countries, where letters have been successfully cultivated, the progression has been nearly the same; and in none more distinctly than in our own: from Swift and Addison, to Johnson, Burke, and Gibbon, is a transition exactly similar to that from Cæsar and Cicero to Seneca and Tacitus."*

manner.

In the catalogue of English authors, there are several distinguished for a becoming simplicity of Although Tillotson cannot be recommended as an elegant and polished writer, yet his style is remarkably simple and unaffected. It has already been observed that he has no pretensions to genuine eloquence, if that term be understood to include vehemence and strength of expression, the beauties of figurative language, and the correct and harmonious arrangement of sentences. His real merit, however, must not be overlooked. A constant vein of piety and good sense runs through all his works: his manner is earnest and serious; and so much useful instruction is conveyed in a natural style, that his works can never be suffered to fall into disrepute. They will be held in estimation as long as the English language is understood; not indeed as models of eloquence, but as the productions of an amiable writer whose manner is strongly expressive of his innate goodness of heart. "There is," says Goldsmith, "nothing peculiar to the language of Archbishop Tillotson, but his manner of writing is inimitable; for one who reads him wonders why he himself did not think and speak in that very manner. The turn of his periods is agreeable, though artless; and everything he says seems to flow spontaneously from inward conviction."+

Sir William Temple is also remarkable for simplicity of style. In point of ornament and correctness, he rises a degree above Tillotson; though for the latter quality he is by no means remarkable. His language is chiefly distinguished by its smoothness and amenity. He not unfrequently becomes prolix and careless; yet he seldom

* Knight's Analytical Inquiry into the principles of Taste.

+ Goldsmith's Essays and Criticisms.

fatigues the attention of his reader. No writer whatever has stamped upon his style a more lively impression of his own character. In reading his works, we seem engaged in conversation with him; we become thoroughly acquainted with him, not merely as an author, but as a man. With a writer of this character

we contract a kind of friendship.

Of the more correct and ornamental degree of the simple manner, Addison undoubtedly exhibits the most perfect example. In figurative language he is extremely rich, particularly in similes and metaphors; which are so employed as to render his style splendid without being gaudy. There is not the least affectation in his manner; we see no marks of labour, nothing forced or constrained. Great elegance is everywhere joined with great ease and simplicity. He is, in particular, distinguished by a character of modesty and politeness, which appears in all his writings. No author has a more popular and insinuating manner; and his works are also recommended by the great regard which he constantly shews for virtue and religion.

The literary merit of Goldsmith seems to bear some analogy to that of Addison. His diction is easy and elegant, and at the same time free from every species of affectation. His language flows from him without perceptible effort; yet it is always such as it would be. difficult to improve. The classical ease of his manner has seldom been equalled. He has exerted his talents upon a great variety of subjects; and on whatever subject he happens to write he is always read with pleasure. Dr. Johnson has very justly characterized Goldsmith as 66 a man of such variety of powers, and such felicity of performance, that he always seemed to do best that which he was doing; a man who had the art of being minute without tediousness, and general without confusion; whose language was copious without exuberance, exact without constraint, and easy without weakness."*

* Johnson's Lives of English Poets.

Sterne is generally mentioned as a writer of great simplicity of style; but his simplicity is not of the most graceful and elegant character. Yet his works do undoubtedly furnish examples of a style at once simple and ornamented. In support of this assertion, I venture to produce the following passage :—

Maria, though not tall, was nevertheless of the first order of fine forms. Affection had touched her looks with something that was scarce earthly. Still she was feminine: and so much was there about her of all that the heart wishes, or the eye looks for in woman, that, could the traces be ever worn out of her brain, and those of Eliza out of mine, she should not only eat of my bread, and drink of my cup, but Maria should lie in my bosom, and be unto me as a daughter.-Adieu, poor luckless maiden! Imbibe the oil and wine which the compassion of a stranger, as he journeyeth on his way, now pours into thy wounds. The being who has twice bruised thee, can only bind them up for ever.-Sterne's Sentimental Journey.*

Of an author who has rendered his style much less beautiful by want of simplicity, I cannot point out a more remarkable instance than the Earl of Shaftesbury. It has already been hinted that he is a writer in whom some beauties are blended with many deformities. His language is rich and musical; but he seems to have considered it beneath the dignity of a person of his rank, to speak like the rest of mankind. Hence he is ever in buskins, and arrayed in pomp and magnificence. In every sentence we discern evident marks of art and labour: we perceive nothing of that ease which accompanies the expression of a sentiment proceeding warm from the heart. In the use of figures and ornament of every description, he shows sufficient skill; but his fondness for them is too visible. Having once found a metaphor which pleases his fancy, he knows not how to lay it aside. What appears very surprising, Shaftesbury

* "What is called sentimental writing," says the Earl of Orford, "though it be understood to appeal solely to the heart, may be the product of a bad one. One would imagine that Sterne had been a man of a very tender heart; yet I know from indubitable authority, that his mother, who kept a school, having run in debt on account of an extravagant daughter, would have rotted in jail, if the parents of her scholars had not raised a subscription for her. Her son had too inuch sentiment to have any feeling. A dead ass was more important to him than a living mother." (Walpoliana, vol. i. p. 133.)

M

was a professed admirer of simplicity; he is always extolling it in the ancients, and at the same time censuring the moderns for their affectation and rawness of fancy. He possessed a false refinement of taste, without any warmth of passion, or vivacity of feeling. The coldness of his character led him to that artificial and stately manner which appears in all his writings. He seems highly fond of wit and raillery; which he attempts to promote but with very little success. wit is always blunt, and his raillery stiff and awkward.

His

From the account which has been given of the noble author's taste in composition, it may easily be imagined that he would mislead those who blindly admired him.

Beside those general characters of style which have already been pointed out, several others might perhaps be mentioned. Conceited writers, for instance, reveal their spirit so much in their composition, that it imprints on their style a character of pertness; though I confess it is difficult to determine whether this can be classed among the attributes of style, or is rather to be ascribed entirely to the thought. But to whatever class it may be referred, all appearances of it ought carefully to be avoided, as an offensive blemish in writing.

From the various remarks which have been suggested, it may be inferred that to determine among all these different manners of writing, which is positively preferable, is neither easy nor necessary. Style is a field that admits of great latitude. Its qualities in different authors may be very different, and yet beautiful in them. all. Here scope must be left for that particular determination which every person receives from nature to one manner of expression more than another. Some general qualities indeed there are of such importance that they should always, in every kind of composition, be kept in view; and some defects which we should always study to avoid. An ostentatious, a feeble, a harsh, or an obscure style, for example, can never be adopted with propriety; and perspicity, strength,

neatness, and simplicity, are beauties which ought always to be studied. But with regard to the mixture of all, or the degree of predominancy to be allowed to any one of those qualities, in forming our peculiarly distinctive manner, no precise rules can be given; nor can we verture to point out any one model as absolutely perfect.

CRITICAL EXAMINATION OF A PASSAGE IN THE WRITINGS OF ADDISON.

THE preceding remarks on style and its different species, have by no means exhausted the sbuject, though they may very probably have exhausted the patience of many readers; but instead of prosecuting these more general enquiries, we shall now proceed to a critical analysis of particular passages in the writings of eminent authors. An analysis of this kind will tend further to illustrate the subject; as it will suggest observations which we have not yet had occasion to make, and will exhibit in the most practical view, the use of those which we have already made. In the prosecution of this plan, it may be proper to begin with Addison, who flourished at a period when English style had in a great measure assumed the form which it still retains.

As a perfect tragedy is the noblest production of human nature, so it is capable of giving the mind one of the most delightful and most improving entertainments.

This is an excellent introductory sentence: it is clear, precise, and simple. The first period of a discourse. ought always to be of a moderate length. The mode however in which the participle giving is here employed,