open your ears to hear the never-ceasing hymns of praise, which the blessed above sing to him that was, and is, and is to come; to the Lamb that was slain, but liveth for ever; could I lead you through the unbounded regions of eternal day, and shew you the mutual and ever-blooming joys of saints who are at rest from their labour, and live for ever in the presence of God! or, could I change the scene, and unbar the iron gates of hell, and carry you, through solid darkness, to the fire that never goes out, and to the worm that never dies: could I shew you the apostate angels fast bound in eternal chains, or the souls of wicked men overwhelmed with torment and despair: could I open your ears to hear the deep itself groan with the continual cries of misery; cries which can never reach the throne of mercy, but return in sad echoes, and add even to the very horrors of hell! could I thus set before you the different ends of religion and infidelity, you would want other proof to convince you, that nothing can recompense the hazard men run of being for ever miserable through unbelief. But, though neither the tongues of man nor of angels can express the joys of heaven, or describe the pains of hell; yet, if there be any truth in religion, these things are certain and near at hand." *

* Vol. 3, p. 18, 19, 6th edition, 1772, in 5 vols. 8vo.

Here the imagery, which is remarkably bold and striking, is rendered still more impressive, by the strength and harmony of the language in which it is produced to view. The subdued and plaintive theme at the commencement of this fine passage, the rapture immediately succeeding, and the tremendous close which harrows up the very soul, have each their diction so luminous and appropriate, that, in my opinion, no alteration could improve the style.

Of the ordinary language of Sherlock, of that plain but nervous diction which has distinguished him among his contemporaries, the following may be considered as an adequate specimen.

"So far is it from being an objection to the reality of grace, that the works of grace are works of reason, that the very best evidence we can have that the grace of God is in us, is this, that we live up to the pure and sincere dictates of reason. We ascribe not to grace, that we know our duty; but this we ascribe to it, that we are able to perform it. And upon this state of the case -appears, that the evidence which christians can make to themselves and others, that the Spirit of God dwelleth in them, must arise from their works of love and obedience.

it

"Unbelievers may have many objections to make against the operations of the Holy Spirit,

which need not affect or disturb the faith of a christian. want of evidence in the works of christians, they raise a difficulty, which every believer is bound to answer for himself, or to quit his pretensions to the hopes and promises of the gospel. The confidence of some, that they have the Spirit of God, though they have nothing but their own confidence to allege in proof of it, is a conceit, unknown to the churches of God: the gospel is a stranger to it, and it was taught in some other school than that of Christ."*

But when they object to us the

As an author whose style and manner form a perfect contrast to the general diction of Sherlock, I have now to mention LORD BOLINGBROKE, who commenced a party writer at an early period of the eighteenth century. His most finished work, however, his "Idea of a Patriot King," though composed in 1738, was not published until 1749, and having received his most sedulous revision may be considered as the most perfect specimen of his style.

*Sermons, Vol. 3, p. 300, 301. Bishop Berkeley might here be quoted as an excellent writer of the Platonic Dialogue; but as his works were altogether abstruse and metaphysical, and never had a general admittance, they cannot be supposed to have operated much, if at all, in accelerating the improvement of English style.

Bolingbroke was a man of warm passions, and possessed an ardent imagination; he was likewise high in reputation as a powerful and successful orator; and he appears to have carried into his closet the same heat and impetuosity which animated his soul in the tumult of debate. Hence his style is vehement, declamatory, and highly figurative; bold, rich, and energetic, it rushes on its course like some mighty river, and bears down every obstacle which opposes its progress; but, like the torrent that we are alluding to, its very rapidity is too often destructive of its beauty. and transparency. The construction of his sentences is therefore frequently incorrect, and they are not seldom rendered intricate and parenthetical, by the uncontrouled accumulation of his ideas. There is a fire, however, a spirit of vivacity in the composition of Bolingbroke, which, when accompanied, as is occasionally the case, with perspicuity and ease, must give him rank as one of the happiest models of the vehement style.

Of the extracts which I have selected from the "Patriot King," the first, on the character of Elizabeth, will convey a just idea of the usual style of Bolingbroke in this his most finished work; and the second will afford examples of that spirit, strength, and climax in the arrangement

of sentences, for which he has been so much celebrated.

“Our Elizabeth was queen in a limited monarchy, and reigned over a people at all times more easily led than driven; and at that time capable of being attached to their prince and their country, by a more generous principle than any of those which prevail in our days, by affection. There was a strong prerogative, then in being, and the crown was in possession of greater legal power. Popularity was, however, then, as it is now, and as it must be always in mixed government, the sole true foundation of that sufficient authority and influence, which other constitutions give the prince gratis, and independently of the people, but which a king of this nation must acquire. The wise queen saw it, and she saw too, how much popularity depends on those appearances, that depend on the decorum, the decency, the grace, and the propriety of behaviour, of which we are speaking. A warm concern for the interest and honour of the nation, a tenderness for her people, and a confidence in their affections, were appearances that ran thro' her whole public conduct, and gave life and color to it. She did great things, and she knew how to set them off according to their full value, by her manner of doing them. In her private behaviour