9. Ascertain and state the two chief reasons upon which the judgment is founded. These will be propositions by which the judgment is to be proved. (see ver. 172.) Flattery, definition-false praise. Prop. 1-It creates an unjustifiable opinion of excellence. Prop. 2-It produces a persuasion that improvement is unnecessary. Judg.-Flattery paralyzes exertion. 10. Ascertain and state the two chief reasons upon which the practical application is founded. (see Gram. Ex. ver. 174.) Prop. 1-Flattery-It will lead to error in mind. Practical application.—Flattery should be despised. In this manner, the discussion upon every simple subject may be constructed, and the power, together with the facility which habit will produce, of framing such skeletons, must be attained, before any ulterior efforts be attempted. The great utility of the skeleton consists in its perspicuity, and its convenience for memory. It would swell this book beyond its prescribed limits, to add more rules for discussion. They will be found in larger works of this character, by those who may wish to pursue the subject for further advancement. To render this system as complete as possible, the following instructions are added to aid the student in the acquisition of correct and elegant phraseology. 11. Make no effort at elegance of expression, until strict accuracy of language shall have been obtained. Perspicuity is the fundamental quality of style; a quality so essential in every kind of writing, that for the want of it nothing can atone. The study of perspicuity and accuracy of expression consists of two parts; first, to single words and phrases; and then to the construction of sentences. These qualities of style, considered with regard to words and phrases, require the following properties: purity, propriety and precision. 12. Use such words and such constructions as belong to the idiom of the language which we speak; and reject other words and phrases that are taken from other languages, or that are ungrammatical, obsolete, new coined, or used without proper authority. 13. Select such words as the best usage has appropriated to those ideas which we intend to express. 14. Avoid low expressions, such as, "helter skelter, stark staring mad," &c. 15. Do not use the same word too frequently, nor in different senses. 16. Avoid the injudicious use of technical terms. 17. Avoid equivocal or ambiguous words, and unintelligible and inconsistent phrases. 18. Avoid all words which are not adapted to the ideas we mean to communicate. 19. Take care to express the idea intended, and that only; and not one that only resembles it, or the idea itself, with one that does not belong to it. Therefore do not say courage instead of fortitude; nor use both, when only one is intended. A man with fortitude is patient, a man with courage is brave. 20. Do not make your sentences, very long or very short; long ones require close attention to make us clearly perceive the connection of the several parts; and short ones are apt to break the sense, and weaken the connection of thought. 21. Let every sentence be clear: so as not to leave the mind in any sort of suspense as to the meaning. 22. Never admit unnecessary parentheses. F 23. Exclude all redundant words and phrases. 24. Do not conclude your sentences with an adverb, a preposition, or any inconsiderable word. In English, a sentence generally sounds most impressively and most pleasingly, if concluded by a noun; if a noun cannot be introduced with convenience at the end of a sentence, a verb should, if possible, be the closing word. FIGURES OF SPEECH. Figures of speech generally imply some departure from simplicity of expression. There are many advantages attending the judicious use of the figures of speech. They frequently give a much clearer, and more striking view of the principal object, than could be obtained, if it were expressed in simple terms. The principal figures of speech will be found in the Grammar, see ver. 129 to 158 inclusive. It is supposed the pupil has already committed them to memory; a few observations therefore, is all that is now required, with regard to them. A METAPHOR is a figure founded entirely on the resemblance which one object bears to another. It is therefore much allied to simile or comparison. When I say of some great minister, that "he upholds the state, like a pillar which supports the weight of an edifice," I surely make a comparison; but when I say of such a minister, that "he is the pillar of the state,’ it now becomes a Metaphor. RULE 1. The resemblance, which is the foundation of the metaphor, should be clear and perspicuous, not far-fetched, nor difficult to discover. The Holy Scriptures abound with metaphors. See Psalm xviii. 2; cxix. 105, &c. 2. Avoid making two inconsistent metaphors meet on one subject. One may be "sheltered under the patronage of a great man;" but it would be wrong to say, "sheltered under the mask of dissimulation;" as a mask conceals, but does not shelter. An ALLEGORY may be regarded as a metaphor continued, since it is the representation of some one thing by another that resembles it, and which is made to stand for it. Allegory was a favourite method of delivering instruction in ancient times. See Judges ix. 7, 20. Psalm lxxx. Galatians iv. 21. A METONYMY is founded on the several relations of cause and effect; container and contained; sign and thing signified. For when we say, "They read Milton," the cause is put instead of the effect, meaning "Milton's Works." On the other hand, when we say, "Grey hairs should be respected," we put the effect for the cause, meaning by "grey hairs," old age. "The kettle boils," is a common phrase, where the name of the container is substituted for that of the thing contained. "To assume the sceptre," is a common expression for entering on royal authority; the sign being put for the thing signified. SYNECDOCHE is when the whole is put for a part, or a part of the whole, as when we say of a "person," he is the "head" of the establishment. The "waves" for the "sea." In like manner, an attribute may be put for a subject; as, "youth" for the "young," the "deep" for the "sea;" and sometimes a subject for its attribute. SIMILE, or COMPARISON, is, when the resemblance between two objects is expressed in form, and generally pursued more fully than the nature of a metaphor admits; as, when it is said, "The actions of princes are like those great rivers, the course of which every one beholds, but their springs have been seen by few." The example in verse 157, Grammar, is taken from. "Parnel's Hermit," where a pious mind, agitated with doubts, is compared to a calm lake disturbed by a falling stone. "A life so sacred, such serene repose, Seemed heaven itself, till one suggestion rose, Psalm cxxxiii. is a very beautiful Simile. IRONY, is when a person speaks contrary to his thoughts, the subjects of Irony are vices and follies. See I Kings xviii. 27. HYPERBOLE, is when the mind, excited by the passions, love, terror, amazement, indignation, or grief, is thrown into confusion, and aggravates certain objects, representing them greater or smaller, better or worse than they really are. See Numbers xiii. 32, 33. AMPLIFICATION, or CLIMAX, consist in heightening all the circumstances of an object or action, which we desire to place in a strong light. Ex. "There is no enjoyment of property, without government; no government, without a magistrate; no magistrate, without obedience; and no obedience, where every one acts as he pleases." He who was promised to Adam as the seed of the woman, was now announced to the world as the seed of Abraham, in whom all the families of the earth should be blessed. And henceforth we have prediction upon prediction, ordinance upon ordinance, promise upon promise, event upon event, leading to, rising above, improving, enlarging upon one another, like the gradual light of the ascending sun, from the early dawn, to the perfect day we observe types, shadows, ceremonies, sacrifices, disappearing by little and little; patriarchs, priests, prophets, lawgivers, and kings, retiring one after another, and giving place to the Lord Jesus, the sum (Heb. viii. 1) and substance of all. Col. ii. 17. See also 1 Corinthians, iii. 21-2-3. : ANTITHESIS. Comparison is founded on resemblance; Antithesis, on the contrast or opposition of two objects. As light and shade show each other to advantage, so does well-timed Antithesis add lustre to language, and energy to sentiment. Ex. Wrong notions of religion, are evils more alarming, more formidable, and more diligently to be guarded against, |