Page images
PDF
EPUB

X

XXXI.

OF THE STRENGTH OF A SENTENCE.

The third requisite of a perfect sentence is strength. By this is meant such a disposition of the several words and members as will exhibit the sense to the best advantage; as will render the impression which the period is intended to make, most full and complete, and give every word, and member its due weight and force.

To the production of this effect, perspicuity and unity are absolutely necessary; but more is requisite. For, a sentence may be clear; it may also be compact, or have the requisite unity; and yet, by some unfavora ble circumstance in the structure, it may fail in that strength or liveliness of impression, which a more happy collocation would produce.

The first rule for promoting the strength of a sentence is, take from it all redundant words.

Thus it is better to say,

"Called to the exercise of the supreme command, he exerted his authority with moderation," &c., than "Being called to the exercise," &c.

It is a most useful exercise, on reviewing what we have written, to contract that circuitous mode of expression, and to cut off those useless excrescences, which are usually found in a first draught. Care must be taken, however, not to prune too closely. Some leaves must be left to shelter and adorn the fruit.

As sentences should be cleared of superfluous words, so also must they be of superfluous members.

Thus, speaking of beauty, one of the most elegant writers in the English language says,

"The very first discovery of it strikes the mind with inward joy and spreads delight over the faculties."

In the latter member of this sentence, scarcely anything is added to what was expressed in the first.

The second rule for promoting the strength of a sentence is, pay particular attention to the use of copulatives, relatives, and particles employed for transition and connexion.

The separation of a preposition from the noun which it governs, is to be avoided. Thus,

Though virtue borrows no assistance from, yet it may often be accom panied by, the advantages of virtue.”

It would be better to say,

66 Though virtue borrows no assistance from the advantages of fortune, it may often be accompanied by them." Or, "Though virtue may often be accompanied by the advantages of fortune, it borrows no assistance from them."

The strength of a sentence is much injured by an unnecessary multi plication of relative and demonstrative participles.

In conversation, and in epistolary writing, the relative pronoun may be omitted; but in compositions of a serious, or dignified kind, it should always be inserted. Thus we may say, in familiar language,

"He brought the books I requested."

But in dignified discourse, the pronoun which should be inserted.

"He brought the books which I requested."

With regard to the conjunction and, it should not be unnecessarily re peated. Whenever, however, we wish objects to appear as distinct from each other as possible, the and may be repeated; thus,

"Such a man may fall a victim to power, but truth, and reasor., and liberty, would fall with him."

[N. B. In such cases, the comma must precede each repetition of the conjunction and.]

The third rule for promoting strength is, dispose of the principal word or words in that part of the sentence, where they will make the most striking impression.

In general, the important words are placed at the beginning of a sentence. Sometimes, however, when we propose giving weight to a sentence, it is useful to suspend the meaning a little, and then bring it out fully at the close. Thus,

"On whatever side we contemplate Homer, what principally strikes us is his wonderful invention."

The fourth rule for promoting the strength of a sentence is, make the members of them go on rising in importance one above another. This kind of arrangement is called a climax, and is ever regarded as a beauty in composition.

A weaker assertion should never follow a stronger one; and when a sentence consists of two members, the longer should in general be the concluding one. Thus, the following sentence admits two arrangements, of which the latter is the better, for the reasons stated above.

"We flatter ourselves with the belief that we have forsaken our passions when they have forsaken us."

"When our passions have forsaken us, we flatter ourselves with the be lief that we have forsaken them."

The fifth rule for constructing sentences with strength is, avoid con cluding them with an adverb, a preposition, or any insignificant word. Sometimes, however, when words of this kind are particularly emphatical, this rule may be disregarded; as in the following sentence, and others like it, in which they present an antithesis:

"In their prosperity, my friends shall never hear of me; in their adverBity, always."

But when these inferior parts of speech are introduced as circumstances, or as qualifications of more important words, they should always be disposed of in the least conspicuous parts of the period. Thus, it is much better to say,

"Avarice is a crime of which wise men are often guilty," than to say, 'Avarice is a crime which wise men are often guilty of."

This latter form is a phraseology, which all correct writers shun. Lastly, it may be observed, that any phrase which expresses a circum stance only, cannot, without great inelegance, conclude a sentence.

The sixth and last rule concerning the strength of a sentence is this. In the members of it, where two things are compared or contrasted; where either resemblance or opposition is to be expressed; some resemblance in the language and construction ought to be observed.

The following passage beautifully exemplifies this rule:

"Homer was the greater genius: Virgil the better artist; in the one we admire the man, in the other the work. Homer hurries as with a com manding impetuosity; Virgil leads us with an attractive majesty. Homer scatters with a generous profusion; Virgil bestows with a careful magnificence. Homer, like the Nile, pours out his riches with a sudden overflow; Virgil, like a river in its banks, with a constant stream. When we look up on their machines, Homer seems like his own Jupiter in his terrors, shaking Olympus, scattering lightnings, and firing the heavens. Virgil, like the same power in his benevolence, counselling with the gods, laying plans for empires, and ordering his whole creation."

Periods thus constructed, when introduced with propriety and not too frequently repeated, have a sensible beauty. But if such a construction be aimed at in every sentence, it betrays into a disagreeable uniformity, and produces a regular jingle in the period, which tires the ears and plainly discovers affectation.

XXXII.

OF THE HARMONY OF A SENTENCE.

Sound is a quality much inferior to sense; yet it must not be disregarded. Pleasing ideas, and forcible reasoning, lose much by being communicated to the mind by harsh and disagreeable sounds. For this reason, a sentence, besides the qualities already enumerated, under the heads of Clearness,

407420

Unity, and Strength, should likewise, if possible, express the quality of Harmony.

The rules of harmony relate to the choice of words; their arrange ment, the order and disposition of the members, and the cadence or close of sentences.

If we would speak forcibly and effectually, we must avoid the use of such words, -1. As are composed of words already compounded, the several parts of which are not easily, and therefore not closely united; as, unsuccessfulness, wrongheadedness, tenderheartedness. 2. Such as have the syllables which immediately follow the accented syllable crowded with consonants that do not easily coalesce; as, questionless, chroniclers, conventiclers. 3. Such as have too many syllables following the accented syllable; as, primarily, cursorily, summarily, peremptoriness. 4. Such as have a short or unaccented syllable repeated, or followed by another short or unaccented syllable very much resembling it; as, holily, sillily, lowlily, farriery.

But let the words themselves be ever so well chosen, and well sounding, yet, if they be ill disposed, the melody of the sentence is utterly lost, or greatly impaired.

Though attention to the words and members, and the close of sentences, must not be neglected, yet, in no instance should perspicuity, precision, or strength of sentiment, be sacrificed to sound. All unmeaning words, introduced merely to round the period, or fill up the melody, are great blemishes in writ ing. They are childish and trivial ornaments, by which a sentence always loses more in point of weight than it can gain by such additions to its sound.

The members of a sentence should not be too long, nor disproportionate to each other. When they have a regular and proportional division they are much easier to the voice, are more clearly understood, and better remembered, than when this rule is not regarded; for whatever tires the voice and offends the ear is apt to mar the strength of the expression, and to degrade the sense of the author.

With respect to the cadence or close of a sentence, care should be taken that it be not abrupt nor unpleasant. The following examples will be sufficient to show the propriety of some attention to this part of the rule.

"Virtue, diligence, and industry, joined with good temper and prudence, are prosperous in general." It would be better thus: "Virtue, diligence, and industry, joined with good temper and prudence, have ever been found the surest road to prosperity."

An author, speaking of the Trinity, expresses himself thus:

"It is a mystery which we firmly believe the truth of, and humbly adore the depth of." How much better would it have been with this transposi tion: "It is a mystery, the truth of which we firmly believe, and the depth of which we humbly adore."

In the harmony of periods two things are to be considered. First, agreeable sound or modulation in general, without any particular expression. Next, the sound so ordered, as to become expressive of the sense. The first is the more common; the second the superior beauty.

The beauty of musical construction depends upon the choice and arrangement of words. Those words are most pleasing to the ear, which are composed of smooth and liquid sounds, in which there is a proper intermixture of vowels and consonants, without too many harsh conso nants, or too many open vowels in succession. Long words are generally more pleasing to the ear than monosyllables; and those are the most musical, which are not wholly composed of long or short syllables, but of an intermixture of them; such as, delight, amuse, velocity, celerity. beautiful, impetuosity. If the words, however, which compose a sentence, be ever so well chosen and harmonious; yet if they be unskilfully arranged, its music is entirely lost.

There are two things on which the music of a sentence principally depends; these are, the proper distribution of the several members of it, and the close or cadence of the whole.

First, the distribution of the several members should be carefully regarded. Whatever is easy to the organs of speech, is always grateful to the ear. While a period advances, the termination of each member forms a pause in the pronunciation; and these pauses should be so distributed, as to bear a certain musical proportion to each other.

The next thing which demands attention, is the close or cadence of the period. The only important rule, which can here be given, is this, when we aim at dignity or elevation, the sound should increase to the last; the longest members of the period, and the fullest and most sonorous words, should be reserved for the conclusion.

It may be remarked, that little words in the conclusion of a sentence are as injurious to melody, as they are inconsistent with strength of ex pression. A musical close in our language seems in general to require either the last syllable, or the last but one, to be a long syllable. Words which consist chiefly of short syllables; as, contrary, particular, retrospect, seldom terminate a sentence harmoniously, unless a previous run of long syllables have rendered them pleasing to the ear.

Sentences constructed in the same manner, with the pauses at equal intervals, should never succeed each other. Short sentences must be blended with long and swelling ones, to render discourse sprightly as well as magnificent.

There is, however, a species of harmony of a higher kind than mere agreeableness to the ear; and that occurs when the sound is adapted to the sense. Of this there are two degrees. First the current of sound suited to the tenor of a discourse. Next, a peculiar resemblance effected between some object, and the sounds employed in describing it. [See Onomatopoeia.]

« PreviousContinue »