produced. The principal qualities of a good style, are two-which are denominated, Perspicuity and Ornament.

The study of these is indispensible in the formation of a proper style. Perspicuity, claims attention first, in the choice of words and phrases, and then in the construction of our sentences. And when we regard perspicuity as it respects words, and phrases, it requires purity, propriety, and precision. Purity, is a term used, to denote the use of such words, and such a mode of constructing them, as is conformable to the idiom of the language which we use. This sentiment, it is apparent, is opposed to the use of those words and phrases, which, are either taken from other languages; or, are obsolete, newly coined, or such as are derived from no proper authority. Propriety exhibits the selection of such words, in composing, as the best and most prevailing usage has appropriated to those ideas, we design to communicate by them. Precision denotes the pruning of our composition; and excluding every thing superfluous-so that the words used should express neither more nor less, than a precise and perfect transcript of the ideas we possess.

A due attention to these particulars will, through the habit of steady practice, soon enable the orator to find his style improving.

THE COMMON CHARACTERS OF STYLE, have been arranged, by Rhetoricians, in the following classviz. the diffuse concise, feeble, nervous, dry, plain, neat, elegant, flowery.

That different subjects require, in order to be treated properly, different kinds of style, is a position so obviously correct, that it needs no illustration. Every intelligent reader knows that an oration would require a different style, from that, which would be proper, in a philosophical essay. And it often happens, that an alteration in the of style is necessary in the different parts of the same composition. Still, in all this variety, we expect to perceive, in the composition of the same man, some prevailing characteristic of style and manner, which shall be suited to his genius, and show the impress of his peculiar turn of mind. A diffuse writer, unfolds, and displays his ideas in a full and glowing manner-a concise one in the fewest words possible. The nervous and feeble, are terms or characters of style, which generally represent the same ideas, as those denominated the concise and diffuse, though it is frequently observed, that diffuse writers exhibit no ordinary degree of strength. And a nervous writer, having his mind always filled with his subject, will give us a forcible and deep impression of what he communicates. Every phrase, and figure which he uses, renders the assemblage of imagery, which he sets before us, more splendid, interesting, and perfect. The foregoing characteristics, however, respect more particularly, the expressiveness of

an author's meaning. The following terms, respect the degree of ornament, which he employs, to grace, or embellish his style; viz. a dry, a plain, a neat, an elegant, and a flowery style. We define them thus a dry style, is that which entirely excludes all kinds of ornament-a plain style rises, indeed, a little upon the dry; but admits of no considerable ornament, as its author relies, almost exclusively, upon his sense. A neat style, approximates the region of ornament, but not of the splendid kind. A writer of this style, by his selection of words and their graceful location, evinces great partiality for the beauties of language. His sentences are always free from the incumbrances of superfluous words; of a moderate length, and inclining more to brevity, than to a swelling sonorous structure, and generally come to a graceful, and musical close. This kind of style is never improperly adopted, let the subject of the writer be what it may. An elegant style denotes a greater degree of ornament still; and with this we associate all the virtues and excellencies of ornament, in our power. It, however, implies great precision,. and propriety; purity in the choice of words; and a skilful and happy talent, in, giving them a harmonious arrangement. It, moreover, implies the spreading over style all the beauties of the imagination, as far as the subject will allow it-and all the illustration afforded by tropes and figures, when properly employed. A writer, of an elegant style, will never fail to delight the fancy and the ear; and whilst he is imparting information to the mind, though he may clothe his ideas with all the beauties and chastened

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splendours of expression; he must be careful never to' overload them with ill-timed, and misplaced frippery.

A florid style, imports excessive ornament, and in young writers is, on the whole, considered desirable. But, it always requires pruning; and the fustian, tinsel splendour of language, which some writers continually exhibit, is pitiable and contemptible. They seem not to know, indeed, the difference which exists between a luscious collection of words, and an exuberant collection of the images of an enlivened, and creative fancy. Hence, the man of sense, on witnessing such productions; especially, if the sentiment intended to be enforced, be either erroneous, or of little importance, (as is most frequently the case with writers of this style,) will always think, that, "farthest from them is best."

Simple, affected, and vehement STYLE, defined and illustrated-and some DIRECTIONS, for the forming of a proper STYLe.

The term simplicity, when applied to composition, is, like many other critical ones, often used too indefinitely; and the principal cause of this mistake is found, in the fact that writers have given this term, a great variety of meanings. It is proper, therefore, here, to make a distinction between them; and to show, in few words as possible, how simplicity, is properly applied to style. There are four distinct senses in which this word is used, by rhetorical writers. The first, is simplicity of composition. which is opposed to too great a variety of parts. The second,

is simplicity of thought, which is opposed to refinement. The third, is that which is opposed to ornament, and, pomp of language-and the fourth is that simplicity which appears in the easy and natural manner in which our language expresses our thoughts, In this last sense, simplicity is compatible with the highest ornament. Homer, for instance, exhibits this simplicity, in the highest perfection, and yet, no writer ever moved a pen, which was followed by such splendid ornament and beauty. This is a simplicity which always cherishes ornament, but not that which is affected; and is a primary excellence in composition. The man who has attained this, gives no evi dence of art in his expressions, but appears the real child of nature. It is not a writer, and labourer, that we here behold; but the man, in his own natural character. However rich in his expressions, and full in his figures and his fancy, these will appear to flow voluntarily, and without difficulty; not, however, because he seems to have studied his subject well, but, because it is a manner of expression, which, apparently, perfectly accords with his taste, his circumstances, and his nature. An affected style, is precisely the reverse of a simple one; and a vehement style, denotes strength, and always accords with simplicity. It is distinguished by a peculiar ardor. It is the language of a man whose imaginations and passions are glowing and impetuous. Paying little attention to the graces, he bears down with the force and thunder of a tremendous torrent. And this is the proper style, for the higher kinds of oratory-such was the style of a De

mosthenes; and, sometimes, of a Cicero. Having stat