You will not find one scientific word in the great masters of the age of Louis XIV. After their example, then, reject all those unusual expressions, which would disguise your thoughts, in

• There are no marks of art in his expression; it seems the very language of nature; you see in the style, not the 'writer and his labour, but the man, in his own natural cha'racter. He may be rich in his expression; he may be full ' of figures, and of fancy; but these flow from him without 'effort; and he appears to write in this manner, not because he has studied it, but because it is the manner of expres'sion most natural to him. This is the great advantage of simplicity of style, that, like simplicity of manners, it shews 'us a man's sentiments and turn of mind laid open without disguise. More studied and artificial manners of writing, ' however beautiful, have always this disadvantage, that 'they exhibit an author in form, like a man at court, where the splendor of dress, and the ceremonial of behaviour, conceal those peculiarities which distinguish one man from another. But reading an author of simplicity, is like conversing with a person of distinction at home, and with ease; 'where we find natural manners, and a marked character.'BLAIR's Lectures, vol. i. p. 390.

The same author elsewhere remarks, that the style 'which the pulpit requires, must be very perspicuous. As 'discourses spoken there, are calculated for the instruction ' of all sorts of hearers, plainness and simplicity should reign in them. All unusual, swoln, or high sounding words, should be avoided; especially all words that are merely poetical, or, merely philosophical. Dignity of expression, which the pulpit requires, is perfectly consistent with sim'plicity. The words employed may be all plain words, easily understood, and in common use; and yet the style may be abundantly dignified, and, at the same time, very lively and animated.'-Ibid. vol. ii. p. 114.

stead of elucidating them; and do not raise any mists between the truth and your auditory.

Quintilian illustrates this rule of taste by a very ingenious comparison, when he says, 'that an • Orator should consider the words of a language like pieces of money, with which he ought not 'to incommode himself, when they are not cur' rent coin.'*

SECTION XXXI.

OF DIGNITY OF STYLE.

THIS popular Elocution doth not, however, prohibit a Christian Orator from ever ma

king use of elevated expressions.

Nothing stands more opposed to the dignity of the Ministry than mean words, indecent allusions, or obscene representations.

Cicero descends to disgusting descriptions in his charges against Verres, and in relating the intemperance of Marc Antony..

Massillon, whose language is generally very guarded, has not paid sufficient respect to the * QUINTIL. Instit. lib. 3.

decorum of the pulpit, in his eulogium of St. Agnes.

Boileau says, 'the Style the least elevated hath still its elevation;' much more rhetorical Style, the most dignified, and consequently, the most difficult of all.

Eloquence in common with Poetry, has the happy privilege of embellishing its images with the noblest expressions, which, without this contrivance, could not belong to the Style of Oratory.

Bossuet excels in that admirable talent of uniting the most familiar narrations to the dignity of his discourses; and he proves by his own example, that an able writer will always possess the art of adapting to the Style of Eloquence whatever could be related in the freedom of conversation.

No excuse can, therefore, be any longer admitted in favour of those Orators, whose Style is mean, and grovelling, in relations much less. common, than some of those which Bossuet has given us in his funeral Orations. Such split upon this rock, who dwell upon the disorders of every condition of life, instead of attacking the vices which are common to all.

Whenever a preacher neglects to moralize in general terms, he ceases to speak to his auditors a language, which interests them all; and thus, one part of the congregation is pleased at finding itself spared, while the other is loaded with the severest reproaches. Whatever paints the various passions, which agitate the human heart, is excellent; but whatever describes the history of the excesses peculiar to the different conditions, which divide society, is low.

SECTION XXXII.

TH

OF TRANSITIONS.

HE less you multiply those extraneous particulars which have no affinity between themselves, the greater unity* your discourse

* Fenelon presents us with the following valuable observations on this subject: Every truth is set by the Orator in its proper place with regard to the whole; it prepares, 'leads on, and supports, another truth that needed its as'sistance. Thus the whole discourse is one; and may be 'reduced to one single position, set in the strongest light, by various views and explications of it. This unity of design shews the whole performance at one view: as in the 'public places of a city one may see all the streets and gates

of it, when the streets are straight, equal and duly propor⚫tioned. The discourse is the proposition unfolded; and 'the proposition is an abstract of the discourse.'

will have; the more will its parts be linked together, and the ideas follow in succession.

Denique sit quodvis simplex duntaxat et unum.

Hor. de Art. Poet. v. 23.

'An author, who does not thus methodise his discourse, ' is not fully master of his subject: he has but an imperfect taste, and a low genius. Order, indeed, is an excellence we seldom meet with in the productions of the mind. A discourse is perfect, when it has at once method, propriety, strength, and vehemence. But, in order to this, the Ora'tor must have viewed, examined, and comprehended every 'point, that he may range each word in its proper place. • This is what an ignorant declaimer, who is guided by his imagination, can never discern.'-FENELON on Eloquence, p. 180, 181.

Observe how another sensible author expresses himself. It is an infallible proof of the want of just integrity in every writing, from the Epopeï, or heroic poem, down to the familiar epistle, or slightest essay, either in verse or prose, if every several part, or portion, fit not its proper · place so exactly, that the least transposition would be im'practicable. If there be any passage in the middle, or end, 'which might have stood in the beginning; or any in the beginning which might have stood as well in the middle, or end; there is properly, in such a piece, neither beginning, middle, nor end; it is a mere rhapsody, not a work; ⚫ and, the more it assumes the air or appearance of a real 'work, the more ridiculous it becomes."-Characteristics, vol. iii. p. 259, 260.

Bishop BURNET gives the following direction to Preach

ers :

A text being explained, then the point upon which the sermon is to run, is to be opened; and it will be the better 'heard and understood, if there be but one point in a sermon, so that one head, and only one, is well stated, and 6 fully set out.'-Discourse of the Pastoral Care. p. 249.