and ornament; others, more of precision and accuracy; nay, in the same composition, the different parts of it may demand a proper variation of manner. But we must study never to sacrifice, totally, any one of these qualities to the other; and by a proper management, both of them may be made fully consistent, if our own ideas be precise, and our knowledge and stock of words be, at the same time, extensive.

LECTURE XI.

STRUCTURE OF SENTENCES.

HAVING begun to treat of style, in the last Lecture, I considered its fundamental quality, perspicuity. What I have said of this, relates chiefly to the choice of words. From words I proceed to sentences; and as, in all writing and discourse, the proper composition and structure of sentences is of the highest importance, I shall treat of this fully. Though perspicuity be the general head under which I, at present, consider language, I shall not confine myself to this quality alone in sentences, but shall require also, what is requisite for their grace and beauty: that I may bring together, under one view, all that seems necessary to be attended to in the construction and arrangement of words in a sentence.

IT is not easy to give an exact definition of a sentence or period, farther, than as it always implies some one complete proposition proposition or enunciation of thought. Aristotle's definition is, in the

main, a good one; Λεξις έχεσα αρχην και τελευτην καθ' αυτήν, και μέγεθος ευσύνοπτον: A form of speech which "hath a beginning and an end within itself, and "is of such a length as to be easily compre"hended at once." This, however, admits of great latitude. For a sentence, or period, consists always of component parts, which are called its members; and as these members may be either few or many, and may be connected in several different ways, the same thought, or mental proposition may often either be brought into one sentence, or split into two or three, without the material breach of any rule.

THE first variety that occurs in the consideration of sentences, is the distinction of long and short ones. The precise length of sentences, as to the number of words, or the number of members, which may enter into them, cannot be ascertained by any definite measure. At the same time, it is

obvious, there may be an extreme on either side. Sentences, immoderately long, and consisting of too many members, always transgress some one or other of the rules which I shall mention soon, as necessary to be observed in every good sentence. In discourses that are to be spoken, regard must be had to the easiness of pronunciation, which is not consistent with too long periods. In compositions where pronunciation has no place, still, however, by using long periods too frequently, an author overloads the reader's ear, and fatigues his atten

tion. For long periods require, evidently, more attention than short ones, in order to perceive clearly the connection of the several parts, and to take in the whole at one view. At the same time, there may be an excess in too many short sentences also; by which the sense is split and broken, the connection of thought weakened, and the memory burdened, by presenting to it a long succession of minute objects.

WITH regard to the length and construction of sentences, the French critics make a very just distinction of style, into style periodique, and style coupé. The style periodique is, where the sentences are composed of several members linked together, and hanging upon one another, so that the sense of the whole is not brought out till the close. This is the most pompous, musical, and oratorical manner of composing; as in the following sentence of Sir William Temple: " If you "look about you, and consider the lives of others

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as well as your own; if you think how few are "born with honour, and how many die without "name or children; how little beauty we see, and "how few friends we hear of; how many diseases, " and how much poverty there is in the world:

you will fall down upon your knees, and, in"stead of repining at one affliction, will admire "so many blessings which you have received from "the hand of God." (Letter to Lady Essex.) Cicero abounds with sentences constructed after this manner.

THE style coupé is, where the sense is formed into short independent propositions, each complete within itself, as in the following of Mr. Pope: "I "confess, it was want of consideration that made "me an author. I writ, because it amused me. "I corrected, because it was as pleasant to me to "correct as to write. I published, because I was "told I might please such as it was a credit to please." (Preface to his works.) This is very much the French method of writing; and always suits gay and easy subjects. The style periodique gives an air of gravity and dignity to composition. The style coupé is more lively and striking. According to the nature of the composition, therefore, and the general character it ought to bear, the one or other may be predominant. But, in almost every kind of composition, the great rule is to intermix them. For the ear tires of either of them when too long continued: Whereas, by a proper mixture of long and short periods, the ear is gratified, and a certain sprightliness is joined with majesty in our style. "Non semper," says Cicero (describing, very expressively, these two different kinds of styles, of which I have been speaking), "non semper utendem est perpetuitate, "et quasi conversione verborum; sed sæpe car"penda membris minutioribus oratio est *."

* "It is not proper always to employ a continued train, and "a sort of regular compass of phrases, but style ought to be of"ten broken down into smaller numbers."