those who have been inftructed in the ufe of them. -But in this inquiry the term Natural Language denotes that ufe of fpeech, or of artificial language, which is fuitable to the speaker and to the occafion. Proper "words in proper places," is Swift's definition of a good style; and may with equal propriety, ferve for a definition of that ftyle, or mode of language, which is here called Natural, in contradiftinction, not to artificial (itself being artificial) but to unnatural; and which it is the poet's business to imitate. I fay, to imitate: for as poets (for a reason already given) copy nature, not as it is, but in that state of perfection, wherein, confiftently with verifimilitude, and with the genius of their work, it may be fuppofed to be; and are therefore faid to imitate nature, that is, to give a view of nature fimilar to, but fomewhat different from the reality—fo, in forming poetical language, they must take for their model human speech, not in that imperfect state wherein it is used on the common occafions of life, but in that state of perfection, whereof, confiftently with verifimilitude, it may be fuppofed to be fufceptible.

But, as we cannot eftimate the perfection or imperfection of poetical imagery, till we know the natural appearance of the thing defcribed; fo neither can we judge of this perfection of human fpeech, till we have formed fome idea of that quality of language which we exprefs by the epithet natural. VOL. II. D d That

That fome modes of language are more natural than others, and that one mode may be natural at one time which at another would be unnatural, must be evident even to those who never ftudied criticifm. Would foft words, for example, be natural in the mouth of a very angry man? or do even the vulgar expect blustering expreffions from him who melts with pity, or love, or forrow? Between groans and pain, tears and grief, laughter and jocularity, trembling and fear, the connection is not more natural, than between certain fentiments of the human mind and certain modifications of human language.

Natural language and good language are not the fame and Swift's definition, which is equally applicable to both, will not perhaps be found to exprefs adequately the characteristic of either. The qualities of good language are perfpicuity, fimplicity, elegance, energy, and harmony. But language may poffefs all these qualities, and yet not be natural. Would the Anacreontic or Ovidian fimplicity be natural in the mouth of Achilles upbraiding Agamemnon with his tyranny and injuftice; or of Lear defying the tempeftuous elements, and imprecating perdition upon his daughters? Would that perfpicuity which we juftly admire in Cato's foliloquy, be accounted natural in Ham

* It must be fo. Plato, thou reafon'ft well, &c.

let's

.

let's*, by those who know, that the former is fuppofed to speak with the rationality of a philofopher, and the latter with the agitation of a young man tortured to madness with forrow, and love, difappointment, and revenge? Would language fo magnificent as that in which the fublime Othello fpeaks of the pomps and honours of war, be natural in the mouth of the foft, the humble, the broken-hearted Defdemona bewailing her unhappy fate? Or would the fonorous harmony of the Dithyrambic fong, or Epic poem, fuit the fimplicity of fhepherds, contending in alternate verfe, and praising their miftreffes, putting forth riddles, or making remarks upon the weather? Yet language must always be fo far fimple as to have no fuperfluous decoration; fo far perfpicuous, as to let us fee clearly what is meant; and fo far elegant, as to give no ground to fufpect the author of ignorance, or want of taste.

Good language is determinate and abfolute. We know it where-ever we meet with it; we may learn to speak and write it from books alone. Whether pronounced by a clown or a hero, a wife man or an idiot, language is still good if it be according to rule. But natural language is fomething not abfolute but relative; and can be estimated by thofe only, who have studied men as well

To be, or not to be, &c.

as books; and who attend to the real or fuppofed character of the fpeaker, as well as to the import of what is fpoken.

There are feveral particulars relating to the fpeaker which we must attend to, before we can judge whether his expreffion be natural. — It is obvious, that his temper must be taken into the account. From the fiery and paffionate we expect one fort of language, from the calm and moderate another. That impetuofity which is natural in Achilles, would in Sarpedon or Ulyffes be quite the contrary; as the mellifluent copiousness of Neftor would ill become the blunt rufticity of Ajax. Thofe diversities of temper, which make men think differently on the fame occafion, will alfo make them fpeak the fame thoughts in a different manner. And as the temper of the fame man is not always uniform, but is variously affected by youth and old age, and by the prevalence of temporary paffions; fo neither will that ftyle which is most natural to him be always uniform, but may be energetic or languid, abrupt or equable, figurative or plain, according to the paffions or fentiments that may happen to predominate in his mind. And hence, to judge whether his language be natural, we must attend, not only to the habitual temper, but alfo to the prefent paffions, and even to the age of the fpeaker.-Nor fhould we overlook his intellectual peculiarities. lf his thoughts be confufed or indiftinct, his style

muft

must be immethodical and obfcure; if the former be much diverfified, the latter will be equally copious.-The external circumftances of the fpeaker, his rank and fortune, his education and company, particularly the two laft, have no little influence in characterising his style. A clown and a man of learning, a pedantic and a polite scholar, a husbandman and a foldier, a mechanic and a feaman, reciting the fame narrative, will, each of them, adopt a peculiar mode of expreffion, fuitable to the ideas that occupy his mind, and to the language he has been accustomed to speak and hear: and if a poet, who had occafion to introduce thefe characters in a comedy, were to give the fame uniform colour of language to them all, the ftyle of that comedy, however elegant, would be unnatural.

Our language is alfo affected by the very thoughts we utter. When these are lofty or groveling, there is a correfpondent elevation or meannefs in the language. The style of a great man is generally fimple, but feldom fails to partake of the dignity and energy of his fentiments. In Greece and

Rome, the corruption of literature was a confequence of the corruption of manners; and the manly fimplicity of the old writers difappeared, as the nation became effeminate and fervile. Horace and Longinus* fcruple

*Hor. Ar. Poet. verf. 323-332. Longinus, fect.

not