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No word is naturally or intrinsically meaner than another; our opinion therefore of words, as of other things arbitrarily and capriciously established, depends wholly upon accident and custom. The cottager thinks those apartments splendid and spacious, which an inhabitant of palaces will despise for their inelegance; and to him who has passed most of his hours with the delicate and polite, many expressions will seem sordid, which another, equally acute, may hear without offence; but a mean term never fails to displease him to whom it appears mean, as poverty is certainly and invariably despised, though he who is poor in the eyes of some, may, by others, be envied for his wealth.

Words become low by the occasions to which they are applied, or the general character of them who use them; and the disgust which they produce, arises from the revival of those images with which they are commonly united. Thus if, in the most solemn discourse, a phrase happens to occur which has been successfully employed in some ludicrous narrative, the gravest auditor finds it difficult to refrain from laughter, when they who are not prepossessed by the same accidental association, are utterly unable to guess the reason of his merriment. Words which convey ideas of dignity in one age, are banished from elegant writing or conversation in another, because they are in time debased by vulgar mouths, and can be no longer heard without the involuntary recollection of unpleasing images.

When Macbeth is confirming himself in the horrid purpose of stabbing his king, he breaks out

amidst his emotions into a wish natural to a mur

derer:

Come, thick night!

And pall thee in the dunnest smoke of hell,
That my keen knife see not the wound it makes;
Nor heav'n peep through the blanket of the dark,
To cry, Hold, hold!

In this passage is exerted all the force of poetry, that force which calls new powers into being, which embodies sentiment, and animates matter; yet, perhaps, scarce any man now peruses it without some disturbance of his attention from the counteraction of the words to the ideas. What can be more dreadful than to implore the presence of night, invested, not in common obscurity, but in the smoke of hell? Yet the efficacy of this invocation is destroyed by the insertion of an epithet now seldom heard but in the stable, and dun night may come or go without any other notice than contempt.

If we start into raptures when some hero of the Iliad tells us that δόρυ μαίνεται, his lance rages with eagerness to destroy; if we are alarmed at the terrour of the soldiers commanded by Cæsar to hew down the sacred grove, who dreaded, says Lucan, lest the axe aimed at the oak should fly back upon the striker:

Si robora sacra ferirent,

In sua credebant redituras membra secures,

None dares with impious steel the grove to rend,
Lest on himself the destin'd stroke descend;

we cannot surely but sympathise with the horrours of a wretch about to murder his master, his friend, his benefactor, who suspects that the weapon will refuse

its office, and start back from the breast which he is preparing to violate. Yet this sentiment is weakened by the name of an instrument used by butchers and cooks in the meanest employments: we do not immediately conceive that any crime of importance is to be committed with a knife; or who does not, at last, from the long habit of connecting a knife with sordid offices, feel aversion rather than terrour?

Macbeth proceeds to wish, in the madness of guilt, that the inspection of heaven may be intercepted, and that he may, in the involutions of infernal darkness, escape the eye of Providence. This is the utmost extravagance of determined wickedness; yet this is so debased by two unfortunate words, that while I endeavour to impress on my reader the energy of the sentiment, I can scarce check my risibility, when the expression forces itself upon my mind; for who, without some relaxation of his gravity, can hear of the avengers of guilt peeping through a blanket?

These imperfections of diction are less obvious to the reader, as he is less acquainted with common usages; they are therefore wholly imperceptible to a foreigner, who learns our language from books, and will strike a solitary academick less forcibly than a modish lady.

Among the numerous requisites that must concur to complete an author, few are of more importance than an early entrance into the living world. The seeds of knowledge may be planted in solitude, but must be cultivated in publick. Argumentation may be taught in colleges, and theories formed in retirement; but the artifice of embellishment, and the

powers of attraction, can be gained only by general

converse.

An acquaintance with prevailing customs and fashionable elegance is necessary likewise for other purposes. The injury that grand imagery suffers from unsuitable language, personal merit may fear from rudeness and indelicacy. When the success of Æneas depended on the favour of the queen upon whose coasts he was driven, his celestial protectress thought him not sufficiently secured against rejection by his piety or bravery, but decorated him for the interview with preternatural beauty. Whoever desires, for his writings or himself, what none can reasonably contemn, the favour of mankind, must add grace to strength, and make his thoughts agreeable as well as useful. Many complain of neglect who never tried to attract regard. It cannot be expected that the patrons of science or virtue should be solicitous to discover excellencies, which they who possess them shade and disguise. Few have abilities so much needed by the rest of the world as to be caressed on their own terms; and he that will not condescend to recommend himself by external embellishments, must submit to the fate of just sentiment meanly expressed, and be ridiculed and forgotten before he is understood.

NUMB. 169. TUESDAY, October 29, 1751.

Nec pluteum cædit, nec demorsos sapit ungues.

PERSIUS.

No blood from bitten nails those poems drew ;
But churn'd, like spittle, from the lips they flew.

DRYDEN.

NATURAL historians assert, that whatever is formed for long duration arrives slowly to its maturity. Thus the firmest timber is of tardy growth, and animals generally exceed each other in longevity, in proportion to the time between their conception and their birth.

The same observation may be extended to the offspring of the mind. Hasty compositions, however they please at first by flowery luxuriance, and spread in the sunshine of temporary favour, can seldom endure the change of seasons, but perish at the first blast of criticism, or frost of neglect. When Apelles was reproached with the paucity of his productions, and the incessant attention with which he retouched his pieces, he condescended to make no other answer than that he painted for perpetuity.

No vanity can more justly incur contempt and indignation than that which boasts of negligence and hurry. For who can bear with patience the writer who claims such superiority to the rest of his species, as to imagine that mankind are at leisure for attention to his extemporary sallies, and

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