thoughts. The latter, requires true genius; the former may be attained by industry, with the help of very superficial parts. Hence, we find so many writers frivolously rich in style, but wretchedly poor in sentiment. The public ear is now so much accustomed to a correct and ornamented style, that no writer can, with safety, neglect the study of it. But he is a contemptible one who does not look to something beyond it; who does not lay the chief stress upon his matter, and employ such ornaments of style to recommend it, as are manly, not foppish : 'Majore animo,' says the writer whom I have so often quoted, 'aggredienda est eloquentia; quæ si toto corpore valet, ungues polire, et capillum componere, non existimabit ad curam suam pertinere. Ornatus et virilis et fortis et sanctus sit; nec effeminatam levitatem, et fuco ementitum colorem amet; sanguine et viribus niteat.'t

To your expressions be attentive: but about your matter be solicitous.' 'A higher spirit ought to animate those who study eloquence. They ought to Consult the health and soundness of the whole body, rather than bend their attention to such trifling objects as paring the nails, and dressing the hair. Let ornament be manly and chaste, without effeminate gayety, or artificial colouring; let it shine with the glow of health and strength.'

21

QUESTIONS.

Of what kinds of style did our au-ner; and how has he long been adthor treat in the last lecture? With mired? Of his eloquence, what is ob relation to what, was style also consi-served; and why? What is said of hie dered? Under what other character style? But notwithstanding these deshe next to consider style? Of simpli- fects, what will ever recommend him city, when applied to writing, what is to high regard; and as what? What observed? To what, chiefly, has this was before observed on simplicity of been owing; and what is, consequent-manner? But how far may this simly, necessary? How many different ac- plicity sometimes be carried? In simceptations of it may we remark; and plicity, how does Sir William Temple what is the first? Repeat the precept compare with Tillotson? Of his style of Horace, in reference to this. By and manner, what is observed; and on what examples is the nature of this his style, what is stamped? What ef simplicity illustrated? In this sense, it fect is produced in reading his works? is the same with what? What is the How may he be classed? Of Mr. Adsecond acceptation in which simplicity dison's style, what is observed; and. is taken? What are simple thoughts? therefore, what follows? Of his perspiOf refinement in writing, what is ob-cuity, purity, and precision, and also of served? Thus, what should we natu- the construction of his sentences, what rally say? In these two senses, to what is remarked? How is he in figurahas simplicity no proper relt tion? To tive language; and what is said of what does simplicity, in the third sense, his manner? By what is he particustand opposed? What illustration of larly distinguished? Of his manner, this is given? With what does simple what is observed; and what recomstyle, in this sense, coincide; and what mends him highly? If in any thing, in follows? What does simplicity, in the what does he fail; and what is the fourth sense, particularly respect? consequence? From what does it apFrom what is simplicity, in this, quite pear that his merit has not always different; and with what is it compati- been seen in its true light; and what ble? How is this remark illustrated? illustration is given? Why is one never To what does this simplicity stand op- tired of reading such authors as those posed; and what is it considered? How whose characters our author has been does a writer of simplicity express him-giving? Of the charm of simplicity in self? How does Horace describe it? Of an author of real genius, what is obhis expression, what is observed; and served? Hence, what follows? What in his style, what do you see? Of his examples are given? What is the efexpression, figures, and fancy, what is fect of simplicity in grave and solemn remarked? What, also, is not incon-writings? Accordingly, of what wrisistent with this character of style; tings has this often been remarked to and why? What says Cicero? What be the prevailing character; and why? is the great advantage of simplicity of Of whar is Lord Shaftesbury a restyle? What disadvantages have more markable example? Were it not for studied and artificial manners of wri- what, might his works be read with ting? But reading an author of simpli-profit, for the mora philosophy which city, is like what? By what French they contain? Of his language, and of term is the highest degree of this sim- his sentences, what is observed? What plicity expressed? What does it always is the effect of all this? What is his express? What is the best account capital fault? How is this remark ilthat can be given of it? Where are lustrated? Of his figures and ornamany examples of it to be found; and how is this to be understood? With respect to simplicity in general, what nay we remark? How does this happen? Hence, what follows? Among the Greeks, and also among the Romans, what individuals were distin- From the account given of Lord guished for it? Repeat the passage Shaftesbury's manner, what may eahere introduced from Terence's Andria? sily be imagined? What remark folOf this passage, what is observed ? lows? In whom is this fully exemplitWhat shall we next consider? What is ed; and what is said of him? After all the great beauty of Tillotson's man- thai has been said. what is it necessa

ments of every kind, wnat is observed ? Of him, what is most wonderful? To what degree did he possess delicacy and refinement of taste? But what re mark follows? Of his wit and raillery, what is observed?

ry to observe? From what may one be | What will be the effect of writing fre free, and not have merit? What does quently, carelessly and hastily; and the beautiful simplicity suppose? In what remarks follow? What say this case, what is the crowning orna- Quintilian, with the greatest reason? ment; and what is its effect? But if What must we, however, observe; and mere unaffectedness were sufficient to why? Why must a more severe exconstitute the beauty of style, what amination of these be left to correction? consequence would follow? And ac- What disposition should we, for a short cordingly, with what do we frequently time, make of what we have written? meet? Between what, therefore, must Then is the season for what? Of the we distinguish? What different effects Lima Labor, what is observed? In do they produce? To mention what, the third place, with respect to the asdoes our author now proceed? What sistance that is to be gained from the does this always imply; and with what writings of others, what is obvious? is it not inconsistent? But from what, Why is this requisite? In reading au in its predominant character, is it dis-thors with a view to style, to what unguishable? Describe it. To what should attention be given? In acquir does it belong; and from whom is it ing a proper style, what exercise is expected? Where do we find a perfect very useful? By that, what does our example of it? Who, among English author mean? What will be the effect writers, has the most of this character? of such an exercise? But, in the fourth For what was he, by nature, formed; place, what caution is given? Of this, and accordingly, what follows? With what is observed? What man will what does he abound; and of his copi- never become a good writer or speakousness, what is observed? What re- er? What should we particularly mark follows? Of his sentences, what avoid? What is the effect of such a is observed? In the choice of his words, habit; and what is infinitely better? and in the exact construction of his On these heads, to do what is every sentences, what is observed? Under student of oratory advised? In the fifth what circumstances would his merit, place, what is an obvious, but material as a writer, be very considerable ? rule, with respect to style? How is the But, what follows? Why will our au- necessity of this rule fully illustrated? thor no longer insist on the different When we begin to write or speak, what manners of writers, or the general cha-ought we previously to fix in our minds? racters of style? How is this illustrated What must we sacrifice to this? In the from conceited writers? In whatever last place, what admonition is given? class we rank it, what is said of it? What says the Roman critic on this Under the general heads, which has subject? Why is this direction, at prebeen considered, what has been done? sent, particularly necessary? How is From what has been said on this sub- this remark fully illustrated? To what ject, what may be inferred; and why? is the public now much accustomed? Here, for what must room be left? What remark follows? What say's the What remark follows; and how is it writer whom our author has so often illustrated? But for what can no pre-quoted? cise rule be given? To conclude these dissertations upon style in what manner, will be more to our purpose? What is the first direction given for this purpose? How is the necessity of this direction illustrated? On the intimate connexion between the style and thoughts of a good writer, what has several times been hinted? How is this illustrated? What, then, may we be assured, is a capital rule, as to style? Generally speaking, what are the best and inost proper expressions? Repeat wha Quintilian says on this subject. In the second place, in order to form a good style, what is indispensably necessary? What remark follows? At the same time. what is observed?

2

ANALYSIS.

1. Simplicity of style.

3.

A. Simplicity of composition.

B. Simplicity of thought.

c. Simplicity in opposition to too much ornament.

D. Simplicity in the expression.

a. Instances among the ancients and the moderns.

The vehement style.

Directions for attaining a good style.
A. We should study clear ideas on the
subject.

B. We should compose frequently.

c. We should be familiar with the best

authors.

D. We should avoid servile imitation.
E. Wc should adapt our style to the sub-
ject.

F. We should attend less to our style
than to our thoughts.

LECTURE XX.

CRITICAL EXAMINATION OF THE STYLE OF MR.

ADDISON, IN No. 411 OF THE SPECTATOR.

I HAVE insisted fully on the subject of language and style, both because it is, in itself, of great importance, and because it is more capable of being ascertained by precise rule, than several other parts of composition. A critical analysis of the style of some good author will tend further to illustrate the subject; as it will suggest observations which I have not had occasion to make, and will show, in the most practical light, the use of those which I have made.

Mr. Addison is the author whom I have chosen for this purpose. The Spectator, of which his papers are the chief ornament, is a book which is in the hands of every one, and which cannot be praised too highly. The good sense, and good writing, the useful morality, and the admirable vein of humour which abound in it, render it one of those standard books which have done the greatest honour to the English nation. I have formerly given the general character of Mr. Addison's style and manner, as natural and unaffected, easy and polite, and full of those graces which a flowery imagination diffuses over writing. At the same time, though one of the most beautiful writers in the language, he is not the most correct; a circumstance which renders his composition the more proper to be the subject of our present criticism. The free and flowing manner of this amiable writer sometimes led him into inaccuracies, which the more studied circumspection and care of far inferior writers have taught them to avoid. Remarking his beauties, therefore, which I shall have frequent occasion to do, as I proceed, I must also point out his negligences and defects. Without a free, impartial discussion, of both the faults and beauties which occur in his composition, it is evident, this piece of criticism would be of no service; and, from the freedom which I use in criticising Mr. Addison's style, none can imagine that I mean to depreciate his writings, after having repeatedly declared the high opinion which I entertain of them. The beauties of this author are so many, and the general character of his style is so elegant and estimable, that the minute imperfections I shall have occasion to point out, are but like those spots in the sun,which may be discovered by the assistance of art, but which have no effect in obscuring its lustre. It is, indeed, my judgment, that what Quintilian applies to Cicero, Ille se profecisse sciat, cui Cicero valde placebit,' may, with justice, be applied to Mr. Addison; that to be highy pleased with his manner of writing, is the criterion of one's having acquired a good taste in English style. The paper on which we are now to enter, is No. 411, the first of his celebrated Essays on the Pleasures of the Imagination, in the sixth volume of the Spectator. It begins thus:

6

Our sight is the most perfect, and most delightful, of all our senses.'

This is an excellent introductory sentence. It is clear, precise, and simple. The author lays down, in a few plain words, the proj». sition which he is going to illustrate throughout the rest of the para graph. In this manner, we should always set out. A first sentence should seldom be a long, and never an intricate one.

He might have said, Our sight is the most perfect, and the most delightful.' But he has judged better, in omitting to repeat the article the. For the repetition of it is proper, chiefly when we intend to point out the objects of which we speak, as distinguished from, or contrasted with, each other; and when we want that the reader's attention should rest on that distinction. For instance; had Mr. Addison intended to say, that our sight is at once the most delightful, and the most useful, of all our senses, the article might then have been repeated with propriety, as a clear and strong distinction would have been conveyed. But,as between perfect and delightful there is less contrast, there was no occasion for such repetition. It would have had no other effect, but to add a word unnecessarily to the sen tence. He proceeds:

'It fills the mind with the largest variety of ideas, converses with its objects at the greatest distance, and continues the longest in action, without being tired or satiated with its proper enjoyments.'

This sentence deserves attention, as remarkably harmonious, and well constructed. It possesses, indeed, almost all the properties of a perfect sentence. It is entirely perspicuous. It is loaded with no superfluous or unnecessary words. For, tired or satiated, towards the end of the sentence, are not used for synonymous terms. They convey distinct ideas, and refer to different members of the period; that this sense continues the longest in action without being tired, that is, without being fatigued with its action; and also, without being satiated with its proper enjoyments. That quality of a good sentence, which I termed its unity, is here perfectly preserved. It is our sight of which he speaks. This is the object carried through the sentence, and presented to us, in every member of it, by those verbs, fills, converses, continues, to each of which it is clearly the nominative. Those capital words are disposed of in the most proper places; and that uniformity is maintained in the construction of the sentence, which suits the unity of the object.

Observe, too, the music of the period; consisting of three members, each of which, agreeable to a rule I formerly mentioned, grows and rises above the other in sound, till the sentence is conducted, at last, to one of the most melodious closes which our language admits; without being tired or satiated with its proper enjoyments. Enjoyments is a word of length and dignity, exceedingly proper for a close which is designed to be a musical one. The harmony is the more hap py, as this disposition of the members of the period which suits the sound so well, is no less just and proper with respect to the sense. It follows the order of nature. First, we have the variety of objects