entertainment so very ill, that they will spoil your palate, and bring you to a vicious taste. With them, as with distempered stomachs, the finest food and noblest juices turn to nothing but crudities and indiges tion. You will have no notion of delicacies, if you table with them; they are all for rank and foul feeding; and spoil the best provisions in the cooking; you must be content to be taught parsimony in sense, and for your most inoffensive food to live upon dry meat and insipid stuff, without any poignancy or relish. So then these gentlemen will never be able to form your taste or your style: and those who cannot give you a true relish of the best writers in the world, can never instruct you to write like them. Felton. § 91. On forming a Style. Give me leave to touch this subject, and draw out, for your use, some of the chief strokes, some of the principal lineaments, and fairest features of a just and beautiful style. There is no necessity of being methodical, and I will not entertain you with a dry system upon the matter, but with what you will read with more pleasure, and, I hope, with equal profit, some desultory thoughts in their native order, as they rise in my mind, without being reduced to rules, and marshalled according to art. To assist you, therefore, as far as art may be an help to nature, I shall proceed to say something of what is required in a finished piece, to make it complete in all its parts, and masterly in the whole. I would not lay down any impracticable schemes, nor trouble you with a dry formal method: the rule of writing, like that of our duty, is perfect in its kind: but we must make allowances for the infirmities of nature; and since none is without his faults, the most that can be said is, That he is the best writer, against whom the fewest can be alleged. "A composition is then perfect, when "the matter rises out of the subject; "when the thoughts are agreeable to the "matter, and the expressions suitable to "the thoughts; where there is no incon"sistency from the beginning to the end; "when the whole is perspicuous in the "beautiful order of its parts, and formed "in due symmetry and proportion." Ibid. § 92. Expression suited to the Thought. In every sprightly genius, the expression will be ever lively as the thoughts. All the danger is, that a wit too fruitful should run out into unnecessary branches; but when it is matured by age, and corrected by judgment, the writer will prune the luxuriant boughs, and cut off the superfluous shoots of fancy, thereby giving both strength and beauty to his work. Perhaps this piece of discipline is to young writers the greatest self-denial in the world: to confine the fancy, to stifle the birth, much more to throw away the beautiful offspring of the brain, is a trial, that none but the most delicate and lively wits can be put to. It is their praise, that they are obliged to retrench more wit than others have to lavish: the chippings and filings of these jewels, could they be preserved, are of more value than the whole mass of ordinary authors; and it is a maxim with me, that he has not wit enough who has not a great deal to spare. It is by no means necessary for me to run out into the several sorts of writing: we have general rules to judge of all, without being particular upon any, though the style of an orator be different from that of an historian, and a poet's from both. Ibid. § 93. On Embellishments of Style. The design of expression is to convey our thoughts truly and clearly to the world, in such a manner as is most probable to attain the end we propose, in communicating what we have conceived to the public; and therefore men have not thought it enough to write plainly, unless they wrote agreeably, so as to engage the attention, and work upon the affections, as well as inform the understanding of their readers: for which reason, all arts have been invented to make their writings pleasing, as well as profitable; and those arts are very commendable and honest; they are no trick, no delusion, or imposition on the senses and understanding of mankind; for they are found in nature, and formed observing her operations in all the various passions and workings of our minds. upon To this we owe all the beauties and embellishments of Style; all figures and schemes of speech, and those several decorations that are used in writing to enliven and adorn the work. The flourishes of fancy resemble the flourishes of the pen in mechanic writers; and the illuminators of manuscripts, and of the press, borrowed their title perhaps from the illu mination which a bright genius every where gives to his work, and disperses through his composition. The commendation of this art of enlightening and adorning a subject, lies in a right distribution of the shades and light. It is in writing, as in a picture, in which the art is to observe where the lights will fall, to produce the most beautiful parts to the day, and cast in shades what we cannot hope will shine to advantage. It were endless to pursue this subject through all the ornaments and illustrations of speech; and yet I would not dismiss it, without pointing at the general rules and necessary qualifications required in those who would attempt to shine in the productions of their pen. And therefore you must pardon me if I seem to go back, for we cannot raise any regular and durable pile of building, without laying a firm foundation. Felton. our phrase, and way of speaking. For this is to speak or write English in purity and perfection, to let the streams run clear and unmixed, without taking in other languages in the course; in English, therefore, I would have all Gallicisms (for instance) avoided, that our tongue may be sincere, that we may keep to our own language, and not follow the French mode in our speech, as we do in our clothes. It is convenient and profitable sometimes to import a foreign word, and naturalize the phrase of another nation, but this is very sparingly to be allowed; and every syllable of foreign growth ought immediately to be discarded, if its use and ornament to our language be not very evident. Ibid. § 95. On the Purity and Idiom of Language. While the Romans studied and used the Greek tongue, only to improve and adorn § 94. On the first Requisite, a Mastery of their own, the Latin flourished, and grew Language. every year more copious, more elegant, The first thing requisite to a just style, and expressive: but in a few years after is a perfect mastery in the language we the ladies and beaux of Rome affected to write in; this is not so easily attained as is speak Greek, and regarding nothing but. commonly imagined, and depends upon a the softness and effeminacy of that noble competent knowledge of the force and language, they weakened and corrupted propriety of words, a good natural taste of their native tongue: and the monstrous strength and delicacy, and all the beauties affectation of our travelled ladies and gen of expression. It is my own opinion, that tlemen to speak in the French air, French all the rules and critical observations in tone, French terms, to dress, to cook, to the world will never bring a man to a just write, to court in French, corrupted at style, who has not of himself a natural once our language and our manners, and easy way of writing; but they will im- introduced an abominable gallimaufry of prove a good genius, where nature leads French and English mixed together, that the way, provided he is not too scrupu- made the innovators ridiculous to all men lous, and does not make himself a slave of sense. The French tongue hath unto his rules; for that will introduce a stiff-doubtedly its graces and beauties, and I ness and affectation, which are utterly abhorrent from all good writing. By a perfect mastery in any language, I understand not only a ready command of words, upon every occasion, not only the force and propriety of words as to their sense and signification, but more especially the purity and idiom of the language; for in this a perfect mastery does consist. It is to know what is English, and what is Latin, what is French, Spanish, or Italian; to be able to mark the bounds of each language we write in; to point out the distinguishing characters, and the peculiar phrases of each tongue; what expressions or manner of expressing is common to any language besides our own, and what is properly and peculiarly am not against any real improvement of our own language from that or any other: but we are always so foolish, or unfortunate, as never to make any advantage of our neighbours. We affect nothing of theirs, but what is silly and ridiculous; and by neglecting the substantial use of their language, we only enervate and spoil our own. Languages, like our bodies, are in a perpetual flux, and stand in need of recruits to supply the place of those words that are continually falling off through disuse: and since it is so, I think 'tis better to raise them at home than abroad. We had better rely on our own troops than foreign forces, and I believe we have sufficient strength and numbers within ourselves: there is a vast treasure, an inexhaustible fund in the old English, from whence authors may draw constant supplies, as our officers make their surest recruits from the coal-works, and the mines. The weight, the strength and significancy of many antiquated words, should recommend them to use again. 'Tis only wiping off the rust they have contracted, and separating them from the dross they lie mingled with, and both in value and beauty they will rise above the standard, rather than fall below it. Perhaps our tongue is not so musical to the ear, nor so abundant in multiplicity of words; but its strength is real, and its words are therefore the more expressive: the peculiar character of our language is, that it is close, compact, and full: and our writings (if you will excuse two Latin words) come nearest to what Tully means by his Pressa Oratio. They are all weight and substance, good measure pressed together, and running over in a redundancy of sense, and not of words. And there fore the purity of our language consists in preserving this character, in writing with the English strength and spirit: let us not envy others, that they are more soft, and diffuse, and rarefied; be it our commendation to write as we pay, in true Sterling; if we want supplies, we had better revive old words, than create new ones. I look upon our language as good bullion, if we do not debase it with too much alloy; and let me leave this censure with you, That he who corrupteth the purity of the English tongue with the most specious foreign words and phrases, is just as wise as those modish ladies that change their plate for china; for which I think the laudable traffic of old clothes is much the fairest barter, Felton. $96. On Plainness and Perspicuity. After this regard to the purity of our language, the next quality of a just style, is its plainness and perspicuity. This is the greatest commendation we can give an author, and the best argument that he is master of the language he writes in, and the subject he writes upon, when we understand him, and see into the scope and tendency of his thoughts, as we read him. All obscurity of expression, and darkness of sense, do arise from the confusion of the writer's thoughts, and his want of proper words. If a man hath not a clear perception of the matter he undertakes to treat of, be his style never so plain as to the words he uses, it never can be clear; and if his thoughts upon this subject be never so just and distinct, unless he has a ready command of words, and a faculty of easy writing in plain obvious expressions, the words will perplex the sense, and cloud the clearness of his thoughts. It is the unhappiness of some, that they are not able to express themselves clearly: their heads are crowded with a multiplicity of undigested knowledge, which lies confused in the brain, without any order or distinction. It is the vice of others, to affect obscurity in their thoughts and language, to write in a difficult crabbed style, and perplex the reader with an intricate meaning in more intricate words. The common way of offending against plainness and perspicuity of style, is an affectation of hard unusual words, and of close contracted periods: the faults of pedants and sententious writers, that are vainly ostentatious of their learning, or their wisdom. Hard words and quaint expressions are abominable: wherever you meet such a writer throw him aside for a coxcomb. Some authors of reputation have used a short and concise way of expression, I must own; and if they are not so clear as others, the fault is to be laid on the brevity they labour after: for while we study to be concise, we can hardly avoid being obscure. We crowd our thoughts into too small a compass, and are so sparing of our words, that we will not afford enow to express our meaning. There is another extreme in obscure writers, not much taken notice of, which some empty conceited heads are apt to run into out of a prodigality of words, and a want of sense. This is the extravagance of your copious writers, who lose their meaning in a multitude of words, and bury their sense under heaps of phrases. Their understanding is rather rarefied than condensed: their meaning, we cannot say, is dark and thick; it is too light and subtle to be discerned: it is spread so thin, and diffused so wide, that it is hard to be collected. Two lines would express all they say in two pages: 'tis nothing but whipt syllabub and froth, a little varnish and gilding, without any solidity or substance. Ibid. $97. On the Decorations and Ornaments of Style. The deepest rivers have the plainest surface, and the purest waters are always clearest. Crystal is not the less solid for being transparent: the value of a style rises like the value of precious stones. If it be dark and cloudy, it is in vain to polish it: it bears its worth in its native looks, and the same art which enhances its price when it is clear, only debases it if it be dull. You see I have borrowed some metaphors to explain my thoughts; and it is, I believe, impossible to describe the plainness and clearness of style, without some expressions clearer than the terms I am otherwise bound up to use. You must give me leave to go on with you to the decorations and ornaments of style; there is no inconsistency between the plainness and perspicuity, and the ornament of writing. A style resembleth beauty, where the face is clear and plain as to symmetry and proportion, but is capable of wonderful improvements as to features and complexion. If I may transgress in too frequent allusions, because I would make every thing plain to you, I would pass on from painters to statuaries, whose excellence it is at first to form true and just proportions, and afterwards to give them that softness, that expression, that strength and delicacy, which make them almost breathe and live. The decorations of style are formed out of those several schemes and figures, which are contrived to express the passions and motions of our minds in our speech; to give life and ornament, grace and beauty, to our expressions. I shall not undertake the rhetorician's province, in giving you an account of all the figures they have invented, and those several ornaments of writing, whose grace and commendation lie in being used with judgment and propriety. It were endless to pursue this subject through all the schemes and illustrations of speech: but there are some common forms, which every writer upon every subject may use, to enliven and adorn his work. These are metaphor and similitude: and those images and representations, that are drawn in the strongest and most lively colours, to imprint what the writer would have his readers conceive, more deeply on their minds. In the choice, and in the use of these, your ordinary writers are most apt to offend. Images are very sparingly to be introduced: their proper place is in poems and orations; and their use is to move pity or terror, admiration, compas sion, anger, and resentment, by representing something very affectionate or very dreadful, very astonishing, very miserable, or very provoking, to our thoughts. They give a wonderful force and beauty to the subject, where they are painted by a masterly hand; but if they are either weakly drawn, or unskilfully placed, they raise no passion but indignation in the reader. Felton. $98. On Metaphors and Similitudes. The most common ornaments are Metaphor and Similitude. One is an allusion to words, the other to things; and both have their beauties, if properly applied. Similitudes ought to be drawn from the most familiar and best known particulars in the world: if any thing is dark and obscure in them, the purpose of using them is defeated; and that which is not clear itself, can never give light to any thing that wants it. It is the idle fancy of some poor brains, to run out perpetually into a course of similitudes, confounding their subject by the multitude of likenesses; and making it like so many things, that it is like nothing at all. This trifling humour is good for nothing, but to convince us, that the author is in the dark himself; and while he is likening his subject to every thing, he knoweth not what it is like. There is another tedious fault in some simile men: which is, drawing their comparisons into a great length and minute particulars, where it is of no importance whether the resemblance holds or not. But the true art of illustrating any subject by similitude, is, first to pitch on such a resemblance as all the world will agree in: and then, without being careful to have it run on all four, to touch it only in the strongest lines, and the nearest likeness. And this will secure us from all stiffness and formality in similitude, and deliver us from the nauseous repetition of us and so, which some so-so writers, if I may beg leave to call them so, are continually sounding in our ears. I have nothing to say to those gentlemen who bring similitudes and forget the resemblance. All the pleasure we can take when we meet these promising sparks, is in the disappointment, where we find their fancy is so like their subject, that it is not like at all. Ibid. § 99. On Melaphors. Metaphors require great judgment and consideration in the use of them. They are a shorter similitude, where the likeness is rather implied than expressed. The signification of one word, in metaphors, is transferred to another, and we talk of one thing in the terms and propriety of another. But there must be a common resemblance, some original likeness in nature, some correspondence and easy transition, or metaphors are shocking and confused. The beauty of them displays itself in their easiness and propriety, where they are naturally introduced; but where they are forced and crowded, too frequent and various, and do not rise out of the course of thought, but are constrained and pressed into the service, instead of making the discourse more lively and cheerful, they make it sullen, dull, and gloomy. You must form your judgment upon the best models and the most celebrated pens, where you will find the metaphor in all its grace and strength, shedding a lustre and beauty on the work. For it ought never to be used but when it gives greater force to the sentence, an illustration to the thought, and insinuates a silent argument in the allusion. The use of metaphors is not only to convey the thought in a more pleasing manner, but to give it a stronger impression, and enforce it on the mind. Where this is not regarded, they are vain and trifling trash; and in a due observance of this, in a pure, chaste, natural expression, consist the justness, beauty, and delicacy of style. Felton. § 100. On Epithets. I have said nothing of Epithets. Their business is to express the nature of the things they are applied to: and the choice of them depends upon a good judgment, to distinguish what are the most proper titles to be given on all occasions, and a complete knowledge in the accidents, qualities, and affections of every thing in the world. They are of most ornament when they are of use: they are to determine the character of every person, and decide the merits of every cause; conscience and justice are to be regarded, and great skill and exactness are required in the use of them. For it is of great importance to call things by their right names: the points of satire, and strains of compliment, depend upon it: otherwise we may make an ass of a lion, commend a man in satire, and lampoon him in panegyric. Here also there is room for genius: common justice and judgment should direct us to say what is proper at least; but it is parts and fire that will prompt us to the most lively and most forcible epithets that can be applied; and 'tis in their energy and propriety their beauty lies. Ibid. § 101. On Allegories. Allegories I need not mention, because they are not so much any ornament of style, as an artful way of recommending truth to the world in a borrowed shape, and a dress more agreeable to the fancy, than naked truth herself can be. Truth is ever most beautiful and evident in her native dress: and the arts that are used to convey her to our minds, are no argument that she is deficient, but so many testimonies of the corruption of our nature, when truth, of all things the plainest and sincerest, is forced to gain admittance to us in disguise, and court us in masquerade. Ibid. § 102. On the Sublime. There is one ingredient more required to the perfection of style, which I have partly mentioned already, in speaking of the suitableness of the thoughts to the subject, and of the words to the thoughts; but you will give me leave to consider it in another light, with regard to the majesty and dignity of the subject. It is fit, as we have said already, that the thoughts and expressions should be suited to the matter on all occasions; but in nobler and greater subjects, especially where the theme is sacred and divine, it must be our care to think and write up to the dignity and majesty of the things we presume to treat of: nothing little, mean, or low, no childish thoughts, or boyish expressions, will be endured: all must be awful and grave, and great and solemn. The noblest sentiments must be conveyed in the weightiest words: all ornaments and illustrations must be borrowed from the richest parts of universal nature; and in divine subjects, especially when we attempt to speak of God, of his wisdom, goodness, and power, of his mercy and justice, of his dispensations and providence (by all which he is pleased to manifest himself to the sons of men) we must raise our thoughts, and enlarge our minds, and search all the treasures of knowledge for every thing that is great, wonderful, and magnificent; we can only express our thoughts of the Creator in the works of |