THE MICROSCOPE. EDITED BY A FRATERNITY OF GENTLEMEN. NEW-HAVEN, (Conn.) PUBLISHED BY A. H. MALTBY & CO. No. 15.] TUESDAY, MAY 9, 1820. [VOL. I. Words are like leaves; and where they most abound, Pope. In the last number, we began, with a design to illustrate our principal subject-a supposed destitution of Taste in Ameri can writers-by the consideration of style, as divided into two great and generic branches; that which is logical, and that which is rhetorical. The former of these we examined at sufficient length for our purpose, and shall now proceed to make some observations concering the latter. A rhetorical style is that, which as has been already remarked, is employed in compositions, and it ought to be added, in any parts of compositions, intended to make vivid impressions on the imagination or the passions. The imagination of a reader is roused only by the display of a vivid imagination in the writer; and his feelings are warmed only by the appearance of strong emotions in the work which he reads or hears. The more vivid these exhibitions are, the more powerful will be the effect which the writer aims to produce. The obvious and appropriate excellencies of this kind of style therefore, are elegance and strength. Elegance in delineating the fine conceptions of the fancy; strength, when these conceptions are vigorous or sublime, and especially when ardent emotions are to be communicated. The object here is not to convince the reader that something is true, or right, but to impress upon his mind that, of the truth of which, he is supposed to have been already convinced of course, the writer's whole aim is to make the impression as vivid as possible. These remarks will shew, that the two kinds of style which have been mentioned, are radically and generically distinct; that the distinction is founded, in the nature of things, in the entire difference between the objects aimed at; and that therefore it should controul the style of every writer, who intends to conform his compositions to the dictates of propriety and good sense. A rhetorical style, where conviction is aimed at, will ever appear inflated, and out of place: a logical style, where the imagination and feelings are addressed, will ever be dull, and in a great measure prevent the interest which it is intended to excite.. Many compositions indeed, perhaps most, are so diversified in their nature, as in different parts to propose the accomplishment of both these objects. These demand of course a variation of style which shall accord with this design. Concerning this subject, however, no writer can be at a loss, who has possessed himself of the elementary principles here suggested. In compositions in which the logical style is demanded, the defectiveness of taste charged upon our countrymen by Europeans, is exhibited, so far as there is a foundation for the charge, chiefly in introducing into them the rhetorical style. Mere doctrinal propositions-mere courses of argument, (both, in their nature cool and calm, and admitting no more elevation than what is involved in the word earnestness); a considerable number of our countrymen have attempted to deck with the ornaments of imagination; and instead of communicating in sober phraseology the dictates of good sense, they have employed themselves in presenting to their readers the pictures drawn by fancy. The brilliancy of imagery, and the splendour of figurative language, have been summoned, to dress out a plain truth, in a garb only gaudy and awkward. All languages, are indeed necessarily figurative to such a degree that scarcely a sentence, and never a paragraph, can be conveniently written, without the introduction of more or less phraseology of this nature. But to a vast extent, the figures. are so trite and so temperate, that the reader is unconcious of any other phraseology, except that which is to be literally understood. Some degree of multiplicity or boldness in figurative terms actually used, is necessary, to make us attentive to the fact that such terms are employed. The degree, therefore, in which this phraseology ought at any time to be adopted, is the object, about which a correct taste is here especially occupied; and concerning which, its decisions will always be satisfactory. An incorrect taste will of course decide unhappily; and its results will leave on the mind of the reader, an impression that there is something wrong in the manner of composition, although he may be so little versed in subjects of' this nature, as to be unable to tell what it is. No reader of' common sense, who expects to be furnished with important truths, and to see them distinguished from their kindred errors, and defended by solid arguments, will be satisfied, to have a writer occupy his time in playing upon his imagination, or even in addressing the feelings of his heart: both are here out of place; and their intrusion will always be improper, and of course disrelished, wherever good sense is permitted to dictate. In rhetorical style, our trespasses are more numerous, and excessive. Here the field is supposed to be fairly open to our occupancy; and we consider ourselves as being at full liberty to wander wherever we please. Hence, in the more sober and chastened parts of our writings, we aim at being eloquent; and where we might with propriety become eloquent, we are apt to slide into poetry. I cannot help considering it as a serious misfortune, that the eloquence of Ireland, should have become an object of extensive admiration. Several of the Irish orators are certainly men of fine talents; and have exhibited on various occasions, great strength of imagination. But the imagination is excessive, extravagant, and indulged in excursions which are excentric, and indefensible. A considerable part of the most admired passages of Curran, are little else than effusions of poetry, translated into prose. But poetry cannot become prose, nor prose poetry, without a gross trespass upon the dictates of good sense and of a correct taste. Happily for us, the great efforts of Greece and Rome, have been preserved; and, from the unqualified approbation which they have received in every enlightened country, have been exalted to the high character of unquestioned standards of fine writing. The firm argumentation of Demosthenes, and his fervid appeals to the feelings of his countrymen (addressed to minds already convinced by that argumentation-uttered as if from mere nature, and growing apparently, out of nothing but a strong desire to accomplish the design which he proposed); will always commend themselves to the taste of nature, and to the common sense of mankind. This they have actually done for two thousand years, in every civilized country; and this, with the highest probability, they will continue to do, through every period which is to come. The brilliant efforts which we have censured above, the decoration of a subject with a perpetual succession of patches and nosegays, although attempted in many ages, and countries, and for little seasons admired and fashionable, has had almost only an ephemeral existence; and cannot therefore be rationally expected, ever to engage the permanent approbation of mankind. A considerable number of our countrymen, and among them some of high reputation, appear if we way judge from the strain of their compositions, to commence their efforts, with the design of uttering as many brilliant things as they can, and those as brilliant as possible. Hence, every splendid image is summoned, every figure pressed into the service. Hence their minds are perpetually on the stretch to make, what in colloquial language are styled, smart speeches. This is what Shakspeare very justly, as well as forcibly, calls, "overstepping the modesty of nature." Subjects of a temperate kind ought certainly to be handled in a temperate manner. In this manner, men of all ages and countries have actually handled them, when left to the dictates of mere nature. If the same style is adopted, when we merely utter truth, or employ ourselves in reasoning, as when we undertake to paint in strong colours the images of fancy, or make ardent appeals to the passions, we anticipate all means of impression and enhancement; and introduce into our wri-, tings the most disagreeable of all monotonies, a series of strained unnatural efforts to be forcible and impressive, where our only business is, to communicate sober instruction. Even in our attempts on subjects naturally admitting brilliancy, we may be too brilliant. A continual strain of declamation, a constant reiteration of figurative language and vivid imagery, even when every thing which is said, considered in itself, is unobjectionable, soon becomes tedious and disgusting. The most beautiful dress, is that which is moderately ornamented. The mind is never long pleased with a continual glare. He who can say nothing temperately will in the end be believed to say nothing well. GENTLEMEN, After the manner of some of your correspondents, permit me, without preamble, to introduce to your notice an acquaintance of mine, whose presence is always disagreeable to me, and sometimes absolutely insufferable. He is what may be termed a sentimental, pedantick gentleman. The formality of his address-his precision of language the mock dignity of his utterance, extinguishes every spark of vivacity, and, what is very unfortunate, this very lifelessness of mine, puts me off, with him for a lady of uncommon solidity. I will give you a specimen of his conversation: "We have delightful weather," "yes sir," "If the pigmies of Siberia, were transplanted, rather I should say transmigrated (for plant is a term appropriated to the vegetable creation,) to this climate, might it not produce a change in their stature? "Tis |