ification of Nature is begun in the first of them which is not supported in the second. - To humouring, was to have been opposed thwarting - or if deviating was kept, following or going along with nature, was to have been used.

I do not know whether I am singular in my opinion, but, for my own part, I would rather look upon a tree, in all its luxuriancy and diffusion of boughs and bran ches, than when it is thus cut and trimmed into a mathematical figure; and cannot but fancy that an orchard, in flower, looks infinitely more delightful, than all the little labyrinths of the most finished parterre.

This sentence is extremely harmonious, and every way beautiful. It carries all the characteristics of our Author's natural, graceful, and flowing Language. A tree, in all its luxuriancy and diffusion of boughs and branches, is a remarkably happy expression. The Author seems to become luxuriant in describing an object which is so, and thereby renders the sound a perfect echo to the sense.

But as our great modellers of gardens have their magazines of plants to dispose of, it is very natural in them, to tear up all the beautiful plantations of fruittrees, and contrive a plan that may most turn to their profit, in taking off their evergreens, and the like moveable plants, with which their shops are plentifully stocked.

An Author should always study to conclude, when it is in his power, with grace and dignity. It is somewhat unfortunate, that this paper did not end, as it might very well have done, with the former beautiful period. The impression left on the mind by the beauties of nature with which he had been entertaining us, would then have been more agree

able. But in this sentence there is a great falling off; and we return with pain from those pleasing objects, to the insignificant contents of a nurseryman's shop.

LECTURE XXIV.

CRITICAL EXAMINATION OF THE STYLE IN A PASSAGE OF DEAN SWIFT'S WRITINGS.

My design, in the four preceding Lectures, was not merely to appreciate the merit of Mr. Addison's Style, by pointing out the faults and the beauties that are mingled in the writings of that great Author.. They were not composed with any view to gain the reputation of a critic; but intended for the assistance of such as are desirous of studying the most proper and elegant construction of sentences in the English language. To such, it is hoped, they may be of advantage; as the proper application of rules respecting Style will always be best learned by means of the illustration which examples afford. I conceived that examples, taken from the writings of an author so justly esteemed, would, on that account, not only be more attended to, but would also produce this good effect, of familiarising those who study composition with the style of a writer, from whom they may, upon the whole, derive great benefit. With the same view, I shall, in this Lecture, give one

critical exercise more of the same kind, upon the Style of an author of a different character, Dean Swift; repeating the intimation I gave formerly, that such as stand in need of no assistance of this kind, and who, therefore, will naturally consider such minute discussions concerning the propriety of words, and structure of sentences, as beneath their attention, had best pass over what will seem to them a tedious part of the work.

*

I formerly gave the general character of Dean Swift's Style. He is esteemed one of our most correct writers. His style is of the plain and simple kind; free from all affectation, and all superfluity; perspicuous, manly, and pure. These are its advantages. But we are not to look for much ornament and grace in it. On the contrary, Dean Swift seems to have slighted and despised the ornaments of Language, rather than to have studied them. His arrangement is often loose and negligent. In elegant, musical, and figurative Language, he is much inferior to Mr. Addison. His manner of writing carries in it the character of one who rests altogether upon his sense, and aims at no more than giving his meaning in a clear and concise manner.

I am glad to find, that, in my judgment concerning this Author's composition, I have coincided with the opinion of a very able critic: "This easy and safe conveyance of meaning, it was "Swift's desire to attain, and for having attained, he certainly "deserves praise, though, perhaps, not the highest praise. For

purposes merely didactic, when something is to be told that was "not known before, it is in the highest degree proper: but against "that inattention by which known truths are suffered to be neglected, it makes no provision; it instructs, but does not "persuade." Johnson's Lives of the Poets; in Swift.

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That part of his writings, which I shall now examine, is the beginning of his Treatise, intitled, "A Proposal for correcting, improving, and ascertaining "the English Tongue," in a Letter addressed to the Earl of Oxford, then Lord High Treasurer. I was led, by the nature of the subject, to choose this treatise; but, in justice to the Dean, I must observe that, after having examined it, I do not esteem it one of his most correct productions; but am apt to think it has been more hastily composed than some other of them. It bears the title and form of a Letter: but it is, however, in truth, a Treatise designed for the Public; and, therefore, in examining it, we cannot proceed upon the indulgence due to an epistolary correspondence. When a man addresses himself to a Friend only, it is sufficient if he makes himself fully understood by him; but when an author writes for the Public, whether he employ the form of an epistle or not, we are always entitled to expect, that he shall express himself with accuracy and care. Our author begins thus:

What I had the honour of mentioning to Your Lordship, some time ago, in conversation, was not a new thought, just then started by accident or occasion, but the result of long reflection; and I have been confirmed in my sentiments by the opinion of some very judicious persons with whom I consulted.

The disposition of circumstances in a sentence, such as serve to limit or to qualify some assertion, or to denote time and place, I formerly shewed to be a matter of nicety; and I observed, that it ought to be always held a rule, not to crowd such circumstances together, but rather to intermix them with more capital words, in such different parts of the sentence

as can admit them naturally. Here are two circumstances of this kind placed together, which had better have been separated. Some time ago, in conversationbetter thus: What I had the honour, some time ago, of mentioning to Your Lordship in conversationwas not a new thought, proceeds our Author, started by accident or occasion: the different meaning of these two words may not at first occur. They have, however, a distinct meaning, and are properly used: for it is one very laudable property of our Author's Style, that it is seldom encumbered with superfluous, synonymous words. Started by accident, is fortuitously, or at random; started by occasion, is by some incident which at that time gave birth to it. His meaning is, that it was not a new thought which either casually sprung up in his mind, or was suggested to him, for the first time, by the train of the discourse: but, as he adds, was the result of long reflection. He proceeds:

They all agreed, that nothing would be of greater use towards the improvement of knowledge and polite ness, than some effectual method for correcting, enlarging, and ascertaining our Language; and they think it a work very possible to be compassed under the protection of a prince, the countenance and encourage. ment of a ministry, and the care of proper persons chosen for such an undertaking.

This is an excellent sentence; clear and elegant. The words are all simple, well chosen and expressive; and arranged in the most proper order. It is a harmonious period too, which is a beauty not frequent in our Author. The last part of it consists of three members, which gradually rise and swell above one another, without any affected or unsuitable pomp ;