choice of words, without your own ear being im mediately struck by it. Habit will supply the place of reflection, and you will speak with as much purity, and write with as much facility, as if you waited to re-consider every phrase. The correct language, thus become habitual to you, will present itself, of course, when you are writing. Thus a little pains bestowed early on speaking well, will give you an immense advantage over such as are careless on that point, by enabling you to write as fluently as they can speak, and to speak more correctly than they can write. I would therefore have you STRIVE CONSTANTLY TO EXPRESS YOURSELF GRAMMATICALLY, CLEARLY, AND, THEREFORE, ELEGANTLY, ON THE MOST COMMON OCCASIONS. By which I do not mean that you are to choose fine, or uncommon words, but such as are appropriate, and will best express your meaning, as simply as you please; never allowing the slightest grammatical inaccuracy to escape your lips unheeded. But although a habit of speaking well will greatly conduce to facilitate good writing, there are many who speak correctly, yet cannot write at all. In conversation we seldom want to express more than one thought in one sentence; and it would, doubtless, tend to precision and perspicuity, could the same simplicity exist in writing. In a narration, the object of which is to give information concerning any matter of fact, this clear style of expression may, to a certain degree, be adopted; but when your object is to convince, as well as to inform, which is the case in writing essays, a connected chain of reasoning, and various combinations of ideas, will necessarily require long and complex paragraphs; and the arrangement of these, so as to avoid confusion and obscurity, presents a difficulty which does not commonly occur in speaking; (of course I except public speaking, which is, in fact, extemporaneous composition :) to conquer this, and to avoid an indistinct mode of expression, you should TRY TO ACQUIRE A HABIT OF THINKING WITH THE DEEPEST ATTENTION, AND NEVER ATTEMPT TO EXPRESS AN IDEA TILL YOU ARE QUITE SURE THAT YOU CLEARLY UNDERSTAND IT. Close reasoning will bring forth the ideas in their natural order; and as long as there is no confusion in the mind of the writer, it is probable that none will be produced in that of the reader *. The habit, previously acquired, of using appropriate terms, will prevent any hesitation in expressing the thoughts as they present themselves to your mind; and the words in which you clothe an argument, that flows fresh and naturally from your pen, will generally be found the most clear and vigorous, and even the most elegant, that you could have chosen; for bad writing proceeds more frequently from the want of distinct notions, than from being unable to express them: the fault that appears in the diction often originates in the thought, and, as Boileau truly observes, "Ce que l'on conçoit bien s'énonce clairement." Yet, precision in the thought cannot always impart perspicuity to the diction, especially in the case of an unpractised writer, who, if he happen to possess a lively imagination, will often follow the Scribendi recte Sapere est et principium et fons. HOR. Ep. ad Pis. 309. "Un sens droit est la première qualité pour bien écrire. Il est le principe de cet art; il en est la source. Vous trouverez le fond des choses dans les livres des Philosophes; et quand vous en serez pénétré, l'expression s'offrira d'elle-même." Traduction de M. M. Campinon et Després. leadings of fancy beyond the bounds of discretion. He will give utterance to too many thoughts, and clothe each in too many words; and he may sometimes allow this excursive view to carry him into so many digressions, that the reader will scarcely recollect from whence he set out. “Our imagination," says Longinus, "has as often need of the bit, as of the spur." If we could write as fast as we can think, composition might perhaps be easier; but twenty ideas rush through the mind while we are writing one; and, as we cannot express them all in the connected and rapid manner in which they present themselves, we are obliged to pause while we choose among them. The difficulty consists in fixing upon such as are directed most forcibly, and belong most exclusively, to the subject we are handling, and in avoiding those that would lead to digression. If we could give vent to all our ideas, one would lead us from the main object of our discourse; but only for others to bring us back again to it; and the connecting chain, though tortuous, and diverging from its direct course, would seldom be broken. But being forced in writing to omit many links, care must be taken to retain such as will best fit together, without discovering that any are want ing to complete the chain. Be cautious, therefore, to KEEP THE MAIN OBJECT OF YOUR DISCOURSE CONSTANTLY IN VIEW, AND NEVER BE DIVERTED FROM IT BY ANY INCIDENTAL MATTER WHICH IS NOT STRICTLY APPLICABLE TO THE SUBJECT; AND, ABOVE ALL, NEVER ALLOW ONE DIGRESSION TO SPRING OUT OF ANOTHER. You have heard of the natural or inverted construction of sentences, and the harmonious arrangement of words: with regard to these, the ear and the understanding must be depended on; for one might as well endeavour to make the effect of music intelligible by rules to one who was completely deaf, as point out awkward, inharmonious words and phrases to one who had not learnt, by the aid of his own senses, and the habit of reading, to distinguish and avoid them. It is superfluous to advise, that you AVOID REPETITIONS, AND USELESS AMPLIFICATIONS, AND STRINGING TOGETHER SYNONYMOUS TERMS. But I will observe to you that, in the meaning of many English words, commonly used as synonymous, you will perceive shades of difference, a |