these were not their object; and a confirmation to us, because they would not have encountered such sufferings in the cause of imposture." If this sentence were not broken as it is, but compacted into a Period, it would have more heaviness of effect, though it would be rather shorter: e. g. "The persecutions undergone by the Apostles, furnished both a trial of their faith, since if human honors, &c. &c. and also a confirmation of ours, because," &c. Universally, indeed, a complex sentence, whether antithetical or not, will often have a degree of spirit and liveliness from the latter clause being made to turn back, as it were, upon the former, by containing or referring to, some word that had there been mentioned: e. g. "The introducers of the now-established principles of Political-economy may fairly be considered to have made a great discovery; a discovery the more creditable, from the circumstance that the facts on which it was founded had long been well-known to all." This kind of style also may, as well as the Antithetical, prove offensive if carried to such an excess as to produce an appearance of affectation or mannerism.

The English reader will find the substance of most of these "Antitheta" in Bacon's Essays; though not arranged in the same manner; and, in some instances, considerably amplified.*

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Lastly, to the Speaker especially, the occaInterrogation. sional employment of the Interrogative form, will often prove serviceable with a view to Energy. It calls the hearer's attention more forcibly to some important point,

See Appendix [A].

by a personal appeal to each individual, either to assent to what is urged, or to frame a reasonable objection; and it often carries with it an air of triumphant defiance of an opponent to refute the argument if he can. Either the Premise* or the Conclusion, or both, of any argument, may be stated in this form; but it is evident, that if it be introduced too frequently, it will necessarily fail of the object of directing a particular attention to the most important points. To attempt to make every thing emphatic, is to make nothing emphatic. The utility, however, of this figure, to the Orator at least, is sufficiently established by the single consideration, that it abounds in the Speeches of Demosthenes.

On the last quality of Style to be noticed, Elegance or Beauty, it is the less necessary to enlarge, both because the most appropriate and characteristic excellence of the class of compositions here treated of, is, that Energy of which I have been speaking; and also, because many of the rules laid down under that head, are equally applicable with a view to Elegance. The same Choice, Number, and Arrangement of words, will, for the most part, conduce both to Energy,

* The interrogative form is particularly suitable to the minor premise of a Dilemma, because that does not categorically assert, but leaves an opponent his choice of several alternatives. See Logic, Supp. to Part III. § 5.

Elegance and Energy not the

same.

and to Beauty. The two qualities, however, are by no means undistinguishable: a Metaphor, for instance, may be apt, and striking, and consequently conducive to Energy of expression, even though the new image, introduced by it, have no intrinsic beauty, or be even unpleasant; in which case it would be at variance with Elegance, or at least would not conduce to it. Elegance requires that all homely and coarse words and phrases should be avoided, even at the expense of circumlocution; though they may be the most apt and forcible that language can supply. And Elegance implies a smooth and easy flow of words in respect of the sound of the sentences; though a more harsh and abrupt mode of expression may often be, at least, equally energetic.

Accordingly, many are generally acknowledged to be forcible writers, to whom no one would give the credit of Elegance; and many others, who are allowed to be elegant, are yet by no means reckoned among the vigorous and energetic.

Preference of Energy.

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When the two excellences of Style are at variance, the general rule to be observed by the orator is to prefer the energetic to the elegant. Sometimes, indeed, a plain, or even a somewhat homely expression, may have even a more energetic effect, from that very circumstance, than one of more studied refinement; since it may convey the idea of the speaker's being thoroughly in earnest, and anxious to convey his sentiments, where he uses an expression that can have no other recommendation; whereas a strikingly elegant expression may sometimes convey a suspicion that it was introduced for the

sake of its Elegance; which will greatly diminish the force of what is said. The appearance of a too uniform elegance or stateliness of style, is apt to cloy; like a piece of music without any discords.

Speaking as if one had something to say.

Universally, a writer or speaker should endeavor to maintain the appearance of expressing himself, not, as if he wanted to say something, but as if he had something to say: i. e. not as if he had a subject set him, and was anxious to compose the best essay or declamation on it that he could; but as if he had some ideas to which he was anxious to give utterance; not as if he wanted to compose (for instance) a sermon, and was desirous of performing that task satisfactorily; but as if there was something in his mind which he was desirous of communicating to his hearers.

It is an admonition which probably will give offence to some, and excite the scorn of others, but which I cannot but think may sometimes prove useful to a young preacher, that he should ask himself, at the beginning, and in the course, of his composition, "For what purpose am I going to preach ? Wherein would any one be a loser if I were to keep silence? Is it likely that any one will learn something he was ignorant of, or be reminded forcibly of something he had forgotten, or that something he was familiar with shall be set before him in a new and striking point of view, or that some difficulty will have been explained, or some confused ideas rendered clear; or, in short, that I shall at all have edified any one? Let it not be said, that I preached because there was to be a Sermon, and concluded when I had said enough to occupy the requisite time; careful only to avoid any thing that could excite

*

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*See above, Part III. Chap. I. § 5.

censure, and content to leave the hearers just as I found them. Let me not be satisfied with the thousandth iteration of common-places, on the ground that it is all very true, and that it is the fault of the congregation if they do not believe and practise it; for all this is equally the case whether I preach or not; and if all I say is what they not only knew before, but had heard in the same trite and general statements a hundred times before, I might as well hold my peace. ought not to be considering merely whether these arguments -motives-doctrines, &c., are themselves likely to produce an effect; but whether my urging them will be likely to make any difference as to the effect. Am I then about to preach merely because I want to say something, or because I have something to say?"

It is true, a man cannot expect constant success in his endeavors; but he is not very likely to succeed in any thing that is not even the object of his endeavors.

Earnest simplicity of writing.

This speaking as if one had something to say, is probably what Bishop Butler means by the expression of a man's writing "with sim. plicity and in earnest." His manner has this advantage, though it is not only inelegant, but often obscure : Dr. Paley's is equally earnest, and very perspicuous: and though often homely, is more impressive than that of many of our most polished writers. It is easy to discern the prevalence of these two different manners in different authors, respectively, and to perceive the very different effects produced by them; it is not so easy for one who is not really writing "with simplicity and in earnest," to assume the appearance of it. But certainly nothing is more adverse to this appear

* This may be one reason why an Author's notes are often more spirited and more interesting than the rest of his work.