an eminent English author into our own words. What I mean is, to take, for instance, some page of one of Mr. Addison's Spectators, and read it carefully over two or three times, till we have got a firm hold of the thoughts contained in it; then to lay aside the book; to attempt to write out the passage from memory, in the best way we can; and having done so, next to open the book, and compare what we have written, with the Style of the author. Such an exercise will, by comparison, shew us where the defects of our Style lie; will lead us to the proper attentions for rectifying them; and among the different ways in which the same thought may be expressed, will make us perceive that which is the most beautiful. But,

ever.

In the fourth place, I must caution, at the same time, against a servile imitation of any author whatThis is always dangerous. It hampers genius; it is likely to produce a stiff manner; and those who are given to close imitation, generally imitate an author's faults as well as his beauties. No man will ever become a good writer or speaker, who has not some degree of confidence to follow his own genius. We ought to beware, in particular, of adopting any author's noted phrases, or transcribing passages from him. Such a habit will prove fatal to all genuine composition. Infinitely better it is to have something that is our own, though of moderate beauty, than to affect to shine in borrowed ornaments, which will, at last, betray the utter poverty of our genius. On these heads of composing, correcting, reading, and imitating, I advise every student of oratory to consult what Quinctilian has delivered in the Xth book of his Institutions, where he will find a variety of

excellent observations and directions, that well deserve attention.

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 capacity 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 illtimed 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 subject 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.'

* «To your expression be attentive; but about "solicitous."

your matter be

A direction the more necessary, as the present state 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 nò 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; 66 quæ si toto corpore valet, ungues polire et capillum componere, non existimabit ad curam suam pertiOrnatus et virilis et fortis, et sanctus sit; "nec effeminatam levitatem, et fuco ementitum "colorem amet; sanguine et viribus niteat."*

66

"nere.

"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 gaiety, or artificial colouring; let it shine with the glow of health and strength."

394

LECTURE XX.

CRITICAL EXAMINATION OF THE STYLE OF MR. ADDISON, IN N° 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 shew, 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 Quinctilian applies to Cicero, "Ille se profecisse sciat, cui Cicero valde placebit," may, with justice, be applied to Mr. Addison; that to be highly 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:

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

This is an excellent introductory sentence. It is