acteristic manner of expressing one's thoughts. Whether a young composer's style is to be concise or diffuse, simple or labored, nervous or feeble, will depend, of course, in a great measure, on the bent of his mind when he shall have attained mature years; but, as it is necessary to begin composing at an early age, it is unsafe to trust to the vicissitudes of natural temperament, and run the risk of contracting bad habits, which, when discovered, it may be hard to lay aside. These difficulties it is best to avoid by employing, from the outset, such aids as reason and experience recommend. The object in so doing is not to sacrifice nature to art, to restrain the flow of genius, or to destroy individuality of manner: but, on the other hand, to promote the healthy development of this individuality; to modify its extravagances, suppress those of its features which are objec‐ tionable, and cultivate with the utmost care such as are meritorious and pleasing.

§ 390. In the first place, give careful and earnest thought to the subject about which you propose to write.

Though at first sight this may seem to have little to do with the formation of style, the relation between the two is in reality extremely close. Before we have ourselves obtained a full, clear, and decided view of a subject, we can not hope to communicate such an impression of it to others. The habit of writing without first having distinct ideas of what we intend to say, will inevitably produce a loose, confused, and slovenly, style.

§ 391. Secondly, compose frequently. Rules are of service, but they are not intended to take the place of practice. Nothing but exercise will give facility of composition.

§ 392. In the third place, compose slowly and with care. It is to hasty and careless writing that a bad style may gen

§ 389. On what will the characteristics of a young composer's style, in a great measure, depend? What is said of the necessity of using aids in the formation of style? What is the object in so doing?

§ 390. What is the first rule relating to the formation of style? What is said of the connection between style and thought? What will inevitably result from writing without having distinct ideas of what we intend to say?

§ 391. What is the second rule?

erally be traced. Faults are thus contracted, which it will cost infinite trouble to unlearn.

Quintilian (bk. x., ch. 3) alludes to this point in the following terms:-"I enjoin that such as are beginning the practice of composition write slowly and with anxious deliberation. Their great object, at first, should be to write as well as possible; practice will enable them to write quickly. By degrees, matter will offer itself still more readily; words will be at hand; composition will flow; every thing, as in the arrangement of a well-ordered family, will present itself in its proper place. The sum of the whole is this: by hasty composition we shall never acquire the art of composing well; by writing well, we shall soon be able to write speedily.”

§ 393. Fourthly, revise carefully. Nothing is more necessary to what is written, or more important to the writer. "Condemn," says Horace, in his Epistle to the Pisos, v. 292–294, "condemn that poem which many a day and many a blot have not corrected, and castigated ten times to perfect accuracy."

Even the most experienced writers are apt to commit oversights, for which revision is the only remedy. If we put aside what has been written till the expressions we have used are forgotten, and then review our work with a cool and critical eye, as if it were the performance of another, we shall discern many imperfections which at first were overlooked. This is the time for pruning away redundancies; for seeing that the parts of sentences are correctly arranged and connected by the proper particles; for observing whether the requirements of grammar are strictly complied with; and for bringing style into a consistent and effective form. Disagreeable as this labor of correction may be, all must submit to it who would attain literary distinction, or even express their thoughts with ordinary propriety and force. A little practice will soon create a critical taste, and render the work, if not pleasant, at least easy and tolerable.

§ 394. In the fifth place, study the style of the best authors. Notice their peculiarities; observe what gives effect

§ 392. What is the third rule? To what is a bad style generally traceable? What is Quintilian's advice on this point?

§ 393. What is the fourth rule? What does Horace say on this point? Describe the most effective method of revising. To what, in this process, must the author's attention be directed? What is said of the necessity of this labor of correction?

§ 394. What is the fifth rule? Explain what is meant by this. What is said

to their writings; compare one with another; and, in composing, endeavor to avoid their faults and imitate their beauties.

No servile imitation is here recommended. This is in the highest degree dangerous, generally resulting in stiffness and artificiality of manner, and a lack of self-confidence, which is fatal to success in composition. Avoid adopting a favorite author's peculiar phrases or constructions. "It is infinitely better," says Blair, "to have something that is our own, though of moderate beauty, than to affect to shine in borrowed ornaments, which will, at last, betray the utter poverty of our genius." Modifying our style by assimilating it to one which we particularly admire, or which the world has stamped with its approval, is quite a different thing from laying aside our own individuality entirely, to adopt another's, which we have but a slight chance of being able to maintain.

No exercise is likely to aid us more in acquiring a good style than to translate frequently from the writings of some eminent English author into our own words; to take, for instance, a page of Addison or Goldsmith, and, having read it over until we have fully mastered the meaning, to lay aside the book and attempt to reproduce the passage from memory. A comparison of what we have written with the original will then show us in what the faults of our style consist, and how we may correct them; and, among the different modes of expressing the same thought, will enable us to perceive which is the most beautiful.

§ 395. Avoid such mannerism as would prevent you from adapting your style to your subject and to the capacity of those you address. Keep the object proposed in view, and let your mode of expression be strictly consistent therewith. Nothing is more absurd than to attempt a florid, poetical style, on occasions when it is our business only to reason; or to speak with elaborate pomp of expression, before persons to whom such magnificence is unintelligible.

MISCELLANEOUS EXERCISE ON THE ESSENTIAL PROPERTIES OF STYLE:

In the following sentences, make such corrections as are required by the rules for Purity, Propriety, Precision, Clearness, Strength, Harmony, and Unity :

of servile imitation? What does Blair say on this subject? Show the difference between a servile imitation and the course here advised. What exercise is likely to aid us?

§ 395. What is the last rule, relating to the adaptation of the style to the subject? What advice is given on this head?

1. Misfortunes never arrive singly, but crowd upon us en masse when we are least able to resist them. 2. A [peaceable, or peaceful?] valley; -a [peaceable, or peaceful?] disposition. 3. I decline accepting of the situation. 4. Petrarch was much esteemed by his countrymen, who, even at the present day, mention with reverence the poet of Vaucluse and the inventor of the sonnet. 5. This is so; and so cruel an [act, or action?] has rarely been heard of. 6. The lad can not leave his father; for, if he should leave him, he would die. 7. The works of art receive a great advantage from the resemblance which they have to those of nature, because here the similitude is not only pleasant, but the pattern is perfect. 8. A friend exaggerates a man's virtues; one who is hostile endeavors to magnify his crimes (§ 374). 9. This is not a principle that we can act on and adhere to. 10. Diana of the Ephesians is great. 11. We do things frequently that we repent of afterwards. 12. Great and rich men owe much to chance, which gives to one what it takes from others. 13. There are those who allow their envy of those who are more fortunate than themselves to get the better of them to such an extent that they try to injure them all they can. 14. [Classic, or classical?] and English school;-a [classic, or classical?] statue. 15. Running out to see whether there was a new émeute, which the hauteur of the new governor rendered very plausible, I came within an ace of being done for. 16. They attempted to remain incog. 17. If a man have little merit, he had need have much modesty. 18. The laws of nature are truly what Lord Bacon styles his aphorisms,-laws of laws. Civil laws are always imperfect, and often false deductions from them, or applications of them; nay, they stand, in many instances, in direct opposition to them. 19. Being content with deserving a triumph, he refused the honor of it. 20. That temperamental dignotions, and conjectures of prevalent humors, may be collected from spots in our nails, we are not averse to concede. 21. It can not be impertinent or ridiculous, therefore, in such a country, whatever it might be in the Abbot of St. Real's, which was Savoy, I think; or in Peru, under the Incas, where Garcilasso de la Vega says it was lawful for none but the nobility to study-for men of all degrees to instruct themselves in those affairs wherein they may be actors, or judges of those that act, or controllers of those that judge. 22. The moon was casting a pale light on the numerous graves that were scattered before me, as it peered above the horizon when I opened the little gate of the church-yard. 23. This work, having been fiercely attacked by critics, he proposes for the present to lay aside. 24. Men look with an evil eye upon the good that is in others, and think that their reputation obscures them, and that their commendable qualities do stand in their light; and therefore they do what they can to cast a cloud over them, that the bright shining of their virtues may not obscure them. 25. In this uneasy state, both of his public and private life, Cicero was oppressed by a new and cruel affliction, the death of his beloved daughter, Tullia, which happened soon after her divorce from Dolabella, whose manners and humors were entirely disagreeable to her. 26. The erroneous judgment of parents concerning the conduct of schoolmasters, has crushed the peace of many an ingenious man who is engaged in the care of youth; and paved the way to the ruin of hopeful boys. 27. The discontented man (as his spleen irritates and sours his temper, and leads him to discharge its venom on all with whom he stands connected) is never found without a great share of malignity. 28. We have been choused out of our rights by these clod-polls and blackguards. 29. As no

one is free from faults, so few want good qualities (§ 378). 30. No man of feeling can look upon the ocean without feeling an emotion of grandeur. 31. The mercenariness of many tradesmen leads them to speak derogatorily of their neighbors. 32. With Cicero's writings, it is right that young divines should be conversant; but they should not give them the preference to Demosthenes, who, by many degrees, excelled the other; at least as an orator. 33. After he has finished his elementary studies, which will discipline his mind, and fit it for the pursuit of more advanced branches, I advise him to commence with the ancient languages, which will, by easy stages, prepare him for the acquisition of the modern tongues; whence he may with propriety proceed to the careful study of the higher departments of mathematics and belles-lettres, which form an important part of every scholar's education. 34. Such were the prudence and energy of Cicero's course during this critical state of affairs, that his countrymen overlooked his self-conceitedness, and vied with each other in testifying their respect to "the father of his country". 35. He used to use many expressions, which, though useful, are not usually used, and have not come into general use.

LESSON LXVI.

CRITICISM.

§ 396. Definition.-Criticism (from the Greek pivw, 1 judge) may be defined as the art of judging with propriety concerning any object or combination of objects. In the more limited signification in which it is generally used, its province is confined to literature, philology, and the fine arts, and to subjects of antiquarian, scientific, or historical, investigation. In this sense, every branch of literary study, as well as each of the arts, has its proper criticism.

§ 397. Rules.-It is criticism that has developed the rules and principles of Rhetoric. As was remarked when we first entered on the study of this subject, its rules are not arbitrary, but have been deduced from a careful exami

§396. From what is the term criticism derived? What does it signify? As generally used, to what is it confined?

§ 397. How have the rules and principles of rhetoric been developed? What

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