OF CRITICISM. BY THE HONOURABLE HENRY HOME OF KAMES, ONE OF THE SENATORS OF THE COLLEGE OF JUSTICE, AND ONE OF THE LORDS FOURTH AMERICAN FROM THE EIGHTH LONDON EDITION. In Two Volumes. VOL. II. NEW-YORK: published by S. CAMPBELL & SON, E. DUYCKINCK, G. LONG, W. E. Dean, Printer, 84 Maiden-Lane. 1823. ELEMENTS OF CRITICISM. CHAPTER XVIII. BEAUTY OF LANGUAGE. Of all the fine arts, painting only and sculpture are in their nature imitative. An ornamented field is not a copy or imitation of nature, but nature itself embellished. Architecture is productive of originals, and copies not from nature. Sound and motion may in some measure be imitated by music; but for the most part music, like Architecture, is productive of originals. Language copies not from nature, more than music or architecture; unless, where, like music, it is imitative of sound or mọtion. Thus, in the description of particular sounds, language sometimes furnisheth words, which, beside their customary power of exciting ideas, resemble by their softness or harshness the sounds described; and there are words, which by the celerity or slowness of pronunciation, have some resemblance to the motion they signify. The imitative power of words goes one step farther: the loftiness of some words makes them proper symbols of lofty ideas ; a rough subject is imitated by harsh-sounding words; and words of many syllables pronounced slow and smooth, are expressive of grief and melancholy. Words have a separate effect on the mind, abstracting from their signification and from their imitative power: they are more or less agreeable to the ear, by the fulness, sweetness, faintness, or roughness of their tones. These are but faint beauties, being known to those only who have more than ordinary acuteness of perception. Language possesseth a beauty superior greatly in degree, of which we are eminently sensible when a thought is communicated with perspicuity and sprightliness. This beauty of language, arising from its power of expressing thought, is apt to be confounded with the beauty of the thought itself: the beauty of thought, transferred to the expression, makes it appear more beautiful.* But these beauties, if we wish to think accurately, must be distinguished from each other. They are in reality so distinct, that we sometimes are conscious of the highest pleasure language can afford, when the subject expressed is disagreeable: a thing that is loathsome, or a scene of horror to make one's hair stand on end, may be described in a manner so lively, as that the disagreeableness of the subject shall not even obscure the agreeableness of the description. The causes of the original beauty of language, considered as significant, which is a branch of the present subject, will be explained in their order. I shall only at present observe, that this beauty is the beauty of means fitted to an end, that of communicating thought: and hence it evidently appears, that of several expressions all conveying the same thought, the most beautiful, in the sense now mentioned, is that which in the most perfect manner answers its end. * Chapter ii. Part i. Sect. 5. Demetrius Phalereus (of Elocution, sect. 75.) makes the same observation. We are apt, says that author, to confound the language with the subject; and if the latter be nervous, we judge the same of the former. But they are clearly distinguishable; and it is not uncommon to find subjects of great dignity dressed in mean language. Theopompus is celebrated for the force of his diction; but erroneously; his subject indeed has great force, but his style very little. The several beauties of language above mentioned, being of different kinds, ought to be handled separately. I shall begin with those beauties of language that arise from sound; after which will follow the beauties of lamguage considered as significant: this order appears natural; for the sound of a word is attended to, before we consider its signification. In a third section come those singular beauties of language that are derived from a resemblance between sound and signification. The beauties of verse are handled in the last section: for though the foregoing beauties are found in verse as well as in prose, yet verse has many peculiar beauties, which, for the sake of connexion, must be brought under one view; and versification, at any rate, is a subject of so great importance as to deserve a place by itself. THIS Subject requires the following order: The sounds of the different letters come first; next, these sounds as united in syllables: third, syllables united in words; fourth, words united in a period: and, in the last place, periods united in a discourse. With respect to the first article, every vowel is sounded with a single expiration of air from the wind-pipe through the cavity of the mouth. By varying this cavity, the diferent vowels are sounded; for the air in passing through cavities differing in size, produceth various sounds, some high or sharp, some low or flat: a small cavity occasions a high sound, a large cavity a low sound. The five vowels accordingly, pronounced with the same extension of the wind-pipe, but with different openings of the mouth, |