Other examples may be found in the following: "Recently deceased," for "lately dead;" "monumental marble," for "tombstone;""residence," for "house;" "paraphernalia,” for "clothes;" "emporium," for "shop;" "encomium," for "praise;" "location," for "place;" "locate," for "put;" "attired," for "clad;" "individual," for "person;" "window draperies," for "curtains;" "entertainment," for "supper;" "sacred edifice," for "church" "vociferation," for "cry;" "available resources,' for "income;" "lower limb," for "leg;" "peregrination," for "walk;" "asphyxiate," for "choke."

There are various modes of the pretentious style, some of which are indicated by the following terms:

Grandiloquent," a pompous style, consisting of a great display of ornate language.

"Profound;" "oracular;" trite and commonplace ideas expressed with the air of wisdom and originality; often put forth after the fashion of maxims or apophthegms. Tupper's “Proverbial Philosophy" is an example.

"Egotistic" is applied to style in which the writer is perpetually thrusting forward his own personality. A proper modesty is always in good taste, and anything like self-conceit in speaker or writer is repulsive. Egotism is only tolerable when accompanied by wit and humor, or at least sprightliness and vivacity. The term "sesquipedalian" is applied to words of unusual length; and to any style in which they are abundant.

$308. OSTENTATION.

4. Another vice of style opposed to elegance is found in various kinds of ostentation, of which the following are the most prominent :

Ist. Conceit.

This word formerly meant "concept," that is, a "conception," and implied a sentiment, a striking thought. Thus Pope:

"Some to conceit alone their works confine,

And glittering thoughts struck out at every line."

At present it is used to signify sentiments that are strained or far-fetched, especially when presented in the form of figures. Thus Bulwer, in his attack on Tennyson, calls his poetry—

"A jingling medley of purloined conceits,

Outbabying Wordsworth, and outglittering Keats."

A recent poem, A Riddle of Lovers, contains such conceits as "her beautiful singing holy soul," "the shine of sharp soul striking soul."

"There is no poet's poesy would not

When laid against the whiteness of her meek,

Proud, solemn face, make there a pitiful blot."

2d. Imitations of great writers.

Every great writer has hosts of admirers and imitators. Johnson was followed by a school of writers who wrote Johnsonese. Carlyle had many imitators; but the race has nearly died out. It is the same in poetry. The Byron mania is well known. Tennyson has been imitated for the last thirty years; and of late Swinburne has his followers, who, in the words of a critic, laboriously search for alliterations to "fire" and "desire," and painfully call upon our Lady of Pain to "come down and redeem them from virtue."

3d. Another form is found in certain fashions of criticism that arise from time to time. The latest display of this sort is the application of musical terms to painting, and of the slang of art to poetry. "Mr. Swinburne's brilliant flesh-tints;" "Mr. Morris's low-toned colors;" "a most charming symphony in red;" "a perfect sonnet in oils," are phrases which represent this newest fashion in the world of letters.

$ 309. VULGARITY.

5. Various faults of style arise through vulgarity.

There are some who try to leap at once into ease of writing. They read the essays of an author like Thackeray, and make the attempt to rival him, without being conscious of the difference between a great master and a young beginner. Unwilling to go through the labor that is necessary to prepare them for such a task, or ignorant that such labor is required, they rush at once into as close an imitation of their model as they can contrive. Any real imitation, under such circumstances, is not generally effected. What is liveliness and sprightliness in the one, becomes in the other coarseness and sheer vulgarity. In order to appear quite at their ease, they make free use of colloquialisms; and intending to be elegant, they are simply impertinent. In writing, as in actual life, where one forces himself to appear at ease, the result will be that he overdoes it, and makes himself awkward and disagreeable. To this sort of vulgarity may be applied the well-known saying, "The ass would imitate the lapdog;" or Burke's words, "It is the contortions of the sibyl without the inspiration."

Another form of vulgarity is found where there is an appeal to low motives, such as prejudice, local feeling, snobbishness; together with low expressions-the slang of little cliques or societies and the like.

Sometimes the language is awkward. This is seen in the use of words that are not expressive of one's meaning, and in badly arranged phrases and sentences.

Buffoonery is a species of vulgarity. It is the lowest kind of wit, if, indeed, it can be called wit. It is coarse and clownish humor, the meanest exhibition of the sense of the ridiculous. It is seen in "Joe Millerisms," coarse jokes, scurrilities, low personalities, and also in vulgar jesting upon sacred themes.

PART IV.

METHOD.

CHAPTER I.

SUBJECT-MATTER.

$310. METHOD DEFINED.

BEFORE entering upon the work of composition it is necessary to gather up material, and arrange it into some kind of order. This material is called subject-matter, that is, matter relating to the subject under consideration.

Method may be defined as the choice and arrangement of the subject-matter of composition, as distinguished from style, which is the manner of its expression in words.

Various other terms are frequently applied. Thus in fiction, whether narrative or dramatic, it is often called "plot;" in essays, speeches, and many works aiming at persuasion, it is called "analysis;" in sermons the word "skeleton" is popularly used; and, finally, the word "argument" is of frequent application. Method includes all these.

Method, according to the above definition, may be considered under two general divisions: First, the choice of subjectmatter, or invention; secondly, the arrangement of subject

matter.

§ 311. SUBJECT-MATTER.

Subject-matter may be regarded from a twofold point of view: first, with reference to the mode in which it is presented; and, secondly, with reference to its own character.

Subject-matter, when considered with reference to the mode

in which it is presented, assumes various forms, which constitute the leading departments of literature. These may be set down in the following order:

1. Description. 2. Narration.

3. Exposition. 4. Oratory.

5. Dialogue. 6. Drama. 7. Poetry.

Each of these departments of literature has its own character, and for its successful treatment requires peculiar qualities in the writer, who does not often attain to real excellence in more than one.

Description is the representation of things observed at any one point of time.

Narration is the report of a succession of events observed in the order of time.

Exposition is that kind of composition which deals with its subject-matter by a process of reasoning, so as to reach a certain conclusion through the discussion of facts or principles. Oratory is a form of exposition tending to persuasion. Dialogue is the consideration of a subject by more than

one.

Drama is the visible representation of the acts and passions of men.

Poetry constitutes a literature in itself, with its own peculiar characteristics. It is the expression of thought or feeling by modes which imply an excited or elevated imagination.

In description, narration, and the drama, the subject-matter refers chiefly to objects or events.

In exposition, oratory, and dialogue, the subject-matter refers chiefly to theories or principles.

Poetry is more comprehensive than any other department of literature. It may enter into description, narration, exposition, dialogue, the drama, or even oratory, and may therefore have the subject-matter peculiar to these.

Subject-matter, when considered with reference to its own character, is divisible into two parts:

1. When it refers to facts which are to be described or narrated.

2. When it refers to principles which are to be discussed. It is evident that the same kind of subject-matter is required for description and narration, whether these are set forth directly or indirectly, in prose or poetry, in dialogue or the drama;