it is denied to our present writers. The reason is plainly this. While arts are refining or reviving, the greater part are forced, and all are content to be Learners. When they are grown to their usual height, all affect to be Teachers. With this affectation, a certain envy, as the poet observes,

insinuates itself; which is for restraining the privileges of writers, to all of whom every reader is now become a Rival. Whereas men, under the first character of Learners, are glad to encourage every thing that makes for their instruction.

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But whatever offence may be taken at this tice, good writers, as they safely may, should dare to venture upon it. A perfect language is a chimæra. In every state of it there will frequently be occasion, `sometimes a necessity, to hazard a new word. And let not a great genius be discouraged, by the fastidious delicacy of his age, from a sober use of this privilege. Let him, as the poet directs,

Command old words, that long have slept, to wake, Words, that wise BACON, or brave RALEGH spake; Or bid the new be English ages hence,

For USE will father what's begot by SENSE.

This too was the constant language of ancient criticism. "Audendum tamen; namque, ut ait Cicero, etiam quæ primò dura visa sunt, usu molliuntur." Quintil. 1, i, c. v.

70. MULTA RENASCENTUR, QUAE JAM CECIDERE.] This revival of old words is one of those niceties in composition, not to be attempted by any but great masters. It may be done two ways, 1. by restoring such terms, as are grown entirely obsolete; or, 2. by selecting out of those, which have still a currency, and are not quite laid aside, such as are most forcible and expressive. For so I understand a passage in Cicero, who urges this double use of old words, as an argument, to his orator, for the diligent study of the old Latin writers. His words are these: Loquendi elegantia, quamquam expolitur scientia literarum, tamen augetur legendis oratoribus [veteribus] et poetis: sunt enim illi veteres, qui ornare nondum poterant ea, quae dicebant, omnes prope præclare locuti-Neque tamen erit utendum verbis iis, quibus jam consuetudo nostra non utitur, nisi quando ornandi causâ, parcè, quod ostendam; sed usitatis ita poterit uti, lectissimis ut utatur is, qui in veteribus erit scriptis studiosè et multum volutatus. [De Orat. 1. iii. c. x.] These choice words amongst such as are still in use, I take to be those which are employed by the old writers in some peculiarly strong and energetic sense, yet so as with advantage to be copied by the moderns, without appearing barbarous or affected. [See Hor. lib. ii. ep. ii. v. 115.] And the reason, by the way, of our finding such words in the old writers of every language, may be this. When ideas are new to us, they strike us most forcibly; and we endeavour to express, not our sense

only, but our sensations, in the terms we use to explain them. The passion of wonder, which Philosophy would cure us of, is of singular use in raising the conception, and strengthening the expression of poets. And such is always the condition of old writers, when the arts are reviving, or but beginning to refine. The other use of old terms, i. e. when become obsolete, he says, must be made parcè, more sparingly. The contrary would, in oratory, be insufferable affectation. The rule holds in poetry, but with greater latitude; for, as he observes in another place, and the reason of the thing speaks, hæc sunt Poetarum licentiæ liberiora. [De Or. iii. 38.] But the elegance of the style, we are told, is increased both ways. The reason is, according to Quinctilian (who was perfectly of Cicero's mind in this matter. See l. x. c. i.) Verba à vetustate repetita afferunt orationi majestatem aliquam non sine delectatione; nam et auc-, toritatem antiquitatis habent; et, quia intermissa sunt, gratiam novitati similem parant. [Lib. i. c. vi. sub fin.] But this is not all: The riches of a language are actually increased by retaining its old words; and besides, they have often a greater real weight and dignity, than those of a more fashionable cast, which succeed to them. This needs no proof to such as are versed in the earlier writings in any language. A very capable judge hath observed it in regard of the most admired modern one: Nous avons tellement laissé ce qui étoit au viel françois,

que nous avons laissé quant et quant la plus part de ce qu'il avoit de bon. [Trait. préparatif à l' Apol. pour Herod. 1. i. c. xxviii.] Or, if the reader requires a more decisive testimony, let him take it in the words of that curious speaker, Fenelon. Notre langue manque d'un grand nombre de mots et de phrases. Il me semble même qu'on l'a genée et appauvrie depuis environ cent ans en voulant la purifier. Il est vrai qu'elle étoit encore un peu informe et trop verbeuse. Mais le vieux language se fait regretter, quand nou, le retrouvons dans MAROT, dans AMIOT, duns le Cardinal d'OSSAT, dans les ouvrages les plus enoues, et dans les plus serieux. Il y avoit je ne scai quoi de court, de näif, de vif et de passioné. [Reflex. sur la Rhetorique, Amst. 1733. p. 4.] From these testimonies we learn the extreme value, which these masters of composition set upon their old writers ; and as the reason of the thing justifies their opinions, we may further see the important use of some late attempts to restore a better knowledge of our own. Which I observe with pleasure, as the growing prevalency of a very different humour, first catched, as it should seem, from our commerce with the French models, and countenanced by the too scrupulous delicacy of some good writers amongst ourselves, had gone far towards unnerving the noblest modern language, and effeminating the public taste. This was not a little forwarded by, what generally makes its appearance at the same time, a kind of feminine curiosity in the choice of words; cautiously

avoiding and reprobating all such (which were not seldom the most expressive) as had been prophaned by a too vulgar use, or had suffered the touch of some other accidental taint. This ran us into periphrases and general expression; the peculiar bane of every polished language. Whereas the rhetorician's judgment here again should direct us: Omnia verba (exceptis paucis parum verecundis) sunt alicubi optima; nam et humilibus interim et vulgaribus est opus, et quæ cultiore in parte videntur sordida, ubi res poscit, propriè dicuntur. Which seems borrowed from Dionysius of Halicarnassus [περ. συνθεσ. ( xii.] ἐδὲν ὅτω ταπεινὸν, ἢ ῥυπαρὸν, ἢ μιαρὸν, ἢ ἄλλην τινὰ δυσχέρειαν ἔχον ἔσεσθαί φημι λόγε μόριον, ᾧ σημαίνεαί τι σῶμα ἢ πρᾶγμα, ὃ μηδεμίαν 40 ἕξει χώραν ἐπιληδείαν ἐν λόγοις. However those two causes, "The rejection of old words, as barbarous, "and of many modern ones, as unpolite," had so exhausted the strength and stores of our language, that, as I observed, it was high time for some master-hand to interpose and send us for supplies to our old poets; which, there is the highest authority for saying, no one ever despised, but for a reason, not very consistent with his credit to avow: rudem enim esse omnino in nostris poëtis aut inertissimæ segnitiæ est aut fastidii delicatissimi. [Cic. de fin. 1. i. c. ii.]

72. —SI VÒLET USUS, &c.] Consuetudo certissima loquendi magistra; utendumque planè ser