THE AUTHOR'S JEWEL, NUMBER XXIII. ENGLISH STYLE. Such foes as learning once was doom'd to see; Huns, Goths, and Vandals, were but types of thee. SAVAGE. THE prevailing species of English composition presents the most ridiculous diversity, that is perhaps to be found in the whole history of Letters. No style seems too contemptible for imitation; and no extravagance too absurd for tolerance; every ex. treme of turgid circumlocution and feeble brevity, is practiced without rule or art, elegance or harmony; and the orator of the day alternately whines in fe. male softness, and rages in lofty tones of sonorous declamation. Nor are such follies alone confined to the superficial, or exclusively characteristic of deficient education and partial knowledge. The scholars of the University and the masters of professions, are equally guilty of this violation of propriety, and equally destitute of purity of taste, and solidity of judgment.— The only standard that seems to be adhered to, is that of deversity; he who can make out to differ from another, thinks he has reached the pinnacle of excellence, and may justly boast of superior eloquence and commanding genius. He lays claim to a creative mind, and demands the admiration of the world with the assurance of dulness, and the stupid certainty of applause; unconcious of the laughter he excites, and insensible of the contempt which he inspires. It is surprizing with how quick an effort and in how short a period, every species of English composition in prose, arrived at perfection, was polished to splendour, and shone with beauty. A barbarous phraseology seems only incident, to an ignorant age, when mental torpitude obstructs the flow of thought, and gross pursuits of bodily pleasures or external magnificence, precludes the emulation of intellectu. al vigour, and confines the attention to corporeal action, or lulls it to barbarous indolence. As soon as mature reflection rouses the mind to activity, and distinct thoughts range themselves in congruous or. der, words adapted to impart their meaning seem to offer themselves without effort, and are naturally ar ranged in just dependance, order, and connection. No sooner do correct thoughts, therefore, take possession of the minds of a people, than they can express them with propriety; and between propriety and elegance, the distance is small, and the ability that it requires inconsiderable. He who could raise an edifice solid and compact, with due proportions, and necessary compartments would find it easy to add embellishments, adorn it with beauty, and decorate it with splendour. The mysterious connection between our words and our thought, is part of the human intellect that defies explication, and seems to baffle philosophy. We perceive the perfection, of the one invariably conjoined with perfection in the other, either in speech or composition. He whose elocution is confused, hesitating, and imperfect, rarely has clear and expansive conceptions; although a defect of the former, may be observable in conversation, by a mind at once enlarged and quick, fertile and flowing; but then it will possess a volubility in writing, an easy lapse of words, and a happy mode of expression. Experience informs us of these truths independent of reasoning, and without a perfect knowledge of the process by which they are effected. Yet there is sufficient reason to believe, from the general precedence of thoughts to words, that the former, whether perfect or defective, suggest the latter of a correspondent nature; and that hence, when a people come to think with perspicuity and precision, they likewise begin to discourse with propriety, and to write with correctness. This however, must only be understood of the vernacular tongue of every nation; and not of the accidental knowledge and partial excellence that may obtain among a few of the learned languages. For those who in an ignorant age, write in an obsolete and unknown tongue, may as well not write at all; as their knowledge, their reason, and their learning are equally as dead to the world, as the words in which they cloathe them. Hence it has happened, that almost all the first productions that have been preserved, of an English prose style, exhibit an excellence which has not since been greatly surpassed, or much improved, in the body and substance of composition, although beauty and harmony have been superadded. Elizabeth's reign, as Johnson has wisely observed, presents us with every excellence of composition, in various performances, and scattered works. The prose of Bacon is replete with energy, and not without harmo ny; being full, majestic and flowing. Sydney and Shakespeare, although poets, yet were not incapable of producing the best prose, as their writings evidently attest. After this period, Brown presents himself as the greatest improver of English composition; and as a writer who blended the estimable features of genius and christianity, with perfection that can with difficulty be surpassed, and with piety that cannot be exceeded, without mischief. His diction is copious and exuberant, like his ideas; distinguished for va. riety, melo ly, and strength; and his periods are round, voluble, and easy. Although his style is not effeminate, yet, there is a music in his sentences, which charms the mind, though he has little imagery to delight the fancy; and we repose at the end of his periods, with the pleasure that truth imparts, and the satisfaction that results from a developement of hidden ideas. His knowledge was extensive and full, and his thoughts correct and exuberant; hence his style was diffuse, though energetic, and his dic tion harmonious, though studied and select. From Brown to Dryden, and from Dryden to Ad dison, the space of time is small; yet the improvement in our style is proportionably smaller Dry. den's genius was equally exuberant and rich, but he only displayed it in the fields of poetry; and his prose compositions although elegant and vigourous, yet are more concise and terse than Brown's; and though they are flowing, yet do not flow with equal majesty. The difference between Brown and Dryden is nearly equal to that between Steele and Jon son. The variations in our prose writers, seem to have corresponded with the vicissitudes in life and manners. Addison refined upon Dryden's mode of writing to an effeminate and feeble degree; and Swift is only more vigorous, because he is more concise, simple and compact. Addison appears to seize his notions with so delicate a touch, that they merely hang together, with the apparent danger of dissolving; and are so feebly expressed as to make little impres sion on the mind, and leave but a faint shadow on the memory 1 That we hazard much by so unfavourable a judg ment of the style of a distinguished writer, we are fully aware; especially as that style has been emphatically approved for its excellence, and strongly recommended for imitation, by the great English Lexicographer. Yet our opinion does not stand alone, in so important a question of critical taste, and philological perfection. An eminent professor of polite letters and profound learning,* has demonstrat * Blair. |