ed, and briefly explained the different characters of style; we shall conclude with giving a few directions for attaining excellence in the art of composition.

The first rule is, to become possessed of clear ideas on the subject, upon which we attempt to write or speak.

The second is, to compose frequently; but not in a hasty and careless habit, as this will lead us to acquire a bad style. On the contrary, we must always, in composing, exercise the greatest care, particularly, when we commence the practice. The third is to make ourselves familiar with the productions of the best and most approved authors. The fourth is, to guard with great care, against an imitation of any particular author. The fifth is, always to endeavour to adapt our style to the subject, and to the capacity of our hearers, or readers. The sixth, and last rule is, to pay particular attention to our thoughts. Let the thoughts, or ideas always be important. Let it never be said of you, reader, that you are rich in words, but poor in sentiment.

Form of a Regular Discourse.

We here present a form proper to be observed in making an oration, or any public discourse. The number of parts, requisite to form a regular discourse, is six and are denominated-the exordium, the division, the explication, and the reasoning; the pathetic,

and the conclusion. It is, however, not always neces sary to incorporate the whole in every discourse; nor that they should always be subject to the order here prescribed. Excellent discourses are frequently met with, in which some of the parts here enumerated, are entirely omitted. Still, they are the natural and necessary constituents of a well formed and regular discourse. And it is of no incousiderable consequence to an orator, that he understand how to construct them well. The design of an introduction or exordium, is to engage the attention of the audience, and prepare their minds to yield to the art of persuasion. · And the most able writers have often found the execution of this part of a discourse more difficult than that of any other. And hence it so often occurs, that introductions, particularly those delivered extempore," are neither suited to the nature of the subject to be discussed, nor to make a favourable impression upon the audience. To prevent an experience of this evil, public speakers should spare no pains, until they have acquired the talent, of executing this, with the most delicate refinements of art. It should be always natural, and consist of ideas suggested by the subject, and the circumstances of the occasion. It should be characterised by correctness and great modesty; not, however, betraying servility, nor anticipating any material part of the subject; and it should be duly proportioned as to its length.

The execution of the part of a discourse, which generally comes next after the introduction, viz. the division, or proposition; should be clear and distinct, and as concise and simple as possible-and the seve

ral parts, whether formally announced or not, should be really distinct from each other; that is, no one should include another. And here we should be careful to follow the order of nature-beginning with the most simple points, and thence proceeding to the discussion of those which are the most important, and which suppose the former to be known.

The division of the discourse should be such, as appears the most natural to the subject; and when this is the case-when the basis of a discourse is thus formed, the speaker or writer is prepared to proceed, and will encourage the hearer, or reader, to expect an interesting and elegant discourse.

With respect to the style and manner, proper to be used, in either popular, or philosophical essays, or sermons; it may be proper to observe that attention to the best authors, and those remarks upon the subject, which are to be found in this compilation, with a due degree of practice and care. in the art of composing, will furnish correct and ample instructions.

History.

History is a record of events, and characters, for the instruction and benefit of mankind; and the several characteristics of an historian should be impartiality, fidelity, gravity, and dignity. A due order and

connexion, and a clear and elevated style are almost indispensable in historical productions.

Philosophical Writing.

The professed and sole object of philosophy is instruction. Hence, with philosophic writers, style, form, and dress, are considerations of minor consequence. It is, however, proper to remark, that they ought not to be entirely neglected; for the same syllogistic and philosophic reasonings, clothed in an elegant style, are more imposing and interesting, than they ever can be, in one that is unfashionable, dull, and dry. Strict precision, and accuracy, are indispensable characteristics of philosophic writings; but these may easily be exhibited without resorting to the use of a dry style. We have examples of this kind of writing, which are highly polished specimens of style; and, whilst it is urged, that the more moderate figures of speech are admissible and desirable, here; it must be remembered, that a florid, and tumid style are always to be avoided. The elegant and beautiful style of Plato, and Cicero; the rich and splendid one of Seneca; are very happy specimens of a proper style and the style of Mr. Locke, in his Treatise on the Human Understanding, is, perhaps, the best model extant, of a clear, distinct, and proper philosophic style.

Epistolary Writing.

In Epistolary composition, the two principal charac teristics, are familiarity and ease; and the fundamental requisites are nature, simplicity, sprightliness, and wit. The style of letters, should give no evidence of study; but appear, like that of animated conversation, to flow with perfect ease. Lord Bolingbroke and Bishop Atterbury have furnished finished specimens of this kind of composition. Mr. Pope's are less happy, as they exhibit affectation, and too much study. Balzac and Voiture, in French, have been celebrated for this kind of style; and, of a familiar correspondence, the most elegant and accomplished model, is that of the letters of Madame de Savigne. These abound with ease, variety, sprightliness, and beauty: and of many letter writers, in English, perhaps no one has furnished a more perfect model than that of the celebrated Lady Mary Wortley Montague.

Fictitious History.

This species of writing includes a numerous, but, generally speaking, an insignificant and worthless class of writings, called romances and novels. The influence, however, of these productions, is acknowledged to be universally great; and, though this kind