SWIFT.

Some authors there are, whose manner of writing approaches nearer to the style of speaking than others; and who, therefore, can be imitated with more safety. In this class, among the English authors, are Dean Swift, and Lord Bolingbroke. The Dean, throughout all his writings, in the midst of much correctness, maintains the easy natural manner of an unaffected speaker: and this is one of his chief excellencies. Lord Bolingbroke's style is more splendid, and more declamatory than Dean Swift's; but still it is the style of one who speaks, or rather who harangues. Indeed, all his political writings (for it is to them only, and not to his philosophical ones, that this observation can be applied) carry much more the appearance of one declaiming with warmth in a great assembly, than of one writing in a closet, in order to be read by others. They have all the copiousness, the fervour, the inculcating method, that is allowable and graceful in an orator; perhaps too much of it for a writer and it is to be regretted, as I have formerly observed, that the matter contained in them should have been so trivial or so false; for, from the manner and style, considerable advantage might be reaped.

Ibid.

sition, in writing a letter, nay even in common discourse, study to acquit himself with propriety. I do not at all mean, that he is never to write, or to speak a word, but in elaborate and artificial language. This would form him to a stiffness and affecta. tion, worse, by ten thousand degrees, than served, that there is, in every thing, a man. ner which is becoming, and has propriety; and opposite to it, there is a clumsy and faulty performance of the same thing. The becoming manner is very often the most light, and seemingly careless manner; but it requires taste and attention to seize the just idea of it. That idea, when acquired, we should keep in our eye, and form upon Ibid. it whatever we write or say.

f 80. Of what Use the Study of critical and rhetorical Writers may be.

It now only remains to enquire, of what use may the study of critical and rhetorical writers be, for improving one in the prac tice of eloquence? These are certainly not to be neglected; and yet, I dare not say that much is to be expected from them. For professed writers on public speaking, we must look chiefly among the ancients. In modern times, for reasons which were before given, popular eloquence, as an art, has never been very much the object of study; it has not the same powerful effect among us that it had in more democratical states; and therefore has not been culti vated with the same care. Among the moderns, though there has been a great deal of good criticism on the different kinds of writing, yet much has not been attempted on the subject of eloquence, or public discourse; and what has been given us of that kind has been drawn mostly from the an cients. Such a writer as Joannes Gerardus Vossius, who has gathered into one heap of ponderous lumber, all the trifling, as well as the useful things, that are to be found in the Greek and Roman writers, is enough to disgust one with the study of eloquence. Among the French, there has been more attempted on this subject, than among the English. The Bishop of Cambray's wri tings on eloquence, I before mentioned with honour. Rollin, Batteux, Crevier, Gibert, and several other French critics, have also written on oratory; but though some of them may be useful, none of them are so considerable as to deserve particular recommendation.

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Ibid.

$81.

§ 81. Recourse must chiefly be had to the original Writers.

It is to the original ancient writers that we must chiefly have recourse; and it is a reproach to any one, whose profession calls him to speak in public, to be unacquainted with them. In all the ancient rhetorical writers, there is, indeed, this defect, that they are too systematical, as I formerly shewed; they aim at doing too much; at reducing rhetoric to a complete and perfect art, which may even supply invention with materials on every subject; insomuch that one would imagine they expected to form an orator by rule, in as mechanical a manner as one would form a carpenter. Whereas, all that can in truth be done, is to give openings for assisting and enlightening taste, and for pointing out to genius the course it ought to hold.

Aristotle laid the foundation for all that was afterwards written on the subject. That amazing and comprehensive genius, which does honour to human nature, and which gave light into so many different sciences, has investigated the principles of rhetoric with great penetration. Aristotle appears to have been the first who took thetoric out of the hands of the sophists, and introduced reasoning and good sense into the art. Some of the profoundest things which have been written on the passions and manners of men, are to be found in his Treatise on Rhetoric: though in this, as in all his writings, his great brevity often renders him obscure. Succeeding Greek rhetoricians, most of whom are now lost, improved on the foundation which Aristotle had laid. Two of them still remain, Demetrius Phalereus, and Dionysius of Halicarnassus; both write on the construction of sentences, and deserve to be perused; especially Dionysius, who is a very accurate and judicious critic.

I need scarcely recommend the rhetorical writings of Cicero. Whatever, on the subject of eloquence, comes from so great an orator, must be worthy of attention. His most considerable work on this subject is that De Oratore, in three books. None of Cicero's writings are more highly finished than this treatise. The dialogue is polite; the characters are well support ed, and the conduct of the whole is beautiful and agreeable. It is, indeed, full of digressions, and his rules and observations may be thought sometimes too vague and general. Useful things, however, may be

learned from it; and it is no small benefit to be made acquainted with Cicero's own idea of eloquence. The "Orator ad M. "Brutum," is also a considerable treatise; and, in general, throughout all Cicero's rhetorical works there run those high and sublime ideas of eloquence, which are fitted both for forming a just taste, and for creating that enthusiasm for the art, which is of the greatest consequence for excelling in it.

But, of all the ancient writers on the subject of oratory, the most instructive, and most useful, is Quinctilian. I know few books which abound more with good sense, and discover a greater degree of just and accurate taste, than Quinctilian's Institutions. Almost all the principles of good criticism are to be found in them. He has digested into excellent order all the ancient ideas concerning rhetoric, and is, at the same time, himself an eloquent writer. Though some parts of his work contain too much of the technical and artificial system then in vogue, and for that reason may be thought dry and tedious, yet I would not advise the omitting to read any part of his Institutions. To pleaders at the bar, even these technical parts may prove of some use. Seldom has any person, of more sound and distinct judgment than Quinctilian, applied himself to the study of the art of oratory. Blair.

$82. On the Necessity of a Classical Education.

The fairest diamonds are rough till they are polished, and the purest gold must be run and washed, and sifted in the ore. We are untaught by nature, and the finest qualities will grow wild and degenerate if the mind is not formed by discipline, and cultivated with an early care. In some persons, who have run up to men without a liberal education, we may observe many great qualities darkened and eclipsed; their minds are crusted over like diamonds in the rock, they flash out sometimes into an irregular greatness of thought, and betray in their actions an unguided force, and unmanaged virtue; something very great and very noble may be discerned, but it looks cumbersome and aukward, and is alone of all things the worse for being natural. Nature is undoubtedly the best mistress and aptest scholar; but nature herself must be civilized, or she will look savage, as she appears in the Indian princes, who are vested with a native majesty, a sur

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prising greatness and generosity of soul, and discover what we always regret, fine parts, and excellent natural endowments, without improvement. In those countries, which we call barbarous, where art and politeness are not understood, nature hath the greater advantage in this, that simplicity of manners often secures the innocence of the mind; and as virtue is not, so neither is vice, civilized and refined: but in these politer parts of the world, where virtue excels by rules and discipline, vice also is more instructed, and with us good qualities will not spring up alone: many hurtful weeds will rise with them, and choak them in their growth, unless removed by some skilful hand: nor will the mind be brought to a just perfection without cherishing every hopeful seed, and repressing every superfluous humour: the mind is like the body in this regard, which cannot fall into a decent and easy carriage, unless it be fashioned in time: an untaught behaviour is like the people that use it, truly rustic, forced and uncouth, and art must be applied to make it natural.

Felton.

§ 83. On the Entrance to Knowledge. Knowledge will not be won without pains and application: some parts of it are easier, some more difficult of access: we must proceed at once by sap and battery: and when the breach is practicable, you have nothing to do, but to press boldly on, and enter: it is troublesome and deep digging for pure waters, but when once you come to the spring, they rise and meet you: the entrance into knowledge is oftentimes very narrow, dark and tiresome, but the rooms are spacious, and gloriously furnished: the country is admirable, and every prospect entertaining. You need not wonder that fine countries have strait avenues, when the regions of happiness, like those of knowledge, are impervious and shut to lazy travellers; and the way to heaven itself is narrow.

Common things are easily attained, and nobody values what lies in every body's way: what is excellent is placed out of ordinary reach, and you will easily be persuaded to put forth your hand to the utmost stretch, and reach whatever you aspire at.

Ibid.

$84. Classics recommended. Many are the subjects which will invite and deserve the steadiest application from

those who would excel, and be distinguish ed in them. Human learning in general; natural philosophy, mathematics, and the whole circle of science. But there is no necessity of leading you through these several fields of knowledge: it will be most commendable for you to gather some of the fairest fruit from them all, and to lay up a store of good sense, and sound reason, of great probity, and solid virtue. This is the true use of knowledge, to make it subservient to the great duties of our most holy religion, that as you are daily grounded in the true and saving knowledge of a Christian, you may use the helps of human learning, and direct them to their proper end. You will meet with great and wonderful examples of an irregular and mista ken virtue in the Greeks and Romans, with many instances of greatness of mind, of unshaken fidelity, contempt of human grandeur, a most passionate love of their country, prodigality of life, disdain of servitude, inviolable truth, and the most public disinterested souls, that ever threw off all regards in comparison with their country's good: you will discern the flaws and ble mishes of their fairest actions, see the wrong apprehensions they had of virtue, and be able to point them right, and keep them within their proper bounds. Under this correction you may extract a generous and noble spirit from the writings and histories of the ancients. And I would in a particular manner recommend the classic authors to your favour, and they will recommend themselves to your approbation.

If you would resolve to master the Greek as well as the Latin tongue, you will find that the one is the source and original of all that is most excellent in the other: I do not mean so much for expression, as thought, though some of the most beau tiful strokes of the Latin tongue are drawn from the lines of the Grecian orators and poets; but for thought and fancy, for the very foundation and embellishment of their works, you will see, the Latins have ransacked the Grecian store, and, as Horace advises all who would succeed in writing well, had their authors night and morning in their hands.

And they have been such happy imitators, that the copies have proved more exact than the originals; and Rome has tri umphed over Athens, as well in wit as arms; for though Greece may have the honour of invention, yet it is easier to strike out a new course of thought than to equal

old

Felton.

Roman Writers.

If I may detain you with a short com. parison of the Greek and Roman authors, I must own the last have the preference in my thoughts; and I am not singular in my opinion. It must be confessed, the Romans have left no tragedies behind them, that may compare with the majesty of the Grecian stage; the best comedies of Rome were written on the Grecian plan, but Menander is too far lost to be compared with Terence; only if we may judge by the method Terence used in forming two Greek plays into one, we shall naturally conclude, since his are perfect upon that model, that they are more perfect than Menander's were. I shall make no great difficulty in preferring Plautus to Aristophanes, for wit and humour, variety of characters, plot, and contrivance in his plays, though Horace has censured him for low wit.

Virgil has been so often compared with Homer, and the merits of those poets so often canvassed, that I shall only say, that if the Roman shines not in the Grecian's flame and fire, it is the coolness of his judgment, rather than the want of heat. You will generally find the force of a poet's genius, and the strength of his fancy, display themselves in the descriptions they give of battles, storms, prodigies, &c. and Homer's fire breaks out on these occasions in more dread and terror; but Virgil mixes compassion with his terror, and, by throw ing water on the flame, makes it burn the brighter; so in the storm; so in his battles on the fall of Pallas and Camilla; and that scene of horror, which his hero opens in the second book; the burning of Troy; the ghost of Hector; the murder of the king; the massacre of the people; the sudden surprise, and the dead of night, are so relieved by the piety and pity that is every where intermixed, that we forget our fears, and join in the lamentation. All the world acknowledges the Eneid to be most perfect in its kind; and considering the dis

instances excepted, in which Homer, through the force of genius, has excelled.

I have argued hitherto for Virgil; and it will be no wonder that his poem should be more correct in the rules of writing, if that strange opinion prevails, that Homer writ without any view or design at all; that his poems are loose independent pieces tacked together, and were originally only so many songs or ballads upon the gods and heroes, and the siege of Troy. If this be true, they are the completest string of ballads I ever met with, and whoever collected them, and put them in the method we now read them in, whether it were Pisistratus, or any other, has placed them in such order, that the Iliad and the Odysseys seem to have been com posed with one view and design, and scheme and intention, which are carried on from the beginning to the end, all along uniform and consistent with themselves. Some have argued, the world was made by a wise Being, and not jumbled together by chance, from the very absurdity of such a supposi tion; and they have illustrated their argu ment, from the impossibility that such a poem as Homer's and Virgil's should rise in such beautiful order out of millions of letters eternally shaken together: but this argument is half spoiled, if we allow, that the poems of Homer, in each of which apa pears one continued formed design from one end to the other, were written in loose

scraps on no settled premeditated scheme. Horace, we are sure, was of another opinion, and so was Virgil too, who built his Æneid upon the model of the Iliad and the Odys seys. After all, Tully, whose relation of this passage has given some colour to this suggestion, says no more, than that Pisistratus (whom he commends for his learn ing, and condemns for his tyranny) observ. ing the books of Homer to lie confused and out of order, placed them in the method the great author, no doubt, had first formed them in: but all this Tully gives us only as report. And it would be very strange, that Aristotle should form his rules on Homer's poems; that Horace should follow

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his example, and propose Homer for the standard of epic writing, with this bright testimony, that he "never undertook any thing inconsiderately, nor ever made any foolish attempts;" if indeed this celebrated poet did not intend to form his poems in the order and design we see them in. If we look upon the fabric and construction of those great works, we shall find an admirable proportion in all the parts, a perpetual coincidence, and independence of one upon another; I will venture an appeal to any learned critic in this cause; and if it be a sufficient reason to alter the common readings in a letter, a word, or a phrase, from the consideration of the context, or propriety of the language, and call it the restoring of the text, is it not a demonstration that these poems were made in the same course of lines, and upon the same plan we read them in at present, from all the arguments that connexion, dependence, and regularity can give us? If those critics, who maintain this odd fancy of Homer's writings, had found them loose and undigested, and restored them to the order they stand in now, I believe they would have gloried in their art, and maintained it with more uncontested reasons, than they are able to bring for the discovery of a word or a syllable hitherto falsely printed in the text of any author. But, if any learned men of singular fancies and opinions will not allow those buildings to have been originally designed after the present model, let them at least allow us one poetical supposition on our side, That Homer's harp was as powerful to command his scattered incoherent pieces into the beautiful structure of a poem, as Amphion's was to summon the stones into a wall, or Orpheus's to lead the trees a dance. For certainly, however it happens, the parts are so justly disposed, that you cannot change any book into the place of another, without spoiling the proportion, and confounding the order of the whole.

The Georgics are above all controversy with Hesiod; but the Idylliums of Theocritus have something so inimitably sweet in the verse and thoughts, such a native simplicity, and are so genuine, so natural a result of the rural life, that I must, in my poor judgment, allow him the honour of the pastoral.

In Lyrics the Grecians may seem to have excelled, as undoubtedly they are superior in the number of their poets, and

variety of their verse. Orpheus, Al cæus, Sappho, Simonides, and Stesichorus are almost entirely lost. Here and there a fragment of some of them is remaining, which, like some broken parts of ancient statues, preserve an imperfect monument of the delicacy, strength, and skill of the great master's hand.

Pindar is sublime, but obscure, impetu ous in his course, and unfathomable in the depth and loftiness of his thoughts. Anacreon flows soft and easy, every where dif fusing the joy and indolence of his mind through his verse, and tuning his harp to the smooth and pleasant temper of his soul. Horace alone may be compared to both; in whom are reconciled the loftiness and majesty of Pindar, and the gay, careless, jovial temper of Anacreon: and, I sup pose, however Pindar may be admired for greatness, and Anacreon for delicateness of thought; Horace, who rivals one in his triumphs, and the other in his mirth and love, surpasses them both in justness, elegance, and happiness of expression. Anacreon has another follower among the choicest wits of Rome, and that is Čatullus, whom, though his lines be rough, and his numbers inharmonious, I could recommend for the softness and delicacy, but must decline for the looseness of his thoughts, too immodest for chaste ears to bear.

I will go no farther in the poets; only, for the honour of our country, let me observe to you, that while Rome has been contented to produce some single rivals to the Grecian poetry, England hath brought forth the wonderful Cowley's wit, who was beloved by every muse he courted, and has rivalled the Greek and Latin poets in every kind but tragedy.

I will not trouble you with the historians any further, than to inform you, that the contest lies chiefly between Thucydides and Sallust, Herodotus and Livy: though I think Thucydides and Livy may on many accounts more justly be compared: the critics have been very free in their cen sures, but I shall be glad to suspend any farther judgment, till you shall be able to read them, and give me your opinion.

Oratory and philosophy are the next disputed prizes; and whatever praises may be justly given to Aristotle, Plato, Xenophon and Demosthenes, I will venture to say, that the divine Tully is all the Grecian orators and philosophers in one. Felton.