The inftance, given by Longinus, from Mofes, God faid, let there be light; and there was light; belongs to the true Sublime; and the Sublimity of it arifes from the ftrong conception it gives, of an exertion of power, producing its effect with the utmost speed and facility.

OF HOMER.

[OMER is a poet, who, in all ages, and by all critics, has been greatly admired for Sublimity; and he owes much of his grandeur to that native and unaffected fimplicity which characterifes his manner. His defcriptions of hofts engaging; the animation, the fire, and rapidity, which he throws into his battles, prefent to every reader of the Iliad frequent inftances of Sublime Writing. His introduction of the Gods tends often to heighten, in a high degree, the majesty of his warlike fcenes. Hence Longinus bestows fuch high and juft commendations on that paffage, in the XVth book of the Iliad, where Neptune, when preparing to iffue forth into the engagement, is defcribed as fhaking the mountains with his steps, and driving his chariot along the ocean. Minerva, arming herfelf for fight in the Vth book; and Apollo, in the XVth,

Z3

XVth, leading on the Trojans, and flashing terror with his Ægis on the face of the Greeks, are fimilar inftances of greac Sublimity added to the defcription of battles, by the appearances of those celestial beings. In the XXth book, where all the Gods take part in the engagement, according as they feverally favour either the Grecians or the Trojans, the poet's genius is fignally difplayed, and the description rifes into the moft awful magnificence. All nature is reprefented as in commotion. Jupiter thunders in the heavens; Neptune ftrikes the earth with his Trident; the fhips, the city, and the mountains fhake; the earth trembles to its centre; Pluto ftarts from his throne, in dread left the fecrets of the infernal region fhould be laid open to the view of mortals.

THE

OF OSSIAN.

HE works of Offian abound with examples of the Sublime. The fubjects of which that author treats, and the manner in which he writes, are particularly favourable to it. He poffeffes all the plain and venerable manner of the ancient times. He deals in no fuperfluous or gaudy ornaments; but throws forth his images

with a rapid concifenefs, which enables them to ftrike the mind with the greatest force. Among poets of more polished times, we are to look for the graces of correct writing, for just proportion of parts, and skilfully conducted narration. In the midst of smiling fcenery and pleasurable themes, the gay and the beautiful will appear, undoubtedly, to more advantage. But amidst the rude scenes of nature and of fociety, fuch as Offian defcribes; amidft rocks, and torrents, and whirlwinds, and battles, dwells the Sublime; and naturally affociates itself with that grave and folemn fpirit which diftinguishes the Author of Fingal. As autumn's dark ftorms pour from "two echoing hills, fo toward each other ap"proached the heroes. As two dark streams "from high rocks meet and mix, and roar on "the plain loud, rough, and dark, in battle, "met Lochlin and Inisfail; chief mixed his "ftrokes with chief, and man with man. Steel "clanging founded on fteel. Helmets are cleft "on high; blood burfts, and fmokes around. "As the troubled noise of the ocean when roll "the waves on high; as the last peal of the "thunder of heaven; fuch is the noife of battle. "The groan of the people spread over the hills. "It was like the thunder of night, when the "cloud bursts on Cona, and a thousand ghofts "fhriek at once on the hollow wind." Never

were

were images of more awful Sublimity employed to heighten the terror of battle.

THE USE OF FIGURATIVE LANGUAGE.

WITHOUT a genius for Figurative Lan

guage, none fhould attempt it. Imagi

nation is a power not to be acquired; it muft be derived from nature. Its redundancies we may prune, its deviations we may correct, its sphere we may enlarge; but the faculty itself we cannot create and all efforts towards a metaphorical ornamented Style, if we are deftitute of the proper genius for it, will prove awkward and difgufting. Let us fatisfy ourselves, however, by confidering, that without this talent, or at least with a very small measure of it, we may both write and fpeak to advantage. Good fenfe, clear ideas, perfpicuity of language, and proper arrangement of words and thoughts, will always command attention. These are indeed the foundations of all folid merit, both in speaking and writing. Many fubjects require nothing more; and thofe which admit of ornament, admit it only as a fecondary requifite. To study and to know our own genius well; to follow nature; to feek to improve, but not to force it; are directions

which cannot be too often given to those who desire to excel in the liberal arts.

THE

ENGLISH STYLE.

HE restoration of King Charles II. feems to be the æra of the formation of our prefent Style. Lord Clarendon was one of the first who laid afide thofe frequent inverfions which prevailed among writers of the former age. After him, Sir William Temple polished the language ftill more. But the author, who, by the number and reputation of his works, formed it more than any one into its prefent ftate, is Dryden. Dryden began to write at the Restoration, and continued long an author both in poetry and prose. He had made the language his ftudy; and though he wrote haftily, and often incorrectly, and his Style is not free from faults, yet there is a richness in his diction, a copioufnefs, eate, and variety in his expreffion, which has not been furpaffed by any who have come after him. Sinca his time, confiderable attention has been paid to Purity and Elegance of Style: But it is Elegance rather than Strength, that forms the diftinguifhing quality of moft of the good English writers. Some of them compofe in a more manly and ner