"On one side stands modesty, on the other impudence; on one fidelity, on the other deceit; here piety, there sacrilege; here continency, there lust, &c."

This is a very florid figure; and suited no less for amplification than proof.

CLIMAX is a beautiful kind of repetition, wherein the word or expression which ends the first member of a period, begins the second, and so on; as;

"Folly begets pride; pride is the author of confu sion; and confusion of misery."

This figure is consistent with a moderate degree of passion.

PROSOPOPOEIA, or Personification, bestows sensibility upon inanimate things, where that violent effect. is necessary to gratify passion.

"But look, the Moon, in russet mantle clad, Walks o'er the dew of yon high eastward hill.” SHAKESPEARE..

"Night, sable goddess !' from her ebon throne, In rayless majesty, now stretches forth

Her leaden sceptre o'er a slumbring world.”

YOUNG:

Personification prevails in all compositions addressed to the imagination; in didactic poetry; in oratory; in moral discourses.

The genius of our language affords us a material advantage:

advantage in the use of this figure. All substantive nouns, except the proper names of creatures, male or female, are destitute of gender. By simply bestowing the masculine or feminine gender upon inanimate objects, we introduce personification. Thus Milton,

"The Thunder

Wing'd with red light'ning and impetuous rage,
Perhaps hath spent his shafts."

Again,

"At his command th' uprooted Hills retir'd Each to his place: they heard his voice and went Obsequious: Heaven his wonted face renew'd, And with fresh flowrets Hill and Valley smil'd." After a passionate personification is properly introduced, it ought to be confined to its distinct province, that of gratifying some predominant passion. Every sentiment which is unconnected with this design, ought to be rejected.

Descriptive personification cannot be too cautiously used.

If extraordinary marks of respect to a person of low condition be ridiculous, not less so is the personi fication of a low subject. This rule chiefly regards descriptive personification.

APOSTROPHE, or Address, is when in a vehement

commotion

commotion a man turns himself on all sides, and applies to the living and to the dead, to angels and to men, to rocks, groves, and rivers.

An appeal to heaven, or any part of inanimate nature, has something very sublime and solemn in it, which we often meet with in sacred Writ. So the divine prophet.

"

Hear, O Heavens! and give ear, O Earth! for the Lord hath spoken !”

And in like manner the Prophet Jeremiah : "Be astonished, O ye. Heavens at this."

GENERAL CHARACTERS OF STYLE.

THERE are five general characters of style, namely, the Nervous and Concise; the Diffuse; the Plain and Simple; the Elegant; and the Vehe

ment.

OF THE NERVOUS AND CONCISE

STYLE.

THESE mark different degrees of the same quality. Writers of this Style rest their merit principally on their matter; address themselves chiefly to the understanding; compose in short sentences, but full of vigour; employ bold metaphors in few words, but never admit long comparisons. They are no

enemies

enemies to the brilliancy of a striking antithesis, but seldom indulge any other figure, except interroga

tion.

Aristotle, Tacitus, and Montesquieu, are remarkable authors in this line of Writing.

In written compositions, a certain degree of conciseness possesses great advantages. It appears lively; keeps up the attention; makes a stronger impression; and gratifies the mind by supplying more exercise to the reader's faculties.

A concise comprehensive style is a great ornament in narration; and a superfluity of unnecessary words altogether improper. A judicious selection of striking circumstances clothed in nervous and concise language produces a delightful effect.

The extreme of conciseness degenerates into abruptness and obscurity; and is apt to introduce a style too pointed, and bordering on the epigrammatic.

DIFFUSE STYLE.

EXHIBITS the sense with copiousness and variety. A writer of it is seldom satisfied with one view of al subject. He surveys it in several aspects; and is solicitous that different views of it should be adapted to the comprehension of different readers. He is

more

more anxious that nothing should be forgot, than that those things only should be advanced which make the deepest impression. He is fond of periods, flowing, full, and harmonious; though authors of this style sometimes compose in short sentences.

The extreme of diffuseness becomes weak and languid, and fatigues the reader.

Cicero and Addison afford examples of a beautiful and magnificent diffuseness.

PLAIN AND SIMPLE STYLE

- Is of extensive use. It may be employed in all addresses to the imagination and the passions, but is chiefly convenient in communicating knowledge. 'The order of the words departs little from the order of the ideas. It seldom adanits long sentences. Allows the use of metaphors and comparisons. Demands precision in words, and the use of those of most perspicuous signification, and most approved. purity.

A graceful simplicity of style seems to be of easy attainment; though in practice the matter is found to be quite otherwise. For we must not imagine, that a style of this kind is to be attained without study. To conceal its own efforts, is said to be the perfection of art; and when we find an author's style characterized