SECT. II.

Beauty of language with respect to fignification.

IT is well faid by a noted writer*, “That "by means of speech we can divert our "forrows, mingle our mirth, impart our "fecrets, communicate our counfels, and "make mutual compacts and agreements to "fupply and affift each other." Confidering fpeech as contributing thus to fo many good purposes, it follows, that the chufing words which have an accurate meaning, and tend to convey clear and diftinct ideas, muft be one of its capital beauties. This caufe of beauty, is too extensive to be handled as a branch of any other fubject. To ascertain with accuracy even the proper meaning of words, not to talk of their figurative power, would require a large volume; an useful work indeed; but not to be attempted without a large stock of time, study, and reflec

Scot's Christian life.

tion. This branch therefore of the subject I must humbly decline. Nor do I propose to exhaust all the other beauties of language with respect to fignification. The reader, in a work like the prefent, cannot fairly expect more than a flight sketch of those that make the greatest figure. This is a task which I attempt the more willingly, as it appears to be connected with fome principles in human nature; and the rules I shall have occafion to lay down, will, if I judge aright, be agreeable illuftrations of these principles. Every fubject must be of importance that tends in any measure to unfold the human heart; for what other science is more worthy of human beings?

The present subject is fo extenfive, that, to prevent confufion, it must be divided into parts; and what follows fuggefts a divifion into two parts. In every period, two things are to be regarded, equally capital; first, the words of which the period is compofed; next, the arrangement of thefe words. The former resemble the ftones that compofe a building; and the latter resembles the order in which thefe ftones are placed.

Hence

Hence the beauty of language with respect to its meaning, may not improperly be diftinguished into two kinds. The first confists in a right choice of words or materials for conftructing the period; and the other confists in a due arrangement of these words or materials. I shall begin with rules that direct us to a right choice of words, and then proceed to rules that concern their arrangement.

And with respect to the former, communication of thought being the principal end of language, it is a rule, That perfpicuity ought not to be facrificed to any other beauty whatever. If it should be doubted whether perfpicuity be a pofitive beauty, it cannot be doubted, that the want of it is the greatest defect. Nothing therefore in the structure of language ought more to be studied, than to prevent all obscurity in the expreffion; for to have no meaning, is but one degree worse than to express it fo as not to be understood. Want of perfpicuity from a wrong arrangement, belongs to the next branch. I fhall give a few examples where the obscurity arises from a wrong choice of

words;

words; and as this defect is fo common in ordinary writers as to make examples from them unneceffary, I confine myself to the most celebrated authors.

Livy, fpeaking of a rout after a battle,

Multique in ruina majore quam fuga oppreffi ob truncatique.

L. 4. $46.

Cum fas atque nefas exiguo fine libidinum

Difcernunt avidi.

Horace, Carm. l. 1. ode 18.

Ac fpem fronte ferenat.

Eneidiv. 477.

There is want of neatnefs even in an ambiguity fo flight as that is which arifes from the construction merely; as where the period commences with a member which is conceived to be in the nominative cafe, and which afterward is found to be in the accufative. Example: "Some emotions more

peculiarly connected with the fine arts, I propofe to handle in feparate chapters *." Better thus: "Some emotions more peculiarly connected with the fine arts, are propofed to be handled in separate chap"ters."

The rule next in order, because next in importance, is, That the language ought to correfpond to the fubject. Grand or heroic actions or sentiments require elevated language: tender fentiments ought to be ex

Elements of criticism, vol. 1. p. 43.

preffed