their attention, and disposing them to action. I add another consideration: the agreeableness of contrast in the rougher language, for which the great variety of sounds gives ample opportunity, must, even in an effeminate ear, prevail over the more uniform sounds of the smoother language.* This appears all that can be safely determined upon the present point. With respect to the other circumstances that constitute the beauty of words, the standard above mentioned is infallibly when applied to foreign languages as well as to our own: for every man, whatever be his mother-tongue, is equally capable to judge of the length or shortness of words, of the alternate opening and closing of the mouth in speaking, and of the relation that the sound bears to the sense in these particulars, the judgment is susceptible of no prejudice from custom, at least of no invincible prejudice.

That the English tongue, originally harsh, is at present much softened by dropping in the pronunciation many redundant consonants, is undoubtedly true that it is not capable of being further mellowed without suffering in its force and energy, will scarce be thought by any one who possesses an ear; and yet such in Britain is the propensity for despatch, that, overlooking the majesty of words composed of many syllables aptly connected, the prevailing taste is to shorten words, even at the expense of making them disagreeable to the ear, and harsh in the pronunciation. But I have no occasion to insist upon this article, being prevented by an excellent writer, who possessed, if any man ever did, the true genius of the English tongue.†

* That the Italian tongue is too smooth, seems probable, from considering, that in versification, vowels are frequently suppressed,in order to produce a rougher and bolder tone.

See Swift's proposal for correcting the English tongue, in a letter to the Earl of Oxford.

I cannot, however, forbear urging one observation, borrowed from that author: several tenses of our verbs are formed by adding the final syllable ed, which, being a weak sound, has remarkably the worse effect by possessing the most conspicuous place in the word: upon which account, the vowel in common speech is generally suppressed, and the consonant added to the foregoing syllable; whence the following rugged sounds, drudg'd, disturb'd, rebuk'd, fledg'd. It is still less excusable to follow this practice in writing; for the hurry of speaking may excuse what would be altogether improper in composition: the syllable ed, it is true, sounds poorly at the end of a word; but rather that defect, than multiply the number of harsh words, which after all, bear an over-proportion in our tongue. The author above-mentioned, by showing a good example, did all in his power to restore that syllable; and he well deserves to be imitated. Some exceptions, however, I would make. A word that signifies labour or any thing harsh or rugged, ought not to be smooth; therefore forc'd with an apostrophe, is better than forced, without it. Another exception is where the penult syllable ends with a vowel; in that case the final syllable ed may be apostrophised without making the word harsh: examples, betray'd, carry'd, destroy'd, employ'd.

The article next in order, is the music of words as united in a period. And as the arrangement of words in succession so as to afford the greatest pleasure to the ear, depends on principles remote from common view, it will be necessary to premise some general observations upon the appearance that objects make, when placed in an increasing or decreasing series. Where the objects vary by small differences, so as to have a mutual resemblance, we in ascending conceive the second object of no greater size than the first, the third of no greater

size than the second, and so of the rest; which diminisheth in appearance the size of every object except the first: but when, beginning at the greatest object, we proceed gradually to the least, resemblance makes us imagine the second as great as the first, and the third as great as the second: which in appearance magnifies every object except the first. On the other hand, in a series varying by large differences, where contrast prevails, the effects are directly opposite: a great object succeeding a small one of the same kind, appears greater than usual; and a little object succeeding one that is great, appears less than usual. Hence a remarkable pleasure in viewing a series ascending by large differences; directly opposite to what we feel when the differences are small. The least object of a series ascending by large differences has the same effect upon the mind, as if it stood single withont making a part of the series: but the second object, by means of contrast, appears greater than when viewed singly and apart; and the same effect is perceived in ascending progressively, till we arrive at the last object. The opposite effect is produced in descending: for in this direction, every object, except the first, appears less than when viewed separately and independent of the series. We may then assume as a maxim, which will hold in the composition of language as well as of other subjects, That a strong impulse succeeding a weak, makes double impression on the mind; and that a weak impulse succeeding a strong, makes scarce any impression.

After establishing this maxim, we can be at no loss about its application to the subject in hand. The following rule is laid down by Diome des.†

* See the reason, Chapter VIII.

De structura perfectæ orationis, 1. 2.

"In verbis observandum est, ne a majoribus ad "minora descendat oratio; melius enim dicitur, "Vir est optimus, quam Vir optimus est." This rule is also applicable to entire members of a period, which, according to our author's expression, ought not, more than single words, to proceed from the greater to the less, but from the less to the greater. In arranging the members of a period, no writer equals Cicero: the beauty of the following examples out of many, will not suffer me to slur them over by a reference.

*

Quicum quæstor fueram

Quicum me sors consuetudoque majorum,

Quicum me deorum hominumque judicium conjunxerat.

Again:

Habet honorem quem petimus,

Habet spem quam præpositam nobis habemus,

Habet existimationem, multo sudore, labore, vigiliisque, col

lectam.

Again:

Eripite nos ex miseriis,

Eripite nos ex faucibus eorum,

Quorum crudelitas nostro sanguine non protest explesi.

De Oratore, l. i. sect. 52.

This order of words or members gradually increasing in length, may, as far as concerns the pleasure of sound, be denominated a climax in sound.

The last article is the music of periods as united in a discourse: which shall be despatched in a very few words. By no other human means is it possible to present to the mind, such a number of objects, and in so swift a succession, as by speaking or writing; and for that reason, variety ought more to be studied in these, than in any other sort of composition. Hence a rule for arranging the mem

*See Demetrius Phalereus óf Elocntion, sect. 18.

bers of different periods with relation to each other, That to avoid a tedious uniformity of sound and cadence, the arrangement, the cadence, and the length of the members, ought to be diversified as much as possible: and if the members of different periods be sufficiently diversified, the periods themselves will be equally so.

SECTION II.

66

Beauty of Language with respect to Signification,

IT is well said by a noted writer,* "That by "means of speech we can divert our sorrows, mingle our mirth, impart our secrets, communicate "our counsels, and make mutual compacts and 66 agreements to supply and assist each other." Considering speech as contributing to so many good purposes, words that convey clear and distinct ideas, must be one of its capital beauties. This cause of beauty, is too extensive to be handled as a branch of any other subject: for 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 reflection. This branch, therefore, of the subject I humbly decline. Nor do I purpose to exhaust all the other beauties of language that relate to signification: the reader, in a work like the present, cannot fairly expect more than a slight sketch of those that make the greatest figure. This task is the more to my taste, as being connected with certain natural principles; and the rules I shall have occasion to lay down, will, if I judge rightly, be agreeable illustrations of these principles. Every

*Scot's Christian Life,