of language, are susceptible either of a different sense, or of no sense, ought to be discarded altogether.

Illus. We shall distinguish this phraseology by the epithet idiomatical; and since it is the offspring partly of ignorance, and partly of affectation, it divides itself into several examples.

First, that which includes a solecism, is the phrase," I had rather do such a thing," for, "I would rather do it." This expression is irregular, because the auxiliary had joined to the infinitive active do, is a gross violation of the rules of conjugation; and it is unnecessary, because we can supply its place by a phrase purely English. Good use cannot therefore protect it from being branded with the name of a blunder.

Secondly. Phrases, which, when explained grammatically, lead to a different sense from what the words in conjugation commonly bear; as, "he sings a good song," for " he sings well." A good song may be ill sung, and therefore the plain meaning of the words, as they stand connected, is very different. So also," he plays a good fiddle," for "he plays well on the fiddle," involves a solecisin.

A fourth impropriety is, a river's emptying itself. But to empty, is "to exhaust," or "to evacuate." Now passing the word river, as a metonymy for channel, is this ever "evacuated or exhausted?" when it is, it ceases to be a channel, and becomes a hollow or valley. A river falls into the sea, and a ship "falls down the river," as the motion is no other than a fall down a real, though gentle, declivity.

The fifth sort are those vile but common phrases, which can scarcely be considered as conveying any sense; as, currying favour, dancing attendance.

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Sixth. The idiomatical use that is sometimes made of certain verbs, renders their application reprehensible; as, "he stands upon security," for " he insists ;"-and take for "understand;" as, you take me," and "I take it ;"-and hold for “continue ;" as " he does not hold long in one mind."

Seventh. The worst are those, in which the words, when' construed, are not susceptible of any meaning; as, "there were seven ladies in the company, every one prettier than another;" which means, that they were all very pretty. But one prettier, implies that there is another less pretty. Now where every one is prettier, there can be none less, and consequently none more pretty.

Corol. Ambitiously to display nonsensical phrases of this sort, under the ridiculous notion of a familiar and easy manner, is not to set off the riches of a language, but to expose its rags. As such idioms, therefore, err alike against purity, simplicity, perspicuity, and elegance, they are entitled to no quarter from those who may deem the foregoing canons of any weight in the art of composition.

Scholium. The first five of these canons are intended to suggest the principles by which our choice ought to be directed in cases wherein use itself is wavering; and the four last, to point out those further improvements of construction, which verbal criticism, without exceeding her legal powers, may assist in producing. There is a danger, however, lest our improvements this way be carried too far, and our mother tongue, by being too much impaired, be impoverished, and so more injured in copiousness and nerves, than all our refinement will ever be able to compensate. For this reason there ought, in sup.

port of every sentence of proscription, to be an evident plea from the principles of perspicuity, elegance and harmony.

104. The foregoing reasoning furnishes a TENTH CANON Whatever be the opinion of some grammarians, the want of etymology cannot be reckoned a sufficient ground for the suppression of a significant term, which hath come into good

use.

Obs. It were as unreasonable to reject, on this account, the assistance of an expressive word, that opportunely offers its service, when perhaps no other word would so exactly answer our purpose, as to refuse, in common life, the needful aid of a proper person, because he could give no account of his family or pedigree.

Illus. Though what is called cant, is generally, not necessarily, not always without etymology, it is not the defect, but the baseness of the use, which fixeth on it that disgraceful appellation. No absolute monarch hath it more in his power to ennoble a person of obscure birth, than it is in the power of good use to exalt words of low or dubious extraction.

Examples. Fib, banter, fop, fudge, have arisen from hovels no one knows how; and flimsy, from the cant of a workshop.

Corol. It is never from attention to etymology, which would frequently mislead us, but from custom, the only infallible guide in this matter, that the meanings of words in present use must be learned. (Art. 76. and 77.)

105. What has now been said on this topic, relates only to such words as bear no distinguishable traces of the baseness of their source; the case is quite different in regard to those terms, which may be said to proclaim their vile and despicable origin; and that either by associating disagreeable and unsuitable ideas, or by betraying some frivolous humour in their formation.

Examples. Bellytimber, thorowstitch, and dumbfound, are of the former; and transmogrify, bamboozle, helierskelter, are of the latter class. Yet most of these words are to be found in "WALKER'S Critical Pronouncing Dictionary."

Obs. These may find a place in burlesque, but ought never to show themselves in any serious performance. A person of no birth, as the phrase is, may be raised to the rank of nobility, and, which is more, may become it; but nothing can add dignity to that man, or fit him for the company of gentlemen, who bears indelible marks of the clown in his look, gait, and whole behaviour,

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CHAPTER IV.

OF GRAMMATICAL PURITY.

106. PURE ENGLISH composition implies three things: (Art. 87.)

First, that the words be English. (Art. 82.)

Secondly, that their construction, under which, in our tongue, arrangement also is comprehended, be in the English idiom. General Principles, p. 55.)

Thirdly, that the words and phrases be employed to express the precise meaning, which custom hath affixed to them. (Art. 76.)

Obs. In the foregoing definition, we have substituted the phrase, "pure English," for grammatical purity; and this we have done for two especial reasons: 1st. Because it is the language in which we write; and 2dly. Because the language of Britain is capable of that grammatical purity, and those higher qualities of elocution, and oratorical excellence, which give grace and energy to discourse.

107. Since purity implies three things, it may be violated in three different ways:

First, the words may not be English.

This fault is denominated a barbarism.

Secondly, the construction of the sentence may not be in the English idiom.

This fault has gotten the name of solecism.

Thirdly, the words and phrases may not be employed to express the precise meaning, which custom hath affixed to

them.

This fault is termed an impropriety.*

108. The reproach of BARBARISM may be incurred in three different ways:

1st. By the use of words entirely obsolete:

2dly. By the use of words entirely new; or

3dly. By new formations and compositions, from simple and primitive words in present use.

Illus. 1. By the use of obsolete words. Obsolete words are not now English, though they might have been so in the days of our forefathers. We cannot therefore introduce them. Foreign phrases have as much

*This distribution is agreeable to Quintilian, Instit. lib. i. cap. 5. "Deprehendat quæ barbara, quæ impropria, quæ contra legem loquendi composita."

elaim to be introduced, as those antiquated words, without risking the charge of affectation. Thus, Thompson, in his "Castle of Indolence," has dragged from their obscurity many words which were almost wholly unknown, except in Spenser's "Fairie Queene."

Examples. Anon, behest, fantasy, cleped, erst, uneath, whilom, tribulation, erewhile, whenas, peradventure, selfsame, offend more or less against Article 86. and its illustration.

2. Poets claim exemption from this rule of never using any words but those which are English, particularly on account of the peculiar inconveniences to which the laws of versification subject them. (Illus. 2. Art. 86.)

3. Besides, in treating some topics, passages of ancient story, for instance, there may sometimes be found a suitableness in the introduction of old words.

4. In certain kinds of style, when used sparingly and with judgment, they serve to add the venerable air of antiquity to the narrative. 5. In burlesque also they often produce a good effect. But purity requires that those words only shall be employed which are of classical authority; and they who are ambitious to speak and write with elegance, will select as their guides, in conversation and oratory, speakers of the best elocution, and authors of the most correct taste, solid matter, and refined manner, will form their patterns in writing. Classical authority, the standard by which our practice must be regulated, is none other than the example of such speakers and writers. (Art. 80. Illus.)

109. The use of new words inundates a language with a numerous tribe of barbarisms. A licentious affectation of novelty rather than any necessity to avoid circumlocutions, overwhelms our language with foreign words. (Art. 85.) Examples. Numerosity, cognition, irrefragibility, effluxion, are from the Latin, and convey no new meanings, which had not been pre-occupied by other words of established reputation. And among our French imports we have dernier resort, beaux arts, belles lettres, and a legion besides, which some of our own writers, otherwise respectable, have fancied so many gems, capable of adding a wonderful lustre to their works.

Obs. 1. But this is a false brilliancy, which dazzles only those who forget that the Greeks branded a foreign term, in any of their writers, with the odious name of barbarism. Besides, the rules of pronunciation and orthography in French, are so different from those which obtain in English, that the far greater part of the French words yearly introduced, constitute so many anomalies with us, which, by loading the grammatical rules with exceptions, greatly corrupt the simplicity and regularity of our tongue.*

Corol. Two considerations ought to weigh with writers, and hinder them from wantonly admitting into their performances, such extraneous productions. One is, if these foreigners be allowed to settle amongst us, they will infallibly supplant the old inhabitants. Whatever ground is given to the one, is so much taken away from the other. No writer, therefore, ought to foment an humour of innovation which

* See "Principles of English Pronunciation," prefacing "Walker's Dictionary.”

tends to make the language of his country still more changeable, and consequently, to render the style of his own writings sooner obsolete. 2. The other consideration is, that if he should not be followed in the use of those foreign words which he hath endeavoured to usher into the language, if they meet not with a favourable reception from the public, they will ever appear as spots in his compositions. Whether, therefore, he be or be not imitated, he will himself prove a loser in the end. Moreover, as borrowing naturally exposeth to the suspicion of poverty, this poverty will much more readily, and more justly too, be imputed to the writer than to the language.

In words, as fashions, the same rule will hold;
Alike fantastic, if too new or old;

Be not the first by whom the new are tried,
Nor yet the last to lay the old aside.*

110. By the use of good words new modelled. The third species of barbarism, is that produced by new formations and compositions from primitives in present use.

Illus. 1. Greater liberty ought to be given on this article than on the former, provided the English analogy be observed in the composition, and the new modelled word be wanted in the language. (Art. 104. and its Illus.)

2. Never, on the plea of necesssity, patronise frivolous innovations; nor the collision of words which are naturally the most unfit for coa. lescing, and where the analogy of the formation exhibits only an obscure meaning till it be analysed. Rest assured this jargon will not creep into vogue in the charter language of the present age. (Art. 77. and 86.)

3. Another modern refinement is, the alteration that has been made, by some late writers, on proper names, and some other words of foreign extraction, and on their derivatives, on pretence of bringing them nearer, both in pronunciation and in spelling, to the original names, as they appear in the language from which those words were taken.But this hath been the custom of all nations. When the Grecians and Romans introduced a foreign name into their languages, they made such alterations in it, as might facilitate the pronunciation to their own people, and render it more analogous to the other words of their tongue.

4. Another set of barbarisms, which also comes under this class, arises from the abbreviations of polysyllables, by lopping off all the sylJables except the first, or the first and second.

Examples. Hyp for "hypochondriac," ult for "ultimate," extra for "extraordinary."

Scholium. The two classes of barbarisms last mentioned, comprehending new words and new formations, from words still current, offend against use, considered both as reputable and as national.(Art. 77. and 85.) A writer who employs antiquated or novel phraseology, must do it with design: he cannot err from inadvertence, as he may do with respect to provincial or vulgar expressions. He cannot be habituated to antiquated or novel words and phrases. It is habit that renders it so difficult to avoid those which are provincial or vulgar. How much soever folly or vanity may actuate the herd of

* Pope's Essay on Criticism.