them clearly. When an author tells me of his hero's courage in the day of battle, the expression is precise, and I understand it fully; but if, from the desire of multiplying words, he should praise his courage and fortitude; at the moment he joins the words together, my idea begins to waver. He means to express one quality more strongly, but be is in truth expressing two : courage resists danger; fortitude supports pain. The occasion of exerting each of these qualities, is different; and being led to think of both together, when only one of them should be considered, my view is rendered unsteady, and my conception of the object indistinct.

All subjects do not equally require precision. It is sufficient, on many occasions, that we have a general view of the meaning. The subject, perhaps, is of the known and familiar kind, and we are in no hazard of mistaking the sense of the author, though every word which he uses is not presise and exact.

Many authors offend against this rule of precision. A respectable one, in describing a bad action, expresses himself thus: "It is to remove a good and orderly affection, and to introduce an ill or disorderly one; to commit an action that is ill, immoral, and unjust to do ill, or to act in prejudice of integrity, good nature, and worth."

A crowd of unmeaning or useless words is brought together by some authors, who, afraid of expressing themselves in a common and ordinary manner, and allured by an appearance of splendour, surround every thing which they mean to say, with a certain copious loquacity.

The great source of a loose style, in opposition to precision, is the injudicious use of the words termed synonymous. They are called synonymous, because they agree in expressing one principal idea; but for the most part, if not always, they express it with some diversity in the circumstances.

The following instances show a difference in the meaning of words reputed synonymous; and point out the use of attending, with care and strictness, to the exact import of words.

Custom, habit.-Custom, respects the action; habit, the actor. By custom, we mean the frequent repetition of the same act; by habit, the effect which that repetition produces on the mind or body. By the custom of walking often in the streets, one acquires a babit of idleness.

Pride, vanity.-Pride makes us esteem ourselves; vanity, makes us desire the esteem of others. It is just to say, that a man is too proud to be vain.

Haughtiness, disdain.-Haughtiness is founded on the high

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opinion we entertain of ourselves; disdain, on the low opinion we have of others.

Only, alone.-Only, imports that there is no other of the same kind; alone, imports being accompanied by no other. An only child, is one that has neither brother nor sister: a child alone, is one who is left by itself. There is a difference, therefore, in precise language, between two phrases: "Virtue only makes us happy ;" and "Virtue alone makes us happy.'

Wisdom, prudence.-Wisdom leads us to speak and act what is most proper. Prudence, prevents our speaking or acting improperly.

Entire, complete.-A thing is entire, by wanting none of its parts: complete, by wanting none of the appendages that belong to it. A man may have an entire house to himself, and yet not have one complete apartment.

Surprised, astonished, amazed, confounded-I am surprised with what is new or unexpected; I am astonished at what is vast or great; I am amazed at what is incomprehensible; I am confounded by what is shocking or terrible."

Tranquillity, peace, calm.-Tranquillity respects a situation free from trouble, considered in itself; peace, the same situation with respect to any causes that might interrupt it; calm, with regard to a disturbed situation going before or following it. A good man enjoys tranquility, in himself; peace, with others; and calm, after the storm.

These are some of the numerous instances of words, in our language, whose significations approach, but are not precisely the same. The more the distinction in the meaning of such words is attended to, the more clearly and forcibly shall we speak or write. It may not on all occasions, be necessary to pay a great deal of attention to very nice distinctions; yet the foregoing instances show the utility of some general care, to understand the distinct import of our words.

While we are attending to precision, we must be on our guard, lest, from the desire of pruning too closely, we retrench all copiousness. Scarcely in any language are there two words that convey precisely the same idea; a person thoroughly conversant in the propriety of the language, will always be able to observe something that distinguishes them. As they are like different shades of the same colour, an accurate writer can employ them to great advantage, by using them so as to

heighten and complete the object which he presents to us. He supplies by one what was wanting in the other, to the strength, or to the finishing, of the image which he means to exhibit. But, for this purpose, he must be attentive to the choice of his words, and not employ them carelessly, merely for the sake of filling up a period, or of rounding or diversifying his language, as if their signification were exactly the same, while in truth it is not. To unite copiousness and precision. to be full and easy, and at the same time correct and exact in the choice of every word, is, no doubt, one of the highest and most difficult attainments in writing.

PART II.

Of Perspicuity and Accuracy of Expression,

With respect to the construction of Sentences.

WE have finished the discussion of perspicuity and accuracy of expression, as far as they relate to the materials of language, the purity, propriety, and precision of words. It remains that we consider them, with regard to the construction of these materials, or the disposition of words in sentences and periods. Hitherto we have investigated the nature of words and phrases detached and unconnected, in the same manner as an architect selects and prepares the materials of an edifice. We are now, like the same artist, to delineate the plan of execution, or to point out the most proper conjunction of the materials, to accomplish the end in view. As the best materials for building will not form a convenient and elegant habitation, unless they are adjusted on a proper plan, so the purest and best chosen words will not constitute a perspicuous and beautiful sentence, unless they are well applied and properly arranged.

Sentences, in general, should neither be very long, nor very short long ones require close attention to make us clearly perceive the connexion of the several parts; and short ones are apt to break the sense, and weaken the connexion of thought. Yet occasionally they may both be used with force and propriety; as may be seen in the following sentences.

"If you look about you, and consider the lives of others as well as your own; if you think how few are born with honour, and how many die without name or children; how little beauty we see, and how few friends we hear of; how much poverty, and how many diseases there are in the world; you will fall down upon your knees, and instead of repining at one afflic tion, will admire so many blessings which you have received from the Divine hand." This is a sentence composed of several members linked together, and hanging upon one VOL. I.

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another, so that the sense of the whole is not brought out till the close. The following is an example of one in which the sense is formed into short, independent propositions, each complete within itself. "I confess, it was want of consideration that made me an author. I wrote because it amused me. I corrected, because it was as pleasant to me to correct, as to write. I published, because I was told I might please such as it was a credit to please."

A train of sentences, constructed in the same manner, and with the same number of members, should never be allowed to succeed one another. A protracted succession of either long or short sentences, or of sentences of the same length, should also be avoided: for the ear tires of such expressions, when they are too long continued. Whereas, by a proper mixture of long and short poriods, and of periods variously constructed, not only the ear is gratified, but animation and force are given to our style. A very frequent succession of words or phrases, in couplets, or triplets, is also a great blemish in composition.

We now proceed to consider the things most essential to an accurate and a perfect sentence. They appear to be the four following:

1. CLEARNESS.

2. UNITY.

3. STRENGTH.

4. A JUDICIOUS USE OF THE FIGURES OF SPEECH.

CHAPTER I.

OF THE CLEARNESS OF A SENTENCE.

See Vol. ii. Part. 5. Exercises. Clearness. Chap. 1.

THE FIRST requisite of a perfect sentence, is Clearness.

Whatever leaves the mind in any sort of suspense as to the meaning, ought to be avoided. Obscurity arises from two causes; either from a wrong choice of words, or a wrong arrangement of them. The choice of words and phrases, as far as regards perspicuity, has been already considered. The disposition of them comes now under consideration.

The first thing to be studied here, is grammatical propriety. But as the grammar of our language is comparatively