ARTICLE V.

GENERAL RULES FOR THE ACQUISITION OF GOOD STYLE.

1. Besides the rules laid down before, for each style in particular, some general precepts may here be added. They are

First. Ideas and words of sentences must be true, and clear; because it is impossible that the style be good when sentences are false, and therefore cannot be demonstrated; or when their truth is involved in darkness.

2. Second. The structure of sentences and periods must conform to the rules expounded in the Elements of Composition, namely: their constituent parts must be well connected, and properly arranged.

3. Third. Every word must convey the exact meaning of the writer or speaker; which is most necessary, in order not to lead the reader, or hearer into error.

4. Fourth. The language must always be terse

(1.) Have we any general rules for the acquisition of good style?

Which is the first rule?

(2.) What is the second rule?

(3.) What is the third?

(4.) What is the fourth?

and grammatical, even if the subject of composition be a familiar one.

5. Fifth. Finally, good style is acquired by a constant reading and study of classic authors.

ARTICLE VI.

OF THE VICIOUS STYLE.

1. GENERAL RULE.-The style is vicious—

First. When it does not suit the subject, or object of the writer or speaker.

Second. When the ideas and words disagree in style; as, if sublime ideas be expressed by common words, or vice versa.

Third. When the above-given rules for each kind of style are not properly observed.

2. Four classes of vicious style must be particularly avoided:

First. The tumid or inflated, which consists of pompous sentiments and words.

Second. The frigid or puerile, which indulges in insipid witticisms.

(5.) What is the fifth?

(1.) When is the style vicious? Give a general rule.

(2.) What classes of vicious style must be chiefly avoided?

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Third. The loose or disconnected, which contains periods or sentences not properly linked together.

Fourth. The dry and languid, (rightly termed the drowsy style,) which is deprived of vividness of thought, and ornament of diction.

CHAPTER II.

OF THE NATIONAL, LACONIC, AND ENGLISH STYLE, AND OF OTHER SUBJECTS RELATING THERETO.

We shall divide this chapter into three articles: In the first, we shall consider the National style; in the second, the Laconic; and in the third, the English style and language, with other kindred subjects.

ARTICLE I,

OF THE NATIONAL STYLE.

1. The general definition of style, that it is "a peculiar mode of expressing ideas in language," and the division of the same into sublime, low, and middle, applies equally to all languages.

2. But, as almost every nation, whether ancient or modern, had, or has a particular and different mode of conceiving and expressing ideas; it follows, that the style of every nation is likewise different.

(1.) Does the foregoing definition and division of style equally apply to all languages?

(2.) Is the style of every nation alike?

Hence, the peculiar style of a nation, differing from that of another, may, like its language, be justly called the national style.

3. The same theory applies to individuals, whose character and temperament often lead them to conceive and express ideas in a peculiar manner. Hence, we find that some writers are concise, others profuse, others forcible, others enervated, etc., in their style; whence, various appellations of style arise, all of which may be comprised under the generic name of individual style.

4. The existence of a countless multitude of styles in the literary world is a providential dispensation; for, thereby individual writers are distinguished from each other, as particular individuals are recognized by the peculiar features of their faces. Moreover, so great a variety affords pleasure to the student in the art of composition, and furnishes an incontestable proof, that barrenness in composition does not arise from dryness of the subject, but from inability of expressing ideas in different modes, on account of the ignorance of the art.

How may the style of a nation be called?

(3.) Can the same theory be applied to individuals? Explain how.

(4.) What advantage is derived from so great a multitude of different styles?