his contemporaries, than to secure the applause or imitation of posterity.*

In treating of the vehement style, I have not, as upon former occasions, attempted to select examples. The subject cannot in the present instance be elucidated in this manner : vehemence of style can only be perceived and relished by attending to a long series of reasonings and illustrations.

CHAP. XXI.

OF THE PLAIN STYLE.

A PLAIN style rejects all ambitious ornaments. The writer who adopts this manner, may perhaps endeavour to display his meaning with perspicuity and precision ; qualities of style which, it must be confessed, are of the highest order. His composition

His composition may also be possessed of force and vivacity ; but he will shew an indifference for what is merely ornamental. He does not strive to captivate the fancy or the ear by employing rhetorical figures, or musical arrangement: yet it is not necessary that he disgust his reader by a dryness or harshness of

A plain style is consistent with smoothness of arrangement, and a temperate use of metaphor ; though neither of these is absolutely requisite.

manner.

Αισχρόν και όταν τις, ευεπής γλώσση φυείς,
Γλώσση ματαίους έξ κοντίση λόγο: 5.

Menandri Fragmenta, p. 225. edit. Meineke.

L

In discussions of a philosophical nature, the plain style ought to predominate ; and accordingly many of the English philosophers have employed it with propriety. Even in works which admit or require much ornament, there are parts where the plain manner should be adopted. But it must be remembered, that when this is the character which a writer affects throughout his whole composition, great weight of matter, and great force of sentiment, are required to secure the reader's attention. Unless he happen to treat of mathematical subjects, an author ought always to beware of falling into a dryness of manner.

This excludes ornaments of every description. Content with being understood, it has not the least aim to please either the fancy or the ear. Aristotle furnishes the most complete example of a dry style: never perhaps was there an author who adhered so rigidly to the strictness of a didactic manner throughout all his writings, and conveyed so much instruction without the least approach to orna

With the most profound genius, and the most extensive views, he writes like a pure intelligence, who addresses himself solely to the understanding, without making any use of the channel of the imagination. But this is a manner which deserves not to be imitated: for although the value of the matter may compensate for the dryness or harshness of the style, yet is that dryness a considerable defect; it fatigues the attention, and conveys our sentiments with disadvantage to the reader or hearer. It would however appear that Aristotle wrote in this manner from choice rather than necessity: had he preferred a more ornamental style, he could undoubtedly have attained it; and it is the

opinion of some learned men, that, if we may judge from the specimen which still remains, he was fitted by nature to excel in the higher species of poetry : Scaliger regards his Hymn to Virtue* as not inferior to the compositions of Pindar. +

Dr. Swift, the renowned dean of St. Patrick's, may be placed at the head of those who have employed the plain style. Few English writers have discovered greater talents. He always shews himself completely master of the subject of which he treats.

Few were better acquainted with the extent, the purity, the precision of the English language, and therefore, to those who are ambitious of attaining a pure and sober style, he is one of the most useful models. But we must not look for much ornament or grace in his language. His haughty and morose genius made him despise any embellishment of that kind as beneath his dignity. He delivers his sentiments in a plain, positive manner, like one who is sure he is always right, and is very indifferent whether his reader be pleased or not. His sentences are often negligently arranged : the sense is

• This poem is preserved by Diogenes Laertius, lib. v. p. 272. edit. Meibomii, Athenaeus, lib. xv. cap. xvi. and by Stobaeus, Florilegium, vol. i. p. 4. edit. Gaisford. It may likewise be found in many recent publications, and, among others, in the following. Brunck, Analecta veterum Poetarum Graecorum, tom. i. p. 177. Ilgen, Carmina Convivialia Graecorum, p. 137. Jenae, 1798, 8vo. Hurd's Horace, vol. i. p. 177.

+ “ Ut etiam perpendas quantus vir ille fuerit in poesi ; neque ipso Pindaro minor.” (Scaligeri Poetice, lib. i. cap. xliv. p. 48. Apud Antonium Vincentium, 1561, fol.)

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sufficiently obvious, but little regard is paid to compactness or elegance. If a metaphor, or any other figure, chanced to render his satire more poignant, he would perhaps condescend to adopt it, when it presented itself; but if it tended only to embellish or illustrate, he would rather throw it aside. Hence in his serious writings, his style often borders upon the dry and unpleasing. But in his humorous pieces, the plainness of his manner displays his wit to the greatest advantage.

Dr. Johnson has commented on the style and manner of Swift with his usual powers of discrimination. “In his works he has given very different specimens both of sentiments and expression. His Tale of a Tub has little resemblance to his other pieces. It exhibits a vehemence and rapidity of mind, a copiousness of images, and vivacity of diction, such as he afterwards never possessed, or never exerted. It is of a mode so distinct and peculiar, that it must be considered by itself; what is true of that, is not true of any thing else which he has written.

“ In his other works is found an equable tenour of easy language, which rather trickles than flows. His delight was in simplicity. That he has in his works no metaphor, as has been said, is not true; but his few metaphors seem to be received rather by necessity than choice. He studied purity; and though perhaps all his strictures are not exact, yet it is not often that solecisms can be found; and whoever depends on his authority may generally conclude himself safe. His sentences are never too much dilated or contracted; and it will not be easy to find any embarrassment in the complication of his clauses, any inconsequence in his connections, or abruptness in his transitions.

“ His style was well suited to his thoughts, which are never subtilised by nice disquisitions, decorated by sparkling conceits, elevated by ambitious sentences, or variegated by far-sought learning. He pays no court to the passions ; he excites neither surprise nor admiration ; he always understands himself; and his readers always understand him : the peruser of Swift wants little previous knowledge ; it will be sufficient that he is acquainted with common words and common things ; he is neither required to mount elevations, nor to explore profundities ; his passage is always on a level, , along solid ground, without asperities, without obstruction.

“ This easy and safe conveyance of meaning it was Swift's desire to attain, and for having attained it he deserves praise, though perhaps not the highest praise. For purposes merely didactiek, when something is to be told that was not known before, it is the best mode ; but against that inattention by which known truths are suffered to lie neglected, it makes no provision ; it instructs, but does not persuade."*

It will now be proper to select a passage characteristic of that species of style of which we have been treating ; and with this view we shall have recourse to the writings of Swift.