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I SHALL in the present Lecture go back to the age of Queen Anne, and endeavour to give a cursory account of the most eminent of our poets, of whom I have not already spoken, from that period to the present.

The three principal poets among the wits of Queen Anne's reign, next to Pope, were Prior, Swift, and Gay. Parnell, though a good-natured, easy man, and a friend to poets and the Muses, was himself little more than an occasional versifier; and Arbuthnot, who had as much wit as the best of them, chose to shew it in prose, and not in verse. He had a very notable share in the immortal History of John Bull, and the inimitable and praise-worthy Memoirs of Martinus Scriblerus. There has been a great deal said and written about

the plagiarisms of Sterne; but the only real plagiarism he has been guilty of (if such theft were a crime), is in taking Tristram Shandy's father from Martin's, the elder Scriblerus. The original idea of the character, that is, of the opinionated, captious old gentleman, who is pedantic, not from habit, but choice, belongs to Arbuthnot.-Arbuthnot's style is distinguished from those of his contemporaries, even by a greater degree of terseness and conciseness. He leaves out every superfluous word; is sparing of connecting particles, and introductory phrases; uses always the simplest forms of construction; and is more a master of the idiomatic peculiarities and internal resources of the language than almost any other writer. There is a research in the choice of a plain, as well as of an ornamented or learned style; and, in fact, a great deal more. Among common English words, there may be ten expressing the same thing with different degrees of force and propriety, and only one of them the very word we want, because it is the only one that answers exactly with the idea we have in our minds. Each word in familiar use has a different set of associations and shades of meaning attached to it, and distinguished from each other by inveterate custom; and it is in having the whole of these at our command, and in knowing which to choose, as they are called for.


by the occasion, that the perfection of a pure con⚫versational prose-style consists. But in writing a florid and artificial style, neither the same range of invention, nor the same quick sense of propriety-nothing but learning is required. If you know the words, and their general meaning, it is sufficient: it is impossible you should know the nicer inflections of signification, depending on an endless variety of application, in expressions borrowed from a foreign or dead language. They all impose upon the ear alike, because they are not familiar to it; the only distinction left is between the pompous and the plain; the sesquipedalia verba have this advantage, that they are all of one length; and any words are equally fit for a learned style, so that we have never heard them before. Themistocles thought that the same sounding epithets could not suit all subjects, as the same dress does not fit all persons. The style of our modern prose-writers is very fine in itself; but it wants variety of inflection and adaptation: it hinders us from seeing the differences of the things it undertakes to describe.

What I have here insisted on will be found to be the leading distinction between the style of Swift, Arbuthnot, Steele, and the other writers of the age of Queen Anne, and the style of Dr. Johnson,

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which succeeded to it. The one is English, and the other is not. The writers first mentioned, in order to express their thoughts, looked about them for the properest word to convey any idea, that the language which they spoke, and which their countrymen understood, afforded: Dr. Johnson takes the first English word that offers, and by translating it at a venture into the first Greek or Latin word he can think of, only retaining the English termination, produces an extraordinary effect upon the reader, by much the same sort of mechanical process that Trim converted the old jack-boots into a pair of new mortars.

Dr. Johnson was a lazy learned man, who liked to think and talk, better than to read or write; who, however, wrote much and well, but too often by rote. His long compound Latin phrases required less thought, and took up more room than others. What shews the facilities afforded by this style of imposing generalization, is, that it was instantly adopted with success by all those who were writers by profession, or who were not; and that at present, we cannot see a lottery puff or a quack advertisement pasted against a wall, that is not perfectly Johnsonian in style. Formerly, the learned had the privilege of translating their notions into Latin; and a great privilege it


was, as it confined the reputation and emoluments of learning to themselves. Dr. Johnson may be said to have naturalised this privilege, by inventing a sort of jargon translated half-way out of one language into the other, which raised the Doctor's reputation, and confounded all ranks in literature.

In the short period above alluded to, authors professed to write as other men spoke; every body now affects to speak as authors write; and any one who retains the use of his mother-tongue, either in writing or conversation, is looked upon as a very illiterate character.

Prior and Gay belong, in the characteristic excellences of their style, to the same class of writers with Suckling, Rochester, and Sedley: the former imbibed the licentious levity of the age of Charles II. and carried it on beyond the Revolution under King William. Prior has left no single work equal to Gay's Fables, or the Beggar's Opera. But in his lyrical and fugitive pieces he has shown even more genius, more playfulness, more mischievous gaiety. No one has exceeded him in the laughing grace with which he glances at a subject that will not bear examining, with which he gently hints at what cannot be directly insisted

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