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should have employed in conversation, to convey the same thought. A writer, whose style is less idiomatic, would have said, “Of the different objects which, amongst the flowers of spring, arrest the attention, the bee is the most cheerful that can be looked upon." This mode of stating the thought is more formal and stately, but less easy and idiomatic.

The idiomatic style must, of course, be varied according to the nature of the subject and the particular occasion; as, in conversation, we employ one mode of expression to represent gay, and another mode to represent grave subjects.

In aiming to be idiomatic, the young writer must be cautious to avoid falling into a careless mode of writing, by which his meaning will be rendered obscure, and his expressions vulgar.

The writings of Goldsmith, Addison, Swift, and Paley, are justly celebrated for their easy, idiomatic style.

Specimen of the Idiomatic or Easy Style.

Walking by the sea side, in a calm evening, upon a sandy shore, and with an ebbing tide, I have frequently remarked the appearance of a dark cloud, or rather, very thick mist, hanging over the edge of the water, to the height, perhaps, of half a yard, and of the breadth of two or three yards, stretching along the coast as far as the eye could reach, and always retiring with the water. When this cloud came to be examined, it proved to be so much space, filled with young shrimps, in the act of bounding into the air, from the shallow margin of the water, or from the wet sand. If any motion of a mute animal could express delight, it was this: if they had meant to make signs of their happiness, they could not have done it more intelligibly. Suppose then, what there is no reason to doubt, each individual of this number to be in a state of positive enjoyment; what a sum, collectively, of gratification and pleasure have we here before our view!

The young of all animals appear to receive pleasure simply from the exercise of their limbs and bodily faculties, without reference to any end to be attained, or any use to be answered by the exertion. A child, without knowing any thing of the use of language, is in a high degree delighted with being able to speak. Its incessant repetition of a few articulate sounds, or, perhaps, of a single word, which it has learned to pronounce, proves this point clearly. Nor is it less pleased with its first successful endeavours to walk, or rather, to run, (which precedes walking), although entirely ignorant of the importance of the attainment to its future life, and even without applying it to any present purpose. A child is delighted with speaking, without having any thing to say; and with walking, without knowing whither to go. And, previously to both these, it is reasonable to believe, that the waking hours of infancy are agreeably taken up with the exercise of vision, or, perhaps, more properly speaking, with learning to see.-Paley.

2. The Laboured Style.

Its Nature. The Laboured Style is the very reverse of the easy and idiomatic style, as it appears the result of great effort on the part of the writer, and requires close attention from the reader to be clearly understood. In this style, the arrangement of the words and clauses is frequently inverted, and the whole composition of the senten

ces is artificial. A laboured style, when carried to excess, is very faulty.

Several of the writings of Dugald Stewart betray much of the laboured style, though they may possess redeeming qualities which may preserve them from

censure.

Directions for the Correction of this Style. 1. Let the writer compose with greater rapidity, and, if his views of the subject are clear and well-defined, let them be embodied in that form of expression which first presents itself, rather than in words which are less common, or in a construction which is inverted.

2. The frequent practice of epistolary correspondence, writing a journal, recording his casual thoughts and feelings, describing scenes and occurrences presenting themselves to his notice, when done simply for his own amusement and benefit, without any intention of submitting what is written to the inspection of others, will materially contribute to the correction of this style.

3. Another valuable auxiliary in the correction of this kind of writing is, the diligent study of the authors previously mentioned as distinguished for their easy and idiomatic style.

3. The Natural Style.

Its Nature. The Natural Style implies that choice of words, construction of sentences, and introduction of ornament, which sound sense and good taste allow to be best adapted to the subject. Hence, the natural style is opposed to every species of affectation.

ILLUSTRATION.-In looking at some of the beautiful specimens of ancient statuary, we are led to pronounce their appearance natural. By this expression, we mean, that their appearance is such as, in our opinion, it should be,-such as is consonant with our experience and observation. There is no violent contortion of the features, no forced attitude with the design of producing effect; but the image stands and appears as a man should do, in the circumstances and situation in which it is placed. In a similar manner, we must judge of naturalness of style. In writings of this kind, no far-fetched expressions, no forced comparisons, no extravagant thoughts, will be found. But every thing is natural and suitable to the subject.

By the term Naturalness of Style, is not meant that style which is merely suited to the intellectual habits and attainments of an author, whatever these may be, but that standard which exists in the mind of every man whose taste is not perverted and vitiated. This may be illustrated by the following example:-Should any one, unacquainted with the

rules and practice of the art of dancing, attempt to dance, his movements might be natural to himself, but no one would think of applying to them the word natural, in the sense just explained. In the same way, a manner of writing may be natural to a writer, when we should not think of ascribing to him the merit of Naturalness of Style.

Naturalness of style is not confined to any particular species of writing. It is found alike in the most artless narrations, and in the most elevated descriptions; in the story adapted to the comprehension of a child, and in the sublime raptures of the greatest poets.

RULES TO BE OBSERVED.-In aiming at this style,

1. Cautiously avoid introducing ornaments which are not adapted to, and naturally suggested by, the subject.

2. Aim not so much at what is termed felicity, as at propriety of expression; and ever prefer genuine English words and idioms to those derived from other languages.

3. Avoid all extravagant expressions, sweeping assertions, and forced illustrations.

4. Affect not a fulness and flow of expression, without a corresponding fulness and depth of thought.

4. The Elevated and Dignified Styles.

In an Elevated Style, there is much of originality and sublimity of thought, combined with a calm but powerful feeling; and the words and ornaments employed are admirably adapted to convey the feelings and sentiments of the writer. The sentences, in their construction, are full and flowing; but, at the same time, simple and unlaboured. No weak and unimportant thoughts are admitted, but the whole has a majesty and grandeur which, with quiet but resistless power, hold their undisturbed and even way.

The writings of the late Robert Hall contain many examples of the Elevated Style.

The Dignified differs from the Elevated Style, principally from its want of ease and naturalness. Learned or uncommon words are frequently introduced; the construction of the sentences, instead of being idiomatic, is characterized by

the frequent inversion of the clauses; and the whole composition has the appearance of stateliness and formality.

In its ornaments, which are always of a high order, the sprightly metaphor and the well-timed allusion are rejected, for the protracted allegory and formal comparison. But the images thus brought to the mind, are not only illustrative, but frequently ennobling and exalting.

Most of the writings of Dr. Johnson, are specimens of the Dignified Style.

The pedantic style is an unsuccessful attempt either at the elevated or the dignified style. It is characterized by the use of terms and phrases which are either obsolete, uncommon, or derived from the learned languages.

The pompous style, which is nearly allied to the preceding, is characterized by the use of long and sonorous words and circumlocutions, and by the frequent repetition of the same thought in different words. Both these styles should be carefully avoided.

Specimen of the Elevated Style.

By a series of criminal enterprises, by the success of guilty ambition, the liberties of Europe have been gradually extinguished. The subjugation of Holland, Switzerland, and the free towns of Germany, has completed that catastrophe; and we are the only people in the Eastern hemisphere, who are in possession of equal laws, and a free constitution. Freedom, driven from every spot on the Continent, has sought an asylum in a country which she always chose for her favourite abode: but she is pursued even here, and threatened with destruction. The inundation of lawless power, after covering the whole earth, threatens to follow us here; and we are most exactly, most critically placed in the only aperture where it can be successfully repelled-in the Thermopyla of the world. As far as the interests of freedom are concerned-the most important by far of sublunary interests!-you, my countrymen, stand in the capacity of the federal representatives of the human race; for with you it is to determine-under God-in what condition the latest posterity shall be born. Their fortunes are entrusted to your care; and on your conduct, at this moment, depend the colour and complexion of their destiny. If liberty, after being extinguished on the Continent, is suffered to expire here; whence is it ever to emerge in the midst of that thick night that will invest it? It remains with you, then, to decide, whether that freedom, at whose voice the kingdoms of Europe awoke from the sleep of ages, to run a career of virtuous emulation in every thing great and good; the freedom which dispelled the mists of superstition, and invited the nations to behold their God; whose magic torch kindled the rays of genius, the enthusiasm of poetry, and the flame of eloquence the freedom which poured into our lap opulence and arts, and embellished life with innumerable institutions and improvements, till it became a theatre of wonders-it is for you to decide, whether this freedom shall yet survive, or be covered with a funeral pall, and wrapped in eternal gloom. It is not necessary to await your determination. In the solicitude you feel to approve yourselves worthy of such a trust, every thought of what is afflicting in warfare, every apprehension of danger, must vanish; and you are impatient to mingle in the battle of the civilized world. Go then, ye defenders of your country, accompanied with every auspicious omen; advance with alacrity into the field, where God himself musters the host to war. Religion is too much interested in your success, not to lend you her aid. She will shed over this enterprise her selectest influence. While you are engaged in the field, many will repair to the closet-many, to the sanctuary. The faithful of every name will employ that prayer which has power with God. The feeble hands, which are unequal to any other weapon, will grasp the sword of the Spirit; and from myriads of humble contrite hearts, the voice of intercession, supplication, and weeping, will mingle in its ascent to heaven, with the shouts of battle, and the shock of arms.-Robert Hall.

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A SKETCH OF RHETORIC.

Rhetoric is the science which investigates the principles of argumentative and persuasive composition, and the proprieties of style belonging to it.

It has been alleged, by a few writers, that a compliance with the Rules of Rhetoric, tends to cramp the mind, by repressing that impetuosity of feeling, and that exclusive attention to the subject, which are essential to success. But this assertion is made from a forgetfulness of the mode in which the Rules of every art and science operate upon the mind. So long as the Rules are indistinctly apprehended by, or unfamiliarized to the mind, so long must they, and not the subject, either engross or divide the attention. But let the Rules, either of composition or of any other science, be once thoroughly understood and familiarized by practice, and they soon become habits. Then, there is no laborious search after them, no toilsome effort at recollection, but the mind, unconscious of their presence, is silently directed and controlled in its movements.

Rhetoric, by exhibiting those principles and maxims of excellence, which have been deduced by the consummate skill of the most profound thinkers, and adhered to by the wisest of every age, will enable the student, not merely to avoid committing faults, but to arrive at a higher degree of correctness, perspicuity, and beauty, and with infinitely greater ease, than he could possibly have arrived at, by his own unassisted efforts.

DIVISIONS OF RHETORIC.

In the productions of our most celebrated authors, we find displayed the four following eminent characteristics :1. Correctness of Thought.

2. Perfect familiarity with the Subject.

3. Good Taste.

4. Skill in the Use of Language.

In this order, it is purposed briefly to treat of the principles of Rhetoric in the following pages; bearing in mind, that the remarks are addressed to young students.

1. CORRECTNESS OF THOUGHT.

That an author may write well and efficiently, it is necessary that he should think well, and be able to adduce the

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