the designation of etymology, and of the elementary part of rhetoric which treats of the character of expression, as dependent on the fitness of the words which we employ for the communication of thought. Under this head, the rhetorical requisition is, that our words should possess the three cardinal properties of "purity ", " propriety and "precision." We are accordingly directed to discard from our style all words which are not purely English, by origin or adoption, all which are not suitable to the proper style of the theme on which we are writing, and all which overshoot, or fall short of, or glance aside from, the precise meaning at which we aim. This rule of expression forbids the use of that patchwork of style which is produced by intermingling scraps of Latin, or the words and phrases of foreign languages, with those of our own. It prohibits, also, the eccentric practice of reviving obsolete terms, or adopting new and unusual ones. It excludes words merely technical, and all which belong to the dialect of slang, whether in low or high life, together with all which savor, in any respect, of low and vulgar associations; while it discards, no less peremptorily, all mincing affectation and squeamish purism, all high-flown phraseology, all inflated exaggeration and extravagance, and all forced intensity of expression. Judged by the standard of all these requirements, the choice of words evinced in the passage which we have selected for the purpose of exemplifying the analysis of composition, bears the closest application of the test, with uniform consistency. A single ill-chosen word, a technical, or a low expression, an extravagant or a fictitious one, intruding on the gentle and serene character of the fitting language of the piece, would have been an unpardonable blemish in the treatment of a subject associated with serene and even sacred emotions. The character of his theme has, in this respect, we see, as in others, been the author's monitor and guide; and we are thus once more referred to subject and thought, as the true springs of language, and our only reliable prompters in the choice of words. Explanatory Observations. The fitness of any word to represent an idea, in consecutive composition, depends wholly on its character as a constituent part of an entire structure; the symmetry of which is to be maintained throughout. Our subject is the ground on which we rest the foundation of thought, and prescribes the character and style of the edifice which we are to erect; and the details and specifications must, in turn, be accommodated to the order of architecture which we have adopted. To apply this remark to the piece which we have been analysing, we may observe, on review, that the principle of unity in subject, thought, and language, is successfully preserved in every particular, and constitutes the characteristic excellence of the whole composition. Thus, the theme presents to the mind, as a groundwork, the pleasures of spring; this subject suggests a connected train of serene and cheerful thought; this succession of thought developes into a series of pleasing ideas, in detail; these ideas are associated with graceful and tender imagery; this imagery induces refinement and elegance in the style of language in which it is embodied; these qualities of style give a pleasing and harmonious flow to the sentential structure of the composition; this harmony is developed in accordant phrases; and these resolve themselves into well-chosen words. - - - At every successive step of our analysis, we trace a pervading principle of unity, the pleasing emotion which is suggested by the subject, and diffuses itself over every feature of the whole production. To feel the full value of the exercise of critical judgment and taste, in the use of words, we do well, occasionally to invert the order of study which has just been exemplified in the analysis of composition, and, following the constructive method, to trace the well-chosen word to its necessary effect on the character of phraseology, — the phraseology as determining the structure, the structure as influencing the style, the style as constituting, in part, the eloquence of the passage, the eloquence as coloring the ideas, the ideas as determining the current of thought, and the train of thought as modifying, for the time, the subject. The passage which we have used to exemplify analysis, if taken as an illustration of the constructive process in rhetoric, would be characterised as follows: The author's appropriate choice of words, gives pliancy to his phraseology, fluency and harmony to his sentences, elegance to his style, gracefulness to his imagery, vivacity and beauty to his ideas, and attractive interest to his subject. Even this brief enumeration of qualities, however, reminds us that, as it commences with ascribing appropriateness to the writer's choice of words, we must still revert to the tone and character of the subject, as the standard by which to judge correctly of every point in expression. To verify, therefore, our first statement regarding the passage under consideration, the reasons for our decision must be traced in logical sequence, or analogous succession, in the following manner: The subject of composition, in the present instance, is the moral effect of spring; or, reducing the subject to its simplest element, we may leave but the single word spring, as the theme. By the inevitable law of association, this word suggests, to all minds, ideas of animation, cheerfulness, beauty, serenity, tenderness. The mental scene is, universally, one of genial amenity. To present such scenery, therefore, in a word-picture, we feel that we must avoid all terms associated with mere force,with harshness, abruptness, vehemence, or violence of action, or with sternness or moroseness of feeling. Our words, we are aware, must be suggestive of gentleness, kindliness, life, and grace. Comparing the author's language in the extract before us, with these qualities, we find that he nowhere disturbs the serenity, or overclouds the cheerfulness, or deadens the pathos of his descriptions, by inappropriate expression, but that every idea and every epithet which he introduces, is in keeping with the scene before him, which his words never bedim or obscure, but rather tend to brighten and enhance; and his language, throughout, we unhesitatingly pronounce "appropriate." Suggestions to Students. To determine, with critical accuracy of judgment, the appropriateness of even a single word in composition, it may thus be necessary to advert to the character of the subject, as requiring one mode of expression, rather than another, and therefore indicating the choice of one term, in preference to another, in our style of language. Facility and readiness of discrimination, as to the fitness of words for the various forms of thought, become matters of tact and intuition, after the discipline of due practice. But, without such training, the young writer is always in danger of falling into the random expressions and loose phrases * Roget's Thesaurus of English words, before mentioned, will be found an invaluable aid in this department of rhetorical culture, to which it is peculiarly and most successfully adapted. which so generally characterise the effusions of the immature mind and the unpractised pen. The care ful analysis of composition, as a frequent exercise, is therefore of the utmost importance, as a preparation for good writing. It serves, also, as an effectual training for other purposes, of equal moment. - The exercise of tracing the treatment of subjects, and the evolution of topics, in the compositions of great writers, may not unjustly be compared to a species of mental gymnastics, by which the student is trained not only to expertness in the intellectual processes connected with critical analysis, as a preparation for correct writing, but to skill in the management and methodising of subjects, for the purposes of statement and discussion in oral address, -a department of rhetorical culture which still receives a very inadequate degree of attention in our seminaries of education. To return to our immediate subject, the cultivation of critical correctness of taste, with reference to the character of expression, as decided by choice of words, — we may leave this branch of practical rhetoric with the concluding remark, that the many rules which are laid down by the rhetorician, for the guidance of the young writer in choice of expression, may be summed up in the single direction to cultivate soundness of critical judgment and purity of taste. Criticism, whether regarded as a science or as an art, does nothing more than embody and prescribe the maxims of good sense, suggested by extensive observation, careful examination, and diligent study, and founded on solid information and assiduous self-discipline. The laws of pure taste, in language, as in all other forms of expression, are but equivalents for the suggestions proceeding from a genuine love of nature, the study of true art, and the habitual perusal of the best writers, to the exclusion of all whose character is merely ordinary or inferior. |