LETTER VII.

Language.-Perspicuity.-Purity.

MY DEAR JOHN,

HAVING laid before you the principal mate rials or rather sources of good writing, I must now call your attention to a subject, which I fear you will think less interesting and entertaining, the correct and elegant use of language.

The only foundation of a good style, as far as respects the use of words, is an extensive and accurate knowledge of the language in which we write. One of the principal advantages resulting from a knowledge of the dead languages indeed is, that it acquaints us with the etymology of the many words which are derived from them, and that is often the most certain guide to their correct application. A knowledge of the Saxon, which is not difficult in attainment, should be added, as well as of French, to make a man perfect master of the

radicals of his own language. Yet even this is not enough; he must also carefully mark the different senses in which words are used by the best authors. Etymology will only lead us to the literal sense; but the figurative senses are so various, that in some words the original and literal meaning is almost forgotten.

Johnson's Dictionary, which is indeed the best Thesaurus I ever saw of any language, will greatly assist you in this respect. It ought to lie on the table of every young writer. I have often found great amusement in turning over its leaves, and observing the different uses to which the same word has been applied according to the genius of different writers. It affords also an encouragement to this kind of study (which would otherwise be what is called dry), by the beauty and utility of the quotations which the author employs to illustrate his definitions. To Dr. Johnson every subsequent English author owes unutterable obligations. He has made straight the paths of British literature, and has even strewed them. with flowers.

But a true command of language is at last only to be gained by a diligent perusal of the

best authors. Rules and precepts may enable you to avoid some faults, but they never can give elegance and freedom; that magic power which calls up at once the most appropriate terms, and arranges them in the best order. On this account young writers should be wise in their choice of books, and read none which are not written in the best style, at least while employed in the immediate study of composition. I have thought that I derived much advantage from accustoming myself before I sat down to compose, always to read a few pages in some good writer, whose spirit I should wish to catch, as best adapted to the subject on which I was to write. I have heard it said of that great master in the art of painting, Sir Joshua Reynolds, that he always finished his most exquisite paintings with some picture of the ancient masters near him, which harmonized with his subject, and not only kept his imagination in correspondence with it, but even served to invigorate and maintain the enthusiasm of genius.

A young writer should however not peruse cursorily, but study intensely the best authors. When you read an animated and fine descrip

tion, it may be of service to lay down the book, and pause and consider how you would have described the same scene, or the same action‹; whether you would have chosen the samė figures or phrases, or placed the object in a similar light.

Style may be divided into two kinds, the plain and the ornamented. To a perfect style of either description three qualities are indispensibly necessary, perspicuity, purity and harmony; and the plainer the style the more indispensible are these requisites.

"By perspicuity (says Quinctilian) care is taken, not that the hearer may understand if he will; but that he must understand whether he will or not." Many authors plead the nature of their studies as an excuse for not being perspicuous; but as writing clearly depends on our ideas being clear, it can never be an excuse to say to the world, we do not understand the subject of which we mean to treat. Perspicuity will depend, in the first place, on the choice of words, and secondly, on the arrangement of them. As far as regards the choice of words, obscurity results, in the first place,

From obsolete or affected language, which

is not generally understood.

The following

phrases in our liturgy were, at the time it was composed, good English; but no man at present could employ the words in the same sense.

"Prevent us, O Lord, in all our doings,' &c.-" O Lord, deal not with us after our sins, neither reward us after our iniquities." In the apostles' creed also," the quick and the dead" would be more intelligible than "the living and the dead." Many abuses of words have been introduced from the French idiom. Lord Bolingbroke, for instance, says, " by the persons, I intend here," instead of I mean. Analogous to this is the use of Latinisms, as integrity to denote entireness; conscience for consciousness : “The conscience of approving one's self a benefactor to mankind is the noblest recompense for being so."-SPECTATOR.

Again, obscurity proceeds from the use of ambiguous or indefinite words. Examples of this occur in the following sentences: "As for such animals as are mortal (or noxious), we have a right to destroy them."—GUARDIAN, No. 61. "The Christians rudely disturbed the service of paganism; and rushing in crowds round the tribunals of the magistrates, called