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.---------------------------------------------------------HU'HOLLIS# AQP1887 /bks
AUTHOR: Mills, Abraham, 1796-1867.
TITLE: Outlines of rhetoric and belles-lettres I by Abraham Mills .
.
PUB. INFO: New Ydrk : R.B. Collins, 1854.
DESCRIPTION: 243 p. ; 19 cm.
SUBJECTS: *Sl English language ~ -Rhetoric.
*S2 English literature--Study and teaching.
/ .·
AUTHORS : *Al Mills, Abraham, 1796-1867.
OTHER TITLES: Outlines of rhetoric and belles lettres.
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LOCATION: Gutman Education: EducT 768.54.~70
Gutman Education: Film HRT 00573
Master Microforms: Film Mas 24749
Microfilm. Cambridge·, Mass. : Harvard University Library
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negative. ; 3 5 mm.
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OUTLINES

RHETORIC AND .BELLES·LETTRES.

!JY
-.;..._

AB HA1I .Ur

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IL L S , A. M.

NEW YORK:
PUBLISHED BY ROBERT B. COLLINS_,
!l54 PEARL STREET •

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~lUli Ul.l d't

Gtfl Of
6E016E ARlMUR PllllPTOI
Jl,MUl,R't 2t 1 1924

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Tn~ auth~r. of

these brief outlines of Rhetor:ic

an;a B~lleS-Lettres makes no pretensions to origina1ity with.regard

to.the material$ of this work.

He

has carefully adhered to the princip1es of Aristotlo,
Longinus, and Quintilian, so far as they aro found
app1icabie t o th e English b.nguagc; and has adopted those principles, as they are developed in the

large work of Dr. Blair.

It is for the prc~cnt ar-

rnngcrnent only of these nntcri:1ls, and f<,r th e rn:tn -

ner in which they are here, for the first time, presented to the puhliC', that he cbims nny C' rcdit.

Commencing, after a brief Yic\1· of th e principles
ofTastL·, with thG orig in uf bn<:>:u :i.gc', th: auth or
cndca\'orcd to conduct the

stu·k~1t

rious dcpartrncllts of th!s dil1icult, but
THO~L\.S ll. s;iHH,

STF.REOTYP~'.ll

4 t;LECTf.OTYPF\{.

li:1~

through the n.intcrcstin~

stud_y, in the order ,,-hich ?-lature herself indicates,

yn."':~ltD Jl'{

c. A . AL V 0 B. D,

until ha reaches the most cknJ.tcJ and sub)i:.uc

!21\ and 31 Gold 8<.

<o!IG William S treet.

strains of the epic and the dramatic muse.
The division of the work into two parts, and th e

.,

distinction between Fhetoric and Belles-Lettres, the
author thinks is also new : at least the distinction

__

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PREFACE.

iv

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bas never, in any other practical work, fallen under
bis oWn observation. He would still observe, however, that these Outlines are designed to be merely
suggestive; and that, being abstract in themselves,
the careful filling .of .them up before a class, must
materially depend upon the knowledge and skill of
the teacher.
Without farther remark, therefore, the author
submits the work to the judgment of the public ;
and especially to that of those wlio are inost deeply
interested in the practical utility_,, o f ~11 such per-

Qf;o ·nttnts.

INTRODUCTION,
P.101:

•

11

formances.
NEW YoRK, August, 1854.

CHAPTER THE FIRST.
LANGUAGE.

:-_1:

SECTION I.
,.

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• • 1'1

ORIGIN AND PROGRESS OF LANGUAGE

SECTION II.
01\.IGI~ A~J) rr:OGHESS OF ·wRITI~ G

•

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.

•

•

.

.

25

.

33

.~ SECTION III.
STRUCTURE OF LANGUAGE

SECTION IV.
STR.UCTURE OF L.~NGUAGE

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• • • • . 41

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CQNTENTS.

vi

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vii

CONTENTS.

SECTION IV.

CHAPTER THE SECO:ND.

COYPA.RISON -

PAGE

ANTITHESIS--INTERROGA TION-EXCL·A l!A·

TION-VISION-CLlllAX-IRONY •

•

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100

.

STYLE •
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SECTION V.

SECTION I.

.

GE),"ElUL CHARACTER OF STYLE ·

49

PEllSPICUITY AND PRECISION

. 108

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SECTION II.

' ·tcHAPTER THE FOURTH.
;:~.
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57

STRUCTURE OF SENTENCES

THE- ~~MPONENTS OF A REGULAR DISCOURSE.

SECTION IIL
SECTION I.

65

STRUCTURE OF SENTENCES

• .

INTRODUCTION-DIV1SION-NA.RRATION

SECTION IV,

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• • • • 72

STRUCTURE OF SENTENCES v

• • . 117

SECTION II.
. l '.!5

ARGUllE~"'T-P A. TJ'IOS--PERORA TJON

SECTION III.

I

CHAPTER THE THIRD.
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PRONUNCIATION AND DELIVERY

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l!ETAPIIO!l-ALLE'c<ir'.Y

CHAPTER THE FIFTH.

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SECTION II.

BE .AU TY

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93

!1EAUTY

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SUBLIMITY.•

SECTION I.

SECTION III.
II YPERDOLE--l'EltSON !r!CA TlO;>'-Al'OSTllOPIIE

AND

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viii

CONTENTS.

CONTENTS.

SECTION IL

SECTION II.

PA.OS

• 155

.GIU.NDEUB, OR SUBLnlITY IN EXTERNAL OBJECTS

ix

ELOQUENCE OF THE BAR •

SECTION III•.

. 19-!

SECTION III.

BUBLDnTY IN WRITL'IG

. 163

ELOQUENCE OF THE P ULPIT •

. 198

SECTION IV.

·.

CHAPTER THE SIXTH.

illSTORICAL, ~ EPISTOLARY .A.ND

FICTITIOCS WRITIXG

. 203

ELOQtENCE.
0

QIIAPTER THE EIGHtR.

SECTION I.
NATURE .A.?l"D HISTORY OF ELOQUE.'ICE

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SEGTIO~;:-

GRECIAN

ELOQ UE~CE

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IL

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180

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SECTIO~

POftTRY.

SECTION J

SECTION TL
PA!'TORAL AS!J LYRIC • OE':'P.Y •

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MODERX ELOQCTXCE

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ROlUX EL0Qt: £'.l'Ct: .

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DID.t CTIC A:--· o DESCR!PT!\E P OETRY •

SECTION IV.

CHAPTER · THE SEVENTH.

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li:PIC POETRY •

SECTION I.
ELOQUF.NOE OF POPULAR .ASSBllilLIES

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DR.UUTIC POETRY

• 190

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INTRODUCTION.

TASTE.
,_
TASTE is an _
i nternal sense, and may properly be
called th~ po~er of receiving pleasure from the
beauties "of nature and of art. As it is built upon
sentiments and percepti_ons which belong to our nature, its foundation must be the same in every
human mind. ·.
· J';°; ·children, the rudiments of taste discover them-----·· """ selves very early, in their fondness for regular
•
bodies, their admiration for pictures and statues,
arid their strong attachment to whatever is new or
marvellous. On the same principle, the most ignorant peasants are delighted with ballads and tales,
and are struck with the beautiful appearance of nature in the earth and the heavens. Even savages,
in their most uncultivated state, ha...-e their ornaments of dress, their war and their death songs,
their hara11gues ~ and their orators. The principles
of taste must, therefore, be deeply founded in the
human mind, and be, in some degree, common to
· , all m:rnkind . .

..

What is taste
Upon what is it built; and where must
its foundation
laid I How do the rudiments of ta.ate
appear in children, in . pea.sa.nta, and in savages I HQ.w

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TASTE.

Although, however, none be wholly devoid of
this faculty, yet the degrees in which it is possessed
arc " ;idely different. In some men, only the feeble
glimmerings of taste appear; the beauties which
they relish being of the coarsest kind, and even of
· these they have but a weak and confused impression: while in others. t a~te ri"e" to an ncute d iscern-

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fh :;-\ ii1l•- q11~:.1 it y is~ dou1Jtic:::..'"), to he a scribcd, in p:ir t, t o th e di iforcnt frame<> of t heir n1turcs-tiie 1iiec•r org:rn;:;, an :l the liner internal ]J<JW-

_r_1r:

it is c \·id cntly 0\1·ing ;;till miJrc to cultur•c and cdu-

m cnt. ~ t ni}_ :t

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crs with which some :ire cnclo\1·cd aboYe oth ers; but

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which the sens~s of those•persons attain whose trade
or profession ] ~ads to nice exertions of them. Of
this we have a clear proof in wbt is called an ear
for music. At first, the simpl est and plainest com1
positions only are r elished; but practice extend s
our pleasure, t~aches us to r elish finer melody, and,
I
.
. tP
by degr ees, enabl
es us to en ter rn
t r' t h-'' .rntnrrr
!ln d co:-r.~c i...1:i..--1 cd p '. •:1~i : ;r·s r_1f h:t;1i11 n:: . ~~--' ~l :-: u
an P ,Y t~ f! r t!1 1._' Lt:fntti._·~ (1!" 1i~int
h J: Jl'··-l · r
nt onr(\ h ut i ~ gr :1tl1i:-~1ly i~J rrn c d by oc1ng co n vcr~­
sm it amo ng p ict u l'c ~ , and stwlying ihe wor~s uf the
1:1.::_-.:-.t 1na:'tt:·rs. In tl-:c. s:::i:-:h:: i:::J.::ncr, ''\Y!~h rt:-'[i 1J ·t to
the he-at! tie~ of {'1-,n: p(i~i t i~ 1 n :1 nd d ist_·nur::t~~ at1

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l'~H!1 -,1i.

Taste, fr om its very natu re, is !lCCC'S'3ar ily one of·
>fli.;9!

our most improvable faculties. Of the truth of t hi::;
remark we m ay be easily convinced, by r eflecting
on the immense superiority which ·education and
i mprovement give to civ ili zed over b arb arous nations, in r efinem ent of taste ; and on the superiority
which they give in the same nation to those who
have stud ied the -liberal arts, over the rude and u;1taught vulgar. The differ ence is so great that there
is, p erhaps, no one particular in which th~se a.re so
far removed from each oth er, as in re~.Pect of the
powers and pleasures of taste.
The chief source of the improvement of taste, is
exercise." This is evident ftom the acuteness to

of the 11cst ::rnthors, contrihnte tn the rt'fin emt>ltt
of taste. At fi rst, the sentiment will b e oli:;c ur.:
and confused, b ut, by experience, the taste at length
--becom es enl iab tened and exact You not only percei;·c th e ch~racter of the whok, but th e heantic:s
and defects of each p art; anJ t hus become abl e to
describe the peculiar qualities which we praise o r

i

blame.
W e are not to infer from these r emarks that
taste b clonas Jxclusively to instructive sensibility ;
for r eason :ndlgood sense .hay e so extensive an influen ce. on all the operations and decisions of taste,
that a thoroughly good taste may properl y be co~­
sid ered as a-- .pow er com pound ed of natural sensibility to b eauty, and of an impro ved unq er~tand­
ing. To be satisfied of the correctness_of thi s r e-

does it app ear ~h at the d egrees. in 'Yhieh this faculty is
posse5'!ed ~y d_ifferent persons u widely different t To
what is this difference to bo attributod I How does it
appear that taste is one .of our most improvable faculties f
Fr_om what examples does it nppe.nr that exercise is the

ohief aource of the improvemont of tA! te I 0 £ what is a
thoroughly good -taste compound ed ; and of this, how

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TASTE.

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TASTE.

TASTE.

mark, we have only to observe that the greater part
· of the productions of genius are merely the imi
tations of nature-representations of the characters,
action s, :ind mnnn crs of m en. TI1e p1c:isu r c which
we r eceive from such imitat ions, as r epresentat ions,
is fo un ded on mere taste; but to j udge \Yhcthcr
they b e properly executed belongs to the under standing, which compares the copy with the original.
From the frequent exercise of taste then and
' ects 'upon ·
from the application of reason to the obj
which ·taste is to be employed, this faculty, as a ·
power of the mind, receives its improvement. · But
we must not forget that, as a sound head, so likewise a good heart, is a very material requisite to a
just taste. The moral~beauties are not only themselves superior to all others, but they exert an influence, eith·er more near or more remote, on a
great variety of other objects of taste. He who
has no admiration of what is truly praiseworthy,
nor the proper sympathetic sense of what is soft
and tender, must have a very imperfect r elish of
the highest beauties of eloquence and poetry.
The distinctive characters of taste, when brought
to its most .improved state, are delicacy and correctness. Delicacy respects, principally, th_e per~ ' :
fection of .that natural sensibility on which taste is
founded. It implies those finer organs or powers

.

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may we bo sntisfi ed I Whnt romnrk follows 1 Il esid ea n
sound hend, .whnt elso is requisite to n just taste 1 Of tho
m ornl beau ties whnt is obsc r\'ed; and whnt r emark follows 1 Whnt !'re the distin ctive ohnracters . of taste f
Wbnt does delicacy
taste r espect; nnd whnt does it
.

/ '

which enable us to discover beauties which lie hid
from the vulgar eye, and is judged of by the same
marks by which we j udge of th e deli cacy of an ex~ern al s~n ,;e. 'rim~, as th e goodn ess of- th() paLite
is nvt tn ed by strong fh vors, Lut by a mixt ure of
ingredients, wh ere, notwithst,'md ini:: the confusion
we r emain sensible of eacli, so, in ~ th e same man-'
ner, delicacy of in ternal sense appears, by a quick
an.d lively sensibili ty to its fin~st, mos t compounded, or·most latent obj ects.
Correctness of taste respects, chiefly, the improvem ent which this faculty r eceives through its
connection with the understanding. A man of cor. rect taste is one who is never imposed on by
coun terfeit beauties-who carries alway s in his
mind that standard of good liensc which he employs
in judging of everything. H e estimates, with
propriety, the comparative m er it of the several
beauties which he meets with in any work of genius;
r efors them fo their proper classes ; assigns the
principles, as far as they can be traced, whence
their power of pl easing flows ; and is plMSed himself; precisely in~ that degree in wh ich he ought to
be pl eased, and no more.
Delicacy and correctness of taste, notwithstand.
ing their difference, still mutually imply Mch other.
No taste can be exquisitely delicat-0 without being
correct, nor can it be t110roughly correct without
. being delicate ; but still a predominancy of one or
imply I H ow is this illustrated I What does correctness
of taste reapect; and of a man of. co rrect tasto what is
remark ed I How does it appear th at d~li c acy and cor-

of

,

15

•
16

T.ASTE.

the other quality, in the union; will often be visible.
The power of delic.acy is chiefly seen in discerning
the tr:.:c merit of a w.wk ; tirn powP.r of correctness,
- in rej ecti11:g false pretensions to merit. Delicacy
leans more to feeling ; correctness, to reason and
judgment: the form er is the gift of nature, the
lnttPr th r r rs111t of culture and Pilueation.
Dut, notv;itho;t:indinp:, the principles of ta~tc arc
so cic:irly clt2fi1wcl, yet the v:iria t ions of t:iste li:in;
been f'O great a11,] fr<.:(jl!Cllt as to ]cad S0!11C to thi nk
that the re is 110 slanJa rJ oy which a. true taste may
be distinguish~d from one that is corrupt. In architecture, in poetry, and in eloquence, not only one
nation, but also one age, has differed widely from
another. This, however, only argues that, though
taste may, at different tim es, vary, and admit of a
diversity of objects, st!ll this can 1take place only
when the objects themselves ar~ '. difierent. The .
true standard of taste to which the ultimate appeal
must ever lie, is the sense of mankind-the taste
of men in polish.ed nations, where arts are cultivated
and manners refin ed-where works of genius are
subjected to free discussion, and taste is improved
by science and -philosophy.

CHAPTER THE FIRST.

•

LA~GlJAGE .

SECTIO:\ I.

LANGUAGE is the expression of our ideas by means
of articulate sounds. The connection bet-.1ecn
word s and the ideas which they are intended to express, is arbitary ·and conyentional, and depen ds
upon the agreement of men among th cmscln:- s. _To
make this appear evident, we have only to consid er
the difference that exists between th e language of
different nations, or the differ ent articulate sounds
the medium of wh ich different nations exthrouah
o
press their ideas. . .
. .
This artificial method of commu111catmg our
~hou<Thts has no\~ attained so great a degree of perfecti~n that it has become the vehicle through which
the m~st delicate and r efined emotions of one mind
can be conveyed to another. Not only are specific

rectuess of taste mutually imply each other Y In what is .
the power of deli cacy chiefly seen; nnd in whnt correct- _
ness Y Of these faculti es whnt is furth er remarked 1 Of
a stnud11rd of tnste whnt is observed; and where must
the true stnndnrt.! be found 1

What is Iangunge l
How doe3 it appear th_nt tho
connection between wor.h and !dcM . ia. nrb1tr11ry I
What is the pre.ient state of this arti~c111l . ruejh c;<1
of communicating thought; and how is this u1 Y

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BELLES-LETT RES.

· DELLES-LETTR.ES .

of true, pervading, arid active piety) is indispensable
to successful pulpit eloquence.
The principal characteristics of the eloquence
suited to the pulpit, ~re gravity and warmth. The
serious nature of the :subjects belonging to the pulpit, requires gravity; ! and their importance to man-

glowing from the heart, during the fervor of pronunciation, >¥ill often t-ave a &µpcrior grace and
energy to those which are studied in the r etirement
of the closet. But then this flu ency and power of
. expression, ca11not always be depended upon; and
it is, therefore, perhaps, proper to b egi n, at least,
t11 ~ pr~1ef: !c c of p f ca('hinf2: , \Vi th \\'ritin£r n-.: ai_·cu Lilt·1y
f1S po~siJllC. rihi ..; \Vili~~iYt_' lh 1: r·-- ,~~- l:f ~~1:d lt:~~;~~
<...)f both S!Jl':tkin~ an1
J d1i1!ki11~ c1J: T L'L·tl:.- u11 1) ! i r1·:
ious ~ utj ~cl~; 1ul aftl-r li:11Jit~ of c·:irrc·cl1 k ;s

.-kin.J r e 1uir0:-;
1

hf>in ~ e:1;:.;.y r_

1

\ '-'-<l.l'I fi th.

It

]:qi

inJ\\e\-'er, ftr frorr1

r e _tn:1n1011 to uni te~ th cs~ e:h:tr:tcLc:r~ of
r_r J \\~ gr:l\·e, v:} l(' ll jt, p rcd1Jll1
fi\•1

elo qucn1.-:C .
CO lllCS a dull, tm i1;Jrm sol emnity; and the w:irm,
when it wants gr:wity, borders on the theatrical
and light. . The unirni. of th ese qualities should he
s~uJied by every preacher with the utmost care,

shall have b een thoroug hly form ed, the prc:1c her

may v enture parti al ly to r l'lax h i.s attention to thi:;
subject.

both in the compositihn of their discourses and in
'
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their manner of d cliv~ry. \Yhen united, they form
that affecting, penetrqting, and interesting manner
of ·preaching, which flows
from a stroncr
sense in
I
b
the preacher of the i importance of those truths
· which he delivers, and an earnes t d esire ·that they
• · may make a full impression on the hearts of his
_. I
hearers.
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"Whether 1t be most advisable to write sermons
fully, and commit th~m accurately to memory, or
to study only the matter and thoucrhts and trust
•
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the ~xpress1on to the delivcry, no general rule can
be given. The exprejsions which come warm and

8EOTIO~

lV.

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shall now proceed briefly to notice those departments of written composition in which eloqu ence
may be attained . These we shall comprehend under
the heads of historical writing, epistolary writing,
and ~etitious history.

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and 'Y'h~t remark _follow~ i What nre the principal chnracter1st1cs of p11lp1t cloqueuce; what requires the former, •
th.e gr1w e, or of the wnrm, when
a!1d whnt th e l.atter i ·
either .predon111111tes, what 1s r cmnrked i Of th eir uni on
what 1.s . obscn ·cd; and iw h en united, what m'rnner of
pren~l11ug do th ey form' · Of tho relati\·e advantages of
rending sermons, and of preaching ~xtempornneonsly,

what is observed l In wh:it manner should preach ers
begin ; nncl from this course whnt advantage will they
dcl'i ve ·~
To noti ce what shall we now proceed; aud under what
b ends shall th ey be embraced 1 What are the primary
ends of hi story; and hen ce, what should be the funda-

Of

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ferent portions of his history should be linked together by some connecting principle, which should
produce in the mi~d the impression of something
-that is one, whole,·and entire. \Vhether pleasure
o.r instruction be... ~he e~u s~ugh~ by the ,stn•lynf

nor indulge in affe'ction ; but, contemplating past
events and charact~rs with a cool and dispassionate
eye, mus.t present ~o his readers a faithful copy of
human nature: The record we make mm;t be of
such a character, aJ to enable us to apply the trans-

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~ctror~:;

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ages !o:- o:.1r 07tu.. :ri.structr.Jn .

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to their ~~(1urrc . 4i 1c :teti,-,~1s n.:1.-l f"yTt"-' :1r .., \·.-L ·. 11 !11··
re 4~ or•l.::;,
rr () dt) thi::; ~ '. l~·~c~ ..... fu1ly. h, ~- : ; , J~ ; : . t
acqunin tcJ \\ill~ li1trn an n :1t.urc, ;;.~; (1 aL~ ( ) 1•(:~·~~ 1·"· -~:
]:ir(Tc f'l1arc of political kuu\1·lulifC. 1 fi.; ~Li\ 1 in
th (~ f.. 1 r!llc'r \\·i ll c11 ~11)L) hi 1n to dl•:::cri
v.·i t li L' l'
qEcnc'C: t1 :c c1 : :-~r:tc t e r~ 0f inrlivi{l 1 1 :11~; ;i nd Ii~ '} 1·:· 1~1fi cicncv in the latter, \1il I prc·p:-.rc him for th•.' :_;i~k
of rec~rd:n g re\·olutions of goyc-rn!nrnt,~·u~d fJr ~!C"­
counting for th e opcratic•n of politic:il cau ses in
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its essential characteristics. 'Ihe \YTiter n1ust sustain the character of a wise rna11, writing for tl1e
instruction of p osteri ty, on~ who has studied to

public affairs.

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mental qualiti es of an historian? How is this remark
~ully illu_strnted? For what is hi sto ry deaign ed; and of
it whnt is t>lisc'l·1·c cl ( \\'!111t. is i ts objcd; wl1at. lllll st it
not, tlierd<>r c, lie; nlld why I \\'l1:it character must the
writer suoL1i111 In the conJ!lct of his ouLjcd wh nt shou],J

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In the narration of facts, the first nrtue of tho
historian is, clearness, order, and due conn cctio~.
To att:iin th io, he must be completely rn:i ;;tc r of his

inform himself \veil, who has pondered his subject
with care, and addresses himself to our judgment,
rather than to our imagination.
In the cunrl11et of his sul1jccl, the bistori:rn sliould
aim to give it as much unity as possible. The dit:

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it~ iH~tn1(·-ti(•n'

\vit-!1 lh P :--:r:nne auth•_ll·i tv .
yet it furni;;:;hp~ 11~ a gre;iter v:1ri·~ty- th:tn it i:s ro~­
biLl(__'. ~J r t.\1>~.: l'i\.·til'c tu an~)rd, i11 tli~ cour.::;c 01' tl1~
longest Jifi:.. lt~ object i.-; t o cnl:trgt: our Yi C\L-; of
the h mna11 clur,1ctc r, a11u to '...'.i \"c full exercise to
our judgment in li::m:m affairs. lt must n o t, thc1\•fo rc, 1ic a ta li· calc:1Lit,•11 tn 1•lr:1 c:c onl:-, ~111·1 ~.,] ­
dressed to the fancy; but g ra\·ity and d ignity an
ltiJt-

ni.1._1C'~~ g:· c~~~~ !~

progress of some one great plun or
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to

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lli!l 11 1l· ::l ::1 :

represented in .conuection wiU-1 their causes, truced

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BELLEB-LETTRES.

BELLES-LETTRES.·

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BELLES-LETTRES.

BELLES-LETT RES.

subject. He must see the whoie as at one view·
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'
and comprehend the chain and dependence of all its
parts, that he may introduce everything in its proper
place; that he may lead us smoothly along the
track of affairs which he records, aud may give us
the satisfaction of seeing how one event arises out
t- of another. ·without this tl1ere can be neither
· pleasure nor instruction in reading history.
To
effect this, much will depend on the.-observance of
u11 il \ ill Lhc. g;._·.n1__·ral p1aH Hl~d cc,1Flue:t; an d tr;u ch;
: 1~"'" 1 '; Oil tJi,. J I'1,) f' t"T J: 1 :11:~l'..! 1:~11clit o f t r;.:?l.~:11-· t i1 · i1 1 ~
\1Liclt 1:.1· u1s 011L' f1f tliv cl1icfc1rn:11n ,•nt.; n t' tJ1: , k i11r1
of writiug; and is one of the most difficult in exe..
cu ti on.
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. As history is a very dignified species of com no..
sition, gravity must always be maintained in the
narr;1tio11 .
Tl1ere should be nothing m ean nor
. vulgar in th,, style; no quaint · nor colloquial
phrases; no affectation of p ertness, ; nor of wit.
The smart or the sneering manner of tellincr a
story, is inconsistent with the historical charac~er.
The historian may, .however, occasionally l et himself down a littl e, in order to diversify the strain of
his narration, which, if he is perfectly uniform, is
apt to become tiresome.
As history must be road with pleasure to be read .
with profit, tho great study of tho historian should

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essn.ry; nnd wl!Y I 'J'.o attain thi s, on what will much
dep_m_1d 1 As lu sto ry 1s n \•ery dignified species of eom~ositwn, what must nlways be maintnined in the norm·
tlve? 'Vhat properties should, th erefore b e avoiLled ·
what, howev<.'r, mn.y the historian do; nnd why I 'Vhn.t
should b e the great study nf tho histori1111; nnd of this

be to render his narration interesting. This is the
quality that chiefly distinguishes tho genius and eloquence of the writer. To effect this, a just medium
in the conduct of the narration should be observed,
between a rapid or
,,,. crowded r ecital of facts, and a
prolix detail. An historian that would interest us,
must know when to be concise, and when to enlarge
-passing lightly;.over slight and unimportant events,
but cd\\;elli11g on such as are, fo their nature, striking
nnd in;iy,-;. t ,ll~t. " .-. The hi,-tori:ttl inil-'t :d .-" • p::rtic·11Lrly a tLt·lld tn t1i i..; f!l··-' }·1..' :· ~t_ . --'--·L 1_.: ; ui' ci>,:1 1~ : L~ t::: .· •_.-)
)11-·l nnrrinrr t n tho ~ ·- '- p\· 1 ·n !~ \\·11 i ('h li-· ( · h i" )-.: (· ·~' t 1 ) r 1·L-1t ··,
fully. ~ 'l~ese r_ender a narration interesting auJ at:
. fecting to the r e ader; giving .life, boJy' anJ cvloring to the recital of parts, and enable us to behold
them at present., and passing b efore our eyes. It is
th is employment of circumstances in n:1rr:1tiun, tlut
is p:-opcrly terme d historical p:iinting.
History being a species of composition designed
for the instruction of mankind, sou nd morality
~hould always n::ign in it. Doth in desc rib ing characters, and in relating trans:-ictions, the author should
al ways show himself to be on the side of virtue.
To deliver moral instructions in a formal manner, it
.is true, falls not within his province, but, as a good
man, we expect him to discover sentimen ts of r e..
spcct for virtue, and of indignation at vice.
qiwlity what is observed I To effect this, between what
must n just m edium be obscn·eJ ; and what shou ld an
hist or i>\n thnt would interest us know l To whnt should
the historian nlso particularly nt~end; nnd ~·hy 1 As
history is d eoi ~ ned for th tJ in st rn c~1011 of man_krnd, what
should reign 1t it 1 How is this remark illustrnted I

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BELLES·LETTREB,

BELLES·LETTRES.

The inferior kinds of historical composition, are
annals; memoirs, and lives. Annals are a collection
of facts ·according to chronological order: all that
is required, therefore, of an annalist, is fid elity and
distinctness. Memoirs pretend not to hold out a
complete dct,1il of the period to whid1 they relate,
LuL only to rec~ll'd \vhat the author knows pers(tn-

liness and wit; for these, when th~y flow easy, and
without being/ studied, are as graceful in letters as
they ·a re in conversation.
The best letters are, unifvri11ly, those which are
written with the greatc:>t facility. 'Vhat the heart
or thP. imagination- dictates. always flows readily;
b~1t· ·,,:]wrf' ~hf'rP 1s no sul~~ct
warn1 or int.e re:;L

tc;

all_y, or !i:uin particular intOrmJ.tion~ conc~rning ~ny

certain obje?t, transaction, or event.

t h~~~e. couBtraint aDDl'.<.lL:i ~

and he: nee, th u~c lcllcr::;

~f m~re complim'~~t, congratulation, or affocted condolence, never fail to be the most di sagreeab1c and
insipid to the ,reader<:. Tt must, however, be r c-

Biography is

a sort of coin position less stately than history; but
it is, perhaps, morp, in~tr1wtive. · It ;~ffor-ds foll opport.unit:~~:: s .:.•f <li~_l..·Lt y iug Lhe ch~ract~r:::i uf t:!!lil!.t!t:L

Tn0m 1-H:.r~d th:-it t} l e l'.~t::-5t.: ~11.,_l ~i!!:1·1i\:· it.y L.-.r~: r •'<'.u: ;~ .

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mended in epistohry correspon1k11t.oe, :He uvl lv L·.:
understood as imp?rting entire care1cssnes:; for, in
. .
t o tl 1e n10::.·t. l•
··1·:ma'e
.1.>nr» "
wntmg
"" '· ' f··'
' 1cl'Cl
' , "n CP~("'I'
~· " ' • ~-o· , ,
of attention bot.h t o the ~ubject and to the style, is
requisite nnd b ecoming. It is no more, ~han wl:a t
1
,"'1·c o1n' both to ourschc,; an d to th e ln c1111 1nt.t
'
whom we correspond; as a slovenly aud neg ligent
manner is a mark of disrespect.

men, aml of entering into a thorough acquaintance
with them.

!!!Jl~upies a sort of middle
and amu sing composition;
and it be:co111cs distinctive in its character whe!l it
is of the easy an<l familiar kind-a ; conversation
carried on upon paper bct~veen two friends at a distance. Much, therefore, of its merit will d epend
on its introducing us to some acquaintance with the
writer. There, if :inywherc, we look for the man,
not for the author.
Its first and fund.ameiltal
requisite is, to be natural and simple; for a stiff and
labored manner is as ·bad. in a letter, as it is in conversation . This does not, however, banish spright-

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What nre .the _inferior kin.fa _of hi storical composition;
nn~ ~vhnt 1s s111d of each 1 'V hnt pl11ce does epistolary
;vntrng occupy; and when does it beco me di stincfrrn iu
its <;h11racter1 Upon what, therefore; will much of i t~
merit depend; nud why 1 'Yh ut is its first requisite; nnd
why I What docs tlus_ uot exclude · nud why 1 . Wiant ·

Fictitious history furni shes one of the b es t ch:rnnels for conveyinrr
instruction, for painting hu ma n
0
life and manncrs, for sho1ring the errors into which
,rn arc betrayed by our passions, :lnd for r endc'.·ing
Yirtue amiable, and vice ocli~s, that can poss1Lly
b e afforded. The efi~ct of well-contrived stories
towards accomplishing these purposes, is gr.:atcr
than can be produced by simple instruction; and
nre the hest l etters; nnd how is this illustratcJ l Of t,lli~
M•e nn<l simplicity what, b oweHr, mU5t b~ reru em.bcr~ •
n·i;d "·lty I For wlrnt do fi ctitious histori es furn1 :1 h.ond
of the best cliaunels 1 Of the effect of wdl-con tn>e

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...

hence the wisest men, in all ages, have frequently
employed parables, fables, and other fictions as the
vehicles of knowledge, It is not, therefore, tlie nature of this kind of writing, considered in itself,
but the manner in :which it is too frequently executed, that has brought it into contempt.
Lord Bacon remarks, that our taste for fietiliow:>
hi;:.:tur,y i$ !1 pn.H.:f of the g!.·~~L!!e~s ~?1J. tl!~?!.!ty t.•f the

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~ ~ ~;:;t s:1ti:·-:J~c <l with lh(· s uL 1.-·:· rl··:1 liLit~ :=;
0f lifr. ,'' hco (J],,c•r n•s, ' ' \',·" cre at e world.-; a' curd 1113!
t{) our fln1·y, in 01·,l(·.1· to gr;1ti(\· t 1: 1r c;1p :1.(·i o~ : . :.; (!(·~rn· -:-: ; ;:erotn!:-~ f·: d :tt tn ;..: tht ~ a rr f·;:t·::nn · (lf
tl1 i 11g~ tu the J~~ irc .5 0f lli~ .1u.i11J, liu~ Lring i1,g Juwu
the miwl, 11s hi~tory anJ phil·J~ophy !lo, tu the 01-.li-

hur1Lll l 111 i1 li!.

OHA P 'FER 'l'.l:i.E EIGHTH

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l)OETF..Y is th e l~n~u:i~t~ o!" p a ,~i·J n: (11' ,_
,f l'll1 ~ ­
vened im :wination, formed, m ost com rnonl y, into r.·gular nu mbe rs . . As th e prim:Hy aim of the pod i ~
t o r1C'aSC and to J1lOY(', it is to th e imagin:1tiun a11cl
.the passions that he add resses him self. H e may
dcsian to instruct and r eform , also; but these ends
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he can effect in no other way than by first p eas ing
and movinrr his readers or hearers. T o thi s c11d his
own mind ~rnst b e animated by some object \\ hich
fires his imagination, or engages his passion s ; and
which naturally communicates to his style a peculiar
elevation suited t o hi s idcis, and Ycry different
from that mode of expression which is natural to
the mind in its calm and ordinary state.
Though yersification is, in general, the ex ternal

nary course of events." vVhilc, therefore, the flimsy noveli st and rorn::u;cer, \\"ho pcinder t o th e baser
passions of our nature, are justly r cpi·ohatc<l, such
writers as Scott, and Irving, and Dickens, should l1e
held in grateful and everlasting r cmembr::mce, as
the b enefacto1;s of their race.
stories for · accomplishing these purposes; a_u d h ence,
what have the wisest men, in iill ngcs, done 1 What r emark follows 1 Of our taste for fi ctitious history, what
has Lord Bacon r emark ed; nnd what inference follows?

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What i 3 poe try! ·what i> the prir:rnry nim of poetry;
nnd to whnt <.loes th e poe t addrd3 h1mselfl What may
he al so design to do; in ' vhat way only can h e cffec~ thes e
ends; and to thio eu~ wht~t n~u st Le the stat~ o.f 111_3 own
mind l Thou (Yh vers1fi~at1011 13 the genernl d1.>trnct1on of
.

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