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5 JUN 1969

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ELEMENTS

OF

CRITICISM.

CHAPTER XVIII. - a v119 [1OFIMO 9'll BEAUTY OF LANGUAGE:

7: bstpoimmi875409 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 naturé. 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 motion. 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 re.

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semblance to the motion they signify. The imi. tative 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

red Chap. 2, Part:1. sect. 5. Demetrius Phalereus (of Elocution, seçt: 75.) makes the same observation. We are apt, says that author, ¡to confound the language with the subjeqt; 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 iņ mean language. Theopompus is celebrated for the force of his diction ; but erronequsly : his subjegt indeed has great force, but his style very

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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 cauşes 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 begutiful, in the sense now mentioned, is that which iŋ the most perfect manner answers its end. :

The several beauties of language above mention ed, 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 language considered as șignificant: this order appears natural; for the sound of a word is attended to, before we consider its signification. In a third section come those singu. lar 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 pecu.

liar 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.

Sect. I.-Beauty of Language with respect

to Sound. · 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 different 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, form a regular series of sounds, descending from high to low, in the follow.' ing order, i, e, a, 0, 6.* Each of these sounds is agreeable to the ear: and if it be required which of them is the most agreeable, it is perhaps safest

* In this scale of sounds, the letter i must be pronounced as in the word interest, and as in other words beginning with the syllable in ; the letter e as in persuasion ; the lettera as in bat ;. and the letter u as in number..

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