fancy, less. Intercourse among mankind becoming more extensive and frequent, clearness of style, in signifying their meaning to each other, was the chief object of attention. In place of poets, philosophers became the instructors of men; and, in their reasonings on all different subjects, introduced that plainer and simpler style of composition, which we now call prose. Among the Greeks, Pherecydes of Scyros, the master of Pythagoras, is recorded to have been the first, who, in this sense, composed any writing in prose. The ancient metaphorical and poetical dress of language was now laid aside from the intercourse of men, and reserved for those occasions only, on which ornament was professedly studied. Thus I have pursued the history of language through some of the variations it has undergone; I have considered it, in the first structure and composition of words; in the manner of uttering or pronouncing words; and in the style and character of speech. I have yet to consider it in another view, respecting the order and arrangement of words; when we shall find a progress to have taken place, similar to what I have been now illustrating LECTURE VII. RISE AND PROGRESS OF LANGUAGE, AND OF WRITING. WHEN we attend to the order in which words are arranged in a sentence, or significant proposition, we find a very remarkable difference between the ancient and the modern tongues. The consideration of this will serve to unfold further the genius of language, and to show the causes of those alterations, which it has undergone, in the progress of society. In order to conceive distinctly the nature of that alteration. of which I now speak, let us go back, as we did formerly, to the most early period of language. Let us figure to ourselves a savage, who beholds some object, such as fruit, which raises his desire, and who requests another to give it to him. Supposing our savage to be unacquainted with words, he would in that case labour to make himself be understood, by pointing earnestly at the object which he desired, and uttering at the same time a passionate cry. Supposing him to have acquired words, the first word which he uttered would, of course, be the name of that object. He would not express himself, according to our English order of construction. "Give me fruit," but, according to the Latin order," Fruit give me;" "Fructum da mihi:" for this plain reason, that his attention was wholly directed towards fruit, the desired object. This was the exciting idea; the object which moved him to speak; and, of course, would be the first named. Such an arrangement is precisely putting into words the gestures which nature taught the savage to make, before he was acquainted with words; and therefore it may be depended upon as certain, that he would fall most readily into this arrangement. Accustomed now to a different method of ordering our words, we call this an inversion, and consider it as a forced and unnatural order of speech. But though not the most logical, it is, however, in one view, the most natural order; because, it is the order suggested by imagination and desire, which always im pel us to mention their object in the first place. We might therefore conclude, a priori, that this would be the order in which words were most commonly arranged at the beginnings of language; and accordingly we find, in fact, that in this order, words are arranged in most of the ancient tongues; as in the Greek and the Latin; and it is said also, in the Russian, the Sclavonic, the Gaëlic, and several of the American tongues. In the Latin language, the arrangement which most commonly obtains, is, to place first in the sentence that word which expresses the principal object of the discourse, together with its circumstances; and afterwards, the person, or the thing that acts upon it. Thus Sallust, comparing together the mind and the body; "Animi imperio, corporis, servitio, magis utimur;" which order certainly renders the sentence more lively and striking, than when it is arranged according to our English construction; "We make most use of the direction of the soul, and of the service of the body." The Latin order gratifies more the rapidity of the imagination, which naturally runs first to that which is its chief object; and having once named it, carries it in view throughout the rest of the sentence. In the same manner in poetry: Justum et tenacem propositi virum, Every person of taste must be sensible, that here the words are arranged with a much greater regard to the figure which the several objects make in the fancy, than our English construction admits; which would require the Justum et tenacem propositi virum," though, undoubtedly, the capital object in the sentence, to be thrown into the last place. I have said, that, in the Greek and Roman languages, the most common arrangement is, to place that first which strikes the imagination of the speaker most. I do not, however, pretend, that this holds without exception. Sometimes regard to the harmony of the period requires a different order; and in languages susceptible of so much musical beauty, and pronounced with so much tone and modulation as were used by those nations, the harmony of periods was an object carefully studied. Sometimes, too, attention to the perspicuity, to the force, or to the artful suspension of the speaker's meaning, alter this order; and produce such varieties in the arrangement, that it is not easy to reduce them to any one principle. But, in general, this was the genius and character of most of the ancient languages, to give such full liberty to the collocation of words, as allowed them to assume whatever order was most agreeable to the speaker's imagination. The Hebrew is, indeed, an exception: which, though not altogether without inversions, yet employs them less frequently, and approaches nearer to the English construction, than either the Greek or the Latin. All the modern languages of Europe have adopted a different arrangement from the ancient. In their prose compositions, very little variety is admitted in the collocation of words; they are mostly fixed to one order; and that order is, what may be called the order of the understanding. They place first in the sentence, the person or thing which speaks or acts; next, its action; and lastly, the object of its action: so that the ideas are made to succeed to one another, not according to the degree of importance which the several objects carry in the imagination, but according to the order of nature and of time. An English writer, paying a compliment to a great man, would say thus: "It is impossible for me to pass over, in silence, such remarkable mildness, such singular and unheard of clemency, and such unusual moderation, in the exercise of supreme power." Here we have first presented to us, the person who speaks, "It is impossible for me;" next, what that person is to do," impossible for him to pass over in silence ;" and lastly, the object which moves him so to do," the mildness, clemency, and moderation of his patron." Cicero, from whom I have translated these words, just reverses this order; beginning with the object, placing that first which was the exciting idea in the speaker's mind, and ending with the speaker and his action. "Tantam mansuetudinem, tam inusitatam inauditamque clemen. tiam, tantumque in summa potestate rerum omnium modum, tacitus nullo modo præterire possum." (Orat. pro Marcell.) The Latin order is more animated; the English more clear and distinct. The Romans generally arranged their words according to the order in which the ideas rose in the speaker's imagination. We arrange them according to the order in which the understanding directs those ideas to be exhibited, in succession, to the view of another. Our arrangement, therefore, appears to be the consequence of greater refinement in the art of speech; as far as clearness in communication is understood to be the end of speech. In poetry, where we are supposed to rise above the ordinary style, and to speak the language of fancy and passion, our arrangement is not altogether so limited; but some greater liberty is allowed for transposition and inversion. Even there, however, that liberty is confined within narrow bounds, in comparison of the ancient languages. The different modern tongues vary from one another in this respect. The French language is, of them all, the most determinate in the order of its words, and admits the least of inversion, either in prose or poetry. The English admits it more. But the Italian retains the most of the ancient transpositive character; though one is apt to think it attended with a little obscurity in the style of some of their authors, who deal most in these transpositions. It is proper, next, to observe, that there is one circumstance in the structure of all the modern tongues, which, if necessary, limits their arrangement, in a great measure, to one fixed and determinate train. We have disused those differences of termination, which, in the Greek and Latin, distinguished the several cases of nouns, and tenses of verbs; and which, thereby, pointed out the mutual relation of the several words in a sentence to one another, though the related words were disjoined, and placed in different parts of the sentence. This is an alteration in the structure of language, of which I shall have occasion to say more in the next lecture. One obvious effect of it is, that we have now, for the most part, no way left us to show the close relation of any two words to each other in meaning, but by placing them close to one another in the period. For instance, the Romans could, with propriety, express themselves thus: Exstinctum nymphæ crudeli funere Daphnin Because "Exstinctum et Daphnin," being both in the accusative case, this showed that the adjective and the substantive were related to each other, though placed at the two extremities of the line; and that both were governed by the active verb "flebant," to which "nymphæ" plainly appeared to be the nominative. The different terminations here reduced all into order, and made the connexion of the several words perfectly clear. But let us translate these words literally into English, according to the Latin arrangement; "Dead the nymphs by a cruel fate Daphnis lamented;" and they become a perfect riddle, in which it is impossible to find any meaning. It was by means of this contrivance, which obtained in almost all the ancient languages, of varying the termination of nouns and verbs, and thereby pointing out the concordance, and the government of the words in a sentence, that they enjoyed so much liberty of transposition, and could marshal and arrange their words in any way that gratified the imagination, or pleased the ear. When language came to be modelled by the northern nations who overran the empire, they dropped the cases of nouns, and the different termination of verbs, with the more ease, because they placed no great value upon the advantages arising from such a structure of language. They were attentive only to clearness, and copiousness of expression. They neither regarded much the harmony of sound, nor sought to gratify the imagination by the collocation of words. They studied solely to express themselves in such a manner as should exhibit their ideas to others in the most distinct and intelligible order. And hence, if our language, by reason of the simple arrangement of its words, possesses less harmony, less beauty, and less force, than the Greek or Latin; it is, however, in its mean ing, more obvious and plain. Thus I have shown what the natural progress of language has been, in several material articles; and this account of the genius and progress of language lays a foundation for many observations both curious and useful. From what has been said in this, and the preceding lecture, it appears, that lan guage was, at first, barren in words, but descriptive by the sound of those words; and expressive in the manner of uttering them, by the aid of significant tones and gestures; style was figurative and poetical; arrangement was fanciful and lively. It appears, that, in all the successive changes which |