as perfectly synonymous, and yet are not so. Their significations approach, but are not precisely the same. The more the distinction in the meaning of such words is weighed and attended to, the more clearly and forcibly shall we speak or write.*

From all that has been said on this head, it will now appear, that in order to write or speak with precision, two things are especially requisite ; one, that an author's own ideas be clear and distinct; and the other, that we have an exact and full comprehension of the force of those words which he employs. Natural genius is here re quired; labour and attention still more. Dean Swift is one of the authors, in our language, most distinguished for precision of style. In his writings, we seldom or never find vague expres

*In French, there is a very useful treatise on the subject, the Abbe Girard's Synonymes Françoises, in which he has made a large collection of such apparent synonymes in the language, and shewn with much accuracy the difference in their signification. It is to be wished, that some such work were undertaken for our tongue, and executed with equal taste and judgment. Nothing would contribute more to precise and elegant writing. In the mean time, this French treatise may be perused with considerable profit. It will accustom persons to weigh, with attention, the force of words; and will suggest several distinctions betwixt synonymous terms in our own language, analogous to those which he has pointed out in the French; and, accordingly, several of the instances above given were suggested by the work of this author.

sions, and synonymous words, carelessly thrown together. His meaning is always clear, and strongly marked.

I had occasion to observe before, that though all subjects of writing or discourse demand perspicuity, yet all do not require the same degree of that exact precision which I have endeavoured to explain. It is, indeed, in every sort of writing, a great beauty to have, at least, some measure of precision, in distinction from that loose profusion of words which imprints no clear idea on the reader's mind. But we must, at the same time, be on our guard, lest too great a study of precision, especially in subjects where it is not strictly requisite, betray us into a dry and barren style; lest, from the desire of pruning too closely, we retrench all copiousness and ornament. Some degree of this failing may, perhaps, be remarked in Dean Swift's serious works. Attentive only to exhibit his ideas clear and exact, resting wholly on his sense and distinctness, he appears to reject, disdainfully, all embellishment, which, on some occasions, may be thought to render his manner somewhat hard and dry. To unite copiousness and precision, to be flowing and graceful, and at the same time correct and exact in the choice of every word, is, no doubt, one of the highest and most difficult attainments in writing. Some kinds of composition may require more of copiousness

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 inquire 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 ment of words in a sentence.

arrange

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

main, a good one; « Λέξις εχεσα αρχην και τελευτην σε καθ' αυτην, και μεγεθος 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 be either brought into one sentence, or split into two or three, without the material breach of any rule.

ones.

The first variety that occurs in the consideration of sentences, is the distinction of long and short The precise length of sentences, as to the number of words, or the which may enter into them, by any definite measure.

number of members cannot be ascertained 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