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common, equally intelligible, with nearly equal pretensions, it is a matter of some nicety and discrimination to pick out the very one, the preferableness of which is scarcely perceptible, but decisive. The reason why I object to Dr. Johnson's style is, that there is no discrimination, no selection, no variety in it. He uses none but “tall, opaque words," taken from the “ first row of the rubric:"_words with the greatest number of syllables, or Latin phrases with merely English terminations. If a fine style depended on this sort of arbitrary pretension, it would be fair to judge of an author's elegance by the measurement of his words, and the substitution of foreign circumlocutions (with no precise associations) for the mothertongue*. How simple is it to be dignified without ease, to be pompous without meaning ! Surely, it is but a mechanical rule for avoiding what is low to be always pedantic and affected. It is clear you cannot use a vulgar English word, if you never use a common English word at all. A fine tact is shewn in adhering to those which are perfectly common, and yet never
* I have heard of such a thing as an author, who makes it a rule never to admit a monosyllable into his vapid verse. Yet the charm and sweetness of Marlow's lines depended often on their being made up almost entirely of monosyllables.
falling into any expressions which are debased by disgusting circumstances, or which owe their signification and point to technical or professional allusions. A truly natural or familiar style can never be quaint or vulgar, for this reason, that it is of universal force and applicability, and that quaintness and vulgarity arise out of the immediate connection of certain words with coarse and disagreeable, or with confined ideas. The last form what we understand by cant or slang phrases.-To give an example of what is not very clear in the general statement. I should say that the phrase To cut with a knife, or To cut a piece of wood, is perfectly free from vulgarity, because it is
perfectly common : but to cut an acquaintance is not quite unexceptionable, because it is not perfectly common or intelligible, and has hardly yet escaped out of the limits of slang phraseology. I should hardly therefore use the word in this sense without putting it in italics as a license of expression, to be received cum grano salis. All provincial or bye-phrases come under the same mark of reprobation—all such as the writer transfers to the page from his fire-side or a particular coterie, or that he invents for his own sole use and convenience. I conceive that words are like money, not the worse for being
common, but that it is the stamp of custom alone that gives them circulation or value. I am fastidious in this respect, and would almost as soon coin the currency of the realm as counterfeit the King's English. I never invented or gave a new and unauthorised meaning to any word but one single one (the term impersonal applied to feelings) and that was in an abstruse metaphysical discussion to express a very difficult distinction. I have been (I know) loudly accused of revelling in vulgarisms and broken English. I cannot speak to that point: but so far I plead guilty to the determined use of acknowledged idioms and common elliptical expressions. I am not sure that the critics in question know the one from the other, that is, can distinguish any medium between formal pedantry and the most barbarous solecism. As an author, I endeavour to employ plain words and popular modes of construction, as were I a chapman and dealer, I should common weights and measures.
The proper force of words lies not in the words themselves, but in their application. A word may be a fine-sounding word, of an unusual length, and very imposing from its learning and novelty, and yet in the connection in which it is introduced, may be quite pointless
I hate any
and irrelevant. It is not pomp or pretension, but the adaptation of the expression to the idea that clenches a writer's meaning as it is not the size or glossiness of the materials, but their being fitted each to its place, that gives strength to the arch; or as the pegs and nails are as necessary to the support of the building as the larger timbers, and more so than the mere shewy, unsubstantial ornaments. thing that occupies more space than it is worth. I hate to see a load of band-boxes go along the street, and I hate to see a parcel of big words without any thing in them. A person who does not deliberately dispose of all his thoughts alike in cumbrous draperies and flimsy disguises, may strike out twenty varieties of familiar every-day language, each coming somewhat nearer to the feeling he wants to convey, and at last not hit upon that particular and only one, which may be said to be identical with the exact impression in his mind. This would seem to shew that Mr. Cobbett is hardly right in saying that the first word that occurs is always the best. It may be a very good one; and yet a better may present itself on reflection or from time to time. It should be suggested naturally, however, and spontaneously, from a fresh and lively conception of the subject. We seldom
succeed by trying at improvement, or by merely substituting one word for another that we are not satisfied with, as we cannot recollect the name of a place or person by merely plaguing ourselves about it. We wander farther from the point by persisting in a wrong scent; but it starts up accidentally in the memory when we least expected it, by touching some link in the chain of previous association.
There are those who hoard up and make a cautious display of nothing but rich and rare phraseology ;-ancient medals, obscure coins, and Spanish pieces of eight. They are very curious to inspect; but I myself would neither offer nor take them in the course of exchange. A sprinkling of archaisms is not amiss ; but a tissue of obsolete expressions is more fit for keep than wear. I do not say I would not use any phrase that had been brought into fashion before the middle or the end of the last century; but I should be shy of using any that had not been employed by any approved author during the whole of that time. Words, like clothes, get old-fashioned, or mean and ridiculous, when they have been for some time laid aside. Mr. Lamb is the only imitator of old English style I can read with pleasure; and he is so thoroughly imbued with the spirit of his authors, that the