make up for the want of Unity, try the experiment in the last example. The ideas it contains are so foreign to each other that we must have at least three distinct sentences to express them properly; yet it is evident that, as the members now stand, periods between them are inadmissible, on account of the closeness of their connection.

§ 388. In the third place, a regard for Unity requires that we avoid long parentheses. We have already alluded to their effect as prejudicial to Clearness, Strength, and Harmony. In the old writers they are of frequent occurrence, and constitute so palpable a fault that in later times it has been thought the safest course to reject parentheses of every kind. Passages in which they occur, must be divided into as many sentences as there are leading propositions.

EXAMPLE-The quicksilver mines of Idria, in Austria (which were discovered in 1797, by a peasant, who, catching some water from a spring, found the tub so heavy that he could not move it, and the bottom covered with a shining substance which turned out to be mercury) yield, every year, over three hundred thousand pounds of that valuable metal.

Corrected. The quicksilver mines of Idria, in Austria, were discov ered by a peasant in 1797. Catching some water from a spring, he found the tub so heavy that he could not move it, and the bottom covered with a shining substance which turned out to be mercury. Of this valuable metal, the mines in question yield, every year, over three hundred thousand pounds.

EXERCISE.

Correct the following sentences so that their Unity may be preserved, altering the punctuation as may be required by the changes made:

1. The usual acceptation takes profit and pleasure for two different things, and not only calls the followers or votaries of them by the several names of busy and idle men, but distinguishes the faculties of the mind, that are conversant about them; calling the operations of the first, wisdom; and of the other, wit;-which is a Saxon word, used to express what the Spaniards and Italians call ingenio, and the French, esprit, both from the Latin: though I think wit more particularly signifies that of poetry, as may occur in remarks on the Runic language.SIR WILLIAM TEMPLE. 2. To this succeeded that licentiousness which entered with the Restoration, and from infecting our religion and morals fell to corrupt our language; which last was not likely to be much improved by those who at that time made up the court of King Charles the Second; either such as had followed him in his banishment, or who

888. What is the third rule? What is the effect of long parentheses?

had been altogether conversant in the dialect of these fanatic times; or young men who had been educated in the same country; so that the court, which used to be the standard of correctness and propriety of speech, was then, and I think has ever since continued, the worst school in England for that accomplishment; and so will remain, till better care be taken in the education of our nobility, that they may set out in the world with some foundation of literature, in order to qualify them for patterns of politeness.-SWIFT. 3. We left Italy with a fine wind, which continued three days; when a violent storm drove us to the coast of Sardinia, which is free from all kinds of poisonous and deadly herbs, except one; which resembles parsley, and which, they say, causes those who eat it to die of laughing. 4. At Coleridge's table we were introduced to Count Frioli, a foreigner of engaging manners and fine conversational powers, who was killed the following day by a steamboat explosion. 5. The lion is a noble animal, and has been known to live fifty years in a state of confinement. 6. Haydn (who was the son of a poor wheelwright, and is best known to us by a noble oratorio called "The Creation," which he is said to have composed after a season of solemn prayer for divine assistance) wrote fine pieces of music when he was no more than ten years old. 7. The famous poisoned valley of Java (which, as Mr. Loudon, a recent traveller in that region, informs us, is twenty miles in length and is filled with skeletons of men and birds; and into which it is said that the neighboring tribes are in the habit of driving criminals, as a convenient mode of executing capital punishment) has proved to be the crater of an extinct volcano, in which carbonic acid is generated in great quantities, as in the Grotto del Cane at Naples. 8. The Chinese women are for the most part industrious; and use, as embellishments of their beauty, paint, false hair, oils, and pork fat. 9. London, which is a very dirty city, has a population of two millions and a quarter. 10. We next took the cars, which were filled to overflowing, and brought us to a landing, where a boat was in waiting that looked as if it were a century old; but which, while we were examining its worm-eaten sides, put off at a rate which soon showed us that its sailing qualities were by no means contemptible, and taught us the practical lesson that it is unsafe to judge of the merits of a thing ly its external appearance.

LESSON LXV.

THE FORMING OF STYLE.

§ 389. As we have now considered the various kinds of style, and the essential properties which should be preserved in them all, it may not be out of place to add a few practical suggestions respecting the best mode of forming a character

istic manner of expressing one's thoughts. Whether a young composer's style is to be concise or diffuse, simple or labored, nervous or feeble, will depend, of course, in a great measure, on the bent of his mind when he shall have attained mature years; but, as it is necessary to begin composing at an early age, it is unsafe to trust to the vicissitudes of natural temperament, and run the risk of contracting bad habits, which, when discovered, it may be hard to lay aside. These difficulties it is best to avoid by employing, from the outset, such aids as reason and experience recommend. The object in so doing is not to sacrifice nature to art, to restrain the flow of genius, or to destroy individuality of manner: but, on the other hand, to promote the healthy development of this individuality; to modify its extravagances, suppress those of its features which are objectionable, and cultivate with the utmost care such as are meritorious and pleasing.

§ 390. In the first place, give careful and earnest thought to the subject about which you propose to write.

Though at first sight this may seem to have little to do with the formation of style, the relation between the two is in reality extremely close. Before we have ourselves obtained a full, clear, and decided, view of a subject, we can not hope to communicate such an impression of it to others. The habit of writing without first having distinct ideas of what we intend to say, will inevitably produce a loose, confused, and slovenly, style.

§ 391. Secondly, compose frequently. Rules are of service, but they are not intended to take the place of practice. Nothing but exercise will give facility of composition.

§ 392. In the third place, compose slowly and with care. It is to hasty and careless writing that a bad style may gene.

$389. On what will the characteristics of a young composer's style, in a great mea svre, depend? What is said of the necessity of using aids in the formation of style! What is the object in so doing?

$390. What is the first rule relating to the formation of style? What is said of the connection between style and thought? What will inevitably result from writing with. out having distinct ideas of what we intend to say?

891. What is the second rule?

rally be traced. Faults are thus contracted which it will cost infinite trouble to unlearn.

Quintilian (bk. x., ch. 3) alludes to this point in the following terms:-" I enjoin that such as are beginning the practice of composition write slowly and with anxious deliberation. Their great object, at first, should be to write as well as possible; practice will enable them to write quickly. By degrees, matter will offer itself still more readily; words will be at hand; composition will flow; every thing, as in the arrangement of a well-ordered family, will present itself in its proper place. The sum of the whole is this: by hasty composition we shall never acquire the art of composing well; by writing well, we shall soon be able to write speedily."

§ 393. Fourthly, revise carefully. Nothing is more necessary to what is written, or more important to the writer. "Condemn," says Horace, in his Epistle to the Pisos, v. 292-294,"condemn that poem which many a day and many a blot have not corrected, and castigated ten times to perfect accuracy.'

Even the most experienced writers are apt to commit oversights, for which revision is the only remedy. If we put aside what has been writ ten till the expressions we have used are forgotten, and then review our work with a cool and critical eye, as if it were the performance of another, we shall discern many imperfections which at first were overlooked. This is the time for pruning away redundancies; for seeing that the parts of sentences are correctly arranged and connected by the proper particles; for observing whether the requirements of grammar are strictly complied with; and for bringing style into a consistent and effective form. Disagreeable as this labor of correction may be, all must submit to it who would attain literary distinction, or even express their thoughts with ordinary propriety and force. A little practice will Boon create a critical taste, and render the work if not pleasant, at least easy and tolerable.

§ 394. In the fifth place, study the style of the best authors. Notice their peculiarities; observe what gives effect

§ 392. What is the third rule? To what is a bad style generally traceable? What is Quintilian's advice on this point?

§ 893. What is the fourth rule? What does Horace say on this point? Descrioe the most effective method of revising. To what, in this process, must the author's attention be directed? What is said of the necessity of this labor of correction?

394. What is the fifth rule? Explain what is meant by this. What is said of ser

to their writings; compare one with another; and, in compo sing, endeavor to avoid their faults and imitate their beauties.

No servile imitation is here recommended. This is in the highest degree dangerous, generally resulting in stiffness and artificiality of manner, and a lack of self-confidence, which is fatal to success in composition. Avoid adopting a favorite author's peculiar phrases or constructions. "It is infinitely better," says Blair, "to have something that is our own, though of moderate beauty, than to affect to shine in borrowed ornaments, which will, at last, betray the utter poverty of our genius." Modifying our style by assimilating it to one which we particularly admire, or which the world has stamped with its approval, is quite a different thing from laying aside our own individuality entirely, to adopt another's, which we have but a slight chance of being able to maintain.

No exercise is likely to aid us more in acquiring a good style than to translate frequently from the writings of some eminent English author into our own words; to take, for instance, a page of Addison or Goldsmith, and, having read it over until we have fully mastered the meaning, to lay aside the book and attempt to reproduce the passage from memory. A comparison of what we have written with the original will then show us in what the faults of our style consist, and how we may correct them; and, among the different modes of expressing the same thought, will enable us to perceive which is the most beautiful.

§ 395. Avoid such mannerism as would prevent you from adapting your style to your subject and to the capacity of those you arddess. Keep the object proposed in view, and let your mode of expression be strictly consistent therewith. Nothing is more absurd than to attempt a florid, poetical style, on occasions when it is our business only to reason; or 'o speak with elaborate pomp of expression, before persons to whom such magnificence is unintelligible.

MISCELLANEOUS EXERCISE ON THE ESSENTIAL PROPERTIES OF STYLE.

In the following sentences, make such corrections as are required by the rules for Purity, Propriety, Precision, Clear ness, Strength, Harmony, and Unity :

vile imitation? What does Blair say on this subject? Show the difference between a servile imitation and the course here advised. What exercise is likely to aid us in acquiring a good style?

§895. What is the last rule, relating to the adaptation of the style to the subject? What advice is given on this head?