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itation of human life is less perfect, as in the epick poem, or wherein the style is uniformly elevated and pure, as in history and tragedy, this rule of language is not attended to. In what respect, for example, can the style of Livy or Homer be said to be suitable to the condition of the speaker? Have we not, in each author, a great variety of speeches, ascribed to men of different nations, ranks, and characters; who are all, notwithstanding, made to utter a language, that is not only grammatical, but elegant and harmonious? Yet no reader is offended: and no critick ever said, that the style of Homer or Livy is unnatural.

The objection is plausible. But a right examination of it will be found not to weaken, but to confirm and illustrate the present doctrine. I say, then, that language is natural, when it is suited to the supposed condition and circumstances of the speaker. Now, in history, the speaker is no other than the historian himself; who claims the privilege of telling his tale in his own way; and of expressing the thoughts of other men, where he has occasion to record them, in his own language. All this we must allow to be natural, if we suppose him to be serious. For every man, who speaks without affectation, has a style and a manner peculiar to VOL. VI.


himself. A person of learning and eloquence, recapitulating on any solemn occasion the speech of a clown, would not be thought in earnest if he did not express himself with his wonted propriety. It would be difficult, perhaps he would find it impossible, to imitate the hesitation, barbarisms, and broad accent, of the poor man; and if he were to do so, he would affront his audience, and, instead of being thought a natural speaker, or capable of conducting important business, would prove himself a mere buffoon. Now an historian is a person who assumes a character of great dignity, and addresses himself to a most respectable audience. He undertakes to communicate information, not to his equals only or inferiours, but to the greatest, and most learned men upon earth. He wishes them to listen to him, and to listen with pleasure, to believe his testimony, and treasure up his sayings as lessons of wisdom, to direct them in the conduct of life, and in the government of kingdoms. In so awful a presence, and with views so elevated, what style is it natural for him to assume? A style uniformly serious and elegant, clear, orderly, and emphatical, set off with modest ornaments to render it pleasing, yet plain and simple, and such as becomes a man whose chief concern it is to know and de

liver the truth. The moralist and the preacherare in similar circumstances, and will naturally adopt a similar style: only a more sublime and more pathetick energy, and language still plainer than that of the historian, though not less pure, will with reason be expected from those, who pronounce the dictates of divine wisdom, and profess to instruct the meanest as well as the greatest of mankind, in matters of everlasting impor


When a man for the publick amusement, assumes any character, it is not necessary, nor possible, for him to impose upon us so far as to make us believe him to be the very person he represents: but we have a right to expect that his behaviour shall not belie his pretensions in any thing material. With all his powers of incantation, Garrick himself will never be able to charm us into a belief, that he is really Macbeth: all that can be done he does; he speaks and acts just as if he were that person; and this is all that the publick requires of him. Were he to fall short, or rather (for we need not suppose what will never happen) were any other tragedian to fall short of our expectations, and plead, by way of excuse, that truly he was neither a king nor a traitor, neither an ambitious nor a valiant man, and therefore ought not to be blamed for

not acting as becomes one; we should more easily pardon the fault, than the apology. Now it is very true, that an epick poet is no more inspired than any other writer, and perhaps was never seriously believed to be so. But as he lays claim to inspiration; and before the whole world professes to display the most interesting and most marvellous events, to be particularly informed in regard to the thoughts as well as actions of men, and to know the affairs of invisible beings and the economy of unseen worlds; we have a right to expect from him a language as much elevated above that of history and philosophy, as his assumed character and pretensions are higher than those of the historian and philosopher. From such a man, supposed to be invested with such a character, we have indeed a right to require every possible perfection of human thought and language. And therefore, if he were to introduce mean persons talking in their own dialect, it would be as unnatural, as if a great orator, on the most solemn occasion, were to lisp and prattle like a child; or a hero to address his victorious army in the jargon of a gypsy or pickpocket.

In the epopee, the muse, or rather the poet, is supposed to speak from beginning to end; the incidental orations ascribed tỏ Thersites or

Nestor, to Ulysses or Polypheme, to Ascanius or Eneas, to Satan or Raphael, not being delivered, as in tragedy, by the several speakers in their own persons, but rehearsed by the poet in the way of narrative. These orations, therefore, must not only be adapted to the characters of those to whom they are ascribed, and to the occasion upon which they are spoken, but must also partake of the supposed dignity of the poet's character. And if so, they must be elevated to the general pitch of the composition; even though they be said to have been uttered by persons from whom, in common life, elegance of style would not have been expected. And a certain degree of the same elevation, must adhere to every description in epick poetry, though the thing described should be comparatively unimportant: which is no more than we naturally look for, when an eloquent man, in a solemn assembly, gives a detail of ordinary events, or recapitulates, in his own style and manner, the sentiments of an illiterate peasant. So that in the epick poem, (and in all serious poetry, narrative or didactick, wherein the poet is the speaker,) language, in order to be natural, must be suited to the assumed or supposed character of the poet, as well as to the occasion and subject. Polyphemus, in a farce or comedy, might speak

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