It

II. A florid style implies excess of ornament. characterises the language of an author who sacrifices a manly correctness of thought, to a mere childish glitter of expression. It has the same effect in writing as an excessive glare of color in painting.

III. Bombast is a ridiculous affectation of the splendid, or the sublime style. It exaggerates every thing to caricature, and is read with derision or disgust.

IV. ELOQUENCE.

THIS term is applied to language as adapted to thought. It regards nothing in our expressions but their mere fitness to become the vehicles of the thoughts which we would impart: it may be correctly regarded, as nothing more than the result of a proper attention to style. The truth of this remark will be more fully perceived, if we attend to the common distinctions of eloquence.

1. Perspicuous. 2. Sublime.

3. Vehement.

Each of these qualities has been already explained, in the remarks made on style.

4. Pathetic. An author is said to attain the eloquence of pathos, when his expressions are so happily adapted to the passion which he wishes to excite, that they touch the heart, and melt it into tenderness. This is justly reckoned one of the highest efforts of eloquence. It implies a correct and discerning mind, warm feelings, a deep knowledge of the human heart, and a thorough acquaintance with the power of lan

guage. Sterne's captive is a fine example of pathe

tic eloquence.

V. IDEAS.

COMPOSITION regards the strain of our ideas, as possessed of one or all of the following qualities:

1. Vivacity. 2. Beauty.

3. Sublimity. applied here.

The use made of these terms in the remarks on style, will be sufficient to show how they are to be

4. Novelty. In composition, this term is synonymous with originality of thought, and implies either a selection of objects entirely new, or the exhibition of familiar subjects in a new light. Chalmers and Brown are good instances of novelty in idea.

VI. CLASSIFICATION OF PIECES.

COMPOSITIONS are generally classified in the fol

lowing manner:

1. Narrative. 2. Descriptive.

3. Didactic.

The Declamatory, the Pathetic, and the Humorous, are merely modifications of the Didactic or of the Descriptive.

PART II.

ANALYSIS AND CRITICISM.

WHILST attending to the foregoing review, pupils should receive instructions, and perform exercises on the following particulars regarding written composition :

I. ANALYSIS-Comprising,

1. Parsing, etymological and syntactical ; 2. Punctuation;

3. Transposition;

4. Synonymes;

5. Variety of expression;

6. Figures of speech;

7. The subject, scope, topics, method;

8. Classification of the piece.

II. CRITICISM-Comprising,

1. Errors in syntax, in punctuation, in the choice of words, in the structure of the sentences,-defects in style, eloquence, ideas;

2. The general character of the choice of words, of the structure, style, eloquence, ideas;

3. The peculiarities of the author;

4. The prominent beauties of thought and expression.

The following specimen will illustrate the application of each of the foregoing particulars.

SUBJECT-Part of a paper by Addison, in the Spectator.

"Having already shown how the fancy is affected by the works of nature, and afterwards considered in general both the works of nature and of art, how they mutually assist and complete each other in forming such scenes and prospects as are most apt to delight the mind of the beholder; I shall in this paper throw together some reflections on that particular art which has a more immediate tendency than any other to produce those primary pleasures of the imagination which have hitherto been the subject of this discourse."

I. ANALYSIS.

I. Parsing, etymological and syntactical, in the common form, but selected so as to illustrate the distinguishing points of English idiom.

II. Punctuation. A comma occurs after the word "nature," (line 2d,) according to rule 1st. (See page 29.)

The rules for the remaining pauses should be given in the same manner; the pupil reciting, in stance, the rule to which he refers.

every in

III. Transposition. For a specimen of this exercise take the clause, " I shall in this paper throw together

some reflections on that particular art," (beginning at page 56, line 11.)

The phrases in this clause may be transposed in either of the following ways: 1. In this paper I shall throw together, &c. 2. I shall throw together in this paper, &c.

IV. Synonymes. The synonymes to the verb show, (the compound perfect participle of which occurs in page 56, line 7,) are, display, exhibit, manifest, prove, evince, elucidate, point out, discover, betray, disclose, reveal, bring to light, unveil, unfold, develope. To show, when it signifies (as it does in the present instance,) to make known, has the following synonymes: express, intimate, state, announce, tell, relate, narrate, acquaint, inform, teach, instruct, declare, publish, proclaim, promulgate.

Distinctions and applications of the Synonymes.

To display signifies to show openly; thus, " He displayed his bounty, in a public entertainment provided for the poor." To exhibit signifies to show conspicuously; thus, "The criminal was exhibited to the public gaze." To manifest signifies to show so as to produce conviction; as " He manifested a good disposition." To prove and to evince signify to show by reasoning what, in part, at least, was previously doubted or called in question; thus, "The preacher proved or evinced the authenticity of the Scriptures." To elucidate signifies to show distinctly, by reasoning, what previously was partly understood or admitted;