and thofe of Æneas in the Æneid of Virgil. The Epigram is an inferior fort of poem, whose peculiar character is brevity, beauty, and a fharp turn of wit at the end.

As to the Acroftic, Rondeau, Echo, &c. they are fuch trifling pieces of art, that scarce any poet but in a merry vein, or on fome jocofe occafion, will ever use them.

GEST

CHAP. XCI.

OF ACTION.

ESTURE or action, the fpeech of the body, fhould be decent, moderate, easy, various, and proper to the nature of the difcourfe. The body must be erect and straight, and apt for gentle flexure on either fide.

The head fhould ftand right upon the fhoulders; the neck be free and easy of motion; the shoulders not hoifted or shrugged up; nor the arms much projected, except in the vehement affections of joy and grief.

The countenance, which is principally to be regarded in gesture, must be variously expreffive of L 6

the

the paffions; but always natural, and free from affected airs, grimace, and contortions.

Great ufe fhould likewise be made of the hands, especially the right hand, which should frequently be applied to the left breaft, and then let fall to the right fide. By the hand, in short, we demand, call, threaten, deteft, admire, and exprefs our thoughts almost as well as by speech itself.

Stamping with the foot is only permitted on the

Яage.

CHAP.

XCII.

OF STYLE.

STYLE is the mode of expeffing our thoughts

in words Writers on rhetoric have reduced the kids of ftyle to three,' which they call the plain, the fublime, and the mediate. As the bufiness of an orator is to inftruct, to please, and to move the paffions, these three kinds of eloquence anfwer all thofe purposes. The plain ftyle is ufed to teach, the fublime to move, and the mediate to delight.

С НА Р.

CHAP. XCIII.

OF THE PLAIN STYLE.

PERSPICUITY, fimplicity, and exactness, are

the characteristics of this ftyle. Simplicity of thought, purity of diction, with an inexpreffible elegance, which affects more sensibly than it seems to do, are its greatest ornaments. It rejects all pomp, all affectation and varnish, and is very fparing in the use of tropes and figures; but still it requires neat and decent language, and abhors all meannefs of expreffion.

This fpecies of ftyle may be compared to a fimple but elegant entertainment, where all the dishes are of an exquifite tafte, but nothing admitted that is either too much forced, or too exceffive, in fauces, feasoning, and preparation.

The plain style is well adapted to narration and proof, to letters and dialogues, and, indeed, to all ordinary subjects.

With regard to the epistolary style, an easy and genteel way of conveying our fentiments, in the shortest and most expreffive terms, is its greatest excellence. Letters of business require no orna

ments,

ments, but should inform in a plain and fuccinct manner. Letters of compliment must have gaity, but no affectation. Letters of entertainment, perfuafion, and condolence, may use ornaments; but an unaffected, eafy, neat expreffion, muft fhine through all.

CHAP. XCIV.

OF THE SUBLIME STYLE.

THIS is a fpecies of eloquence quite different from the former, being great, rich, and grave. It employs whatever is most elevated, and is moft capable of moving the affections; fuch as noble thoughts, rich expreffions, bold figures, and lively paffions. This fort of eloquence transports us be yond ourselves, and excites adiniration and applause. It thunders and lightens, and, like a rapid ftream, carries away and bears down all before it with irrefiftible force.

This ftyle is adapted to all subjects that are great and uncommon. It is used in tragedy and epic There

poetry.

There is a difference between the fublime style, and what is called the fublime, or fublimity itself. Suppose I fay, "The almighty Author of the universe, with a single word created light." This is in the sublime style; yet it is not fublime, there being nothing extraordinary in it, which another perfon might not eafily have expreffed. But that of Mofes-" God faid let there be light and there was light;" fuch an unusual turn of expreffion, which fhews the obedience of the creature to the orders of its Creator, is truly fublime.

Longinus, a celebrated writer upon this subject, mentions five fources or principles of fublimity; namely, a lofty conception, a capacity of moving the paffions, the proper management of figures, splendid ex-· pression, and magnificent compofition.

The first, though rather a natural than an acquired qualification, he advifes to keep up and cultivate with the utmost care. He fuppofes the mind of a fublime genius to have nothing low or groveling in it, but to be full of great ideas and generous fentiments; it being impoffible for those, who have been accustomed to a mean and fervile way of thinking, to produce any thing fo fublime, as to convey pleasure and admiration to pofterity. And. hence it is, that fuch fayings as are really grand

and