The native American., 1839-12-21

or Miltonic elevation on each topic which
may discuss on ordinary occasions, but to use
best he can, style suited to the Importance
,auty, or sublimity Of the topics concernin
hich lie to his audience discourseth, or to his
,ders addresses hinself.
Every copious and refned language admits Of
urh feHibliiy. The English possesses its full
are OF merit in adapion TO diversity oil sub
It's. Ii abounds in forms OF speech suited to all
e varieties of emolioD7 to grave and gay, gentle
sevcrc-to wrath and passion, to tenderness
soothing melancholy. OF these proper
5, see how Milton has avaited himself i'll ms
Allegro and II Penseroso. Observe the dli-
rent structure of the sentences, and the great
sinction in the forms of eXI ression IN Addl-
MS more iam lar pieces in the Spectator ana
those in which he disconrses OF the Omnis-
ence of the Deity And even when he ascends
lesser height, when he enlarges on the pleas.
rs Of the eye compared with those Of the other
nscs, observe how his style rises in dignity,
wv he throws eff his frequently ION familiar
d comparatively trning topics c"lluquial style
d shines forth in the copiousnc>s, beauty and
lgnticence Of well selected and disnitied ex-
ession. If had time might illustrate from
number Of great authors of the English Ian
age, the beauty and yainr Of this charactrris
c of diction, and show how each has more or
IS srecognizcd and practced il.
The ancirht writers Of eninence afford excel
ut models III this part of polished speech
cero's oratins furnish an impressive exam
t: compare the characteristics Of his Grafton
r the poet Archias, and those against Catalin,
d Antony. In the former how gentle, nsn.
ttng, soothing, the style Of his address to he
,dges. With how much suavity does he des-
ut on the pleasures of tn study; in what mild
d engaging lights does he endeavor to place
t poeticaI art, who shall say without success :?
he st, lie and the imagery are III general far
IN vchemence, resembling the llow of smooth
yer, rather than the descent of resouutling
taract But in his Catalinarian orations with
hat abrupt energy DOES he Lurst forth upon the
,itor with what mpassiontd narrative does
rccie his acts Of conspiracy, invoke the laws
Rome, the examples of antiquity, and the
rnest efforts Of all good citizens! With what
umen, vivacty and clearness does he relate
c misdrcds Of Anthony! How changed from
smiling and compacclit orator beto'e the
'dges Of Archas, his speech wandering in the
tbs If literature to pluck its flowers, or his
'moTy recurring to nu:nei Gus historical facts to-
'orn the character of his client; with what in
nsity of inyective does he display the corrup-
ms of the luxurious Triumvir, enlarge upon
: crimes, expose his duplicity, dissolutrnes>
d dcspotic designs The mild Giend Of The
rticaI art eluditc in the love Of antiquity, no
re appears; but in his stead their stands forth
e erudite in the history and crimes of the state
lprt, whom he arraisns, the steel clad patriot,
flashing down fire" upon his country's foes.
A similar occasion gave Cicero scope in the
ial Of Milo for the display Of his profound dis
limitation with respect TO the proprirties of
re. An attentive perusaI Of that alton, will
50 prove the extraordinary flexibity of his
elton. The crimes Of Clodious, the character
Milo, and all the incidents of the fatal fray in
hich Codious was killed, are delicted with a
i'll and energy worthy Of the great leader Of
oman cloquence. In sholt. all the orations of
is mighty master to which have specially re-
rred as well his compositions generally,
Aiformly recognize this great principle OF style
d exhibit facility, delicacy Of judgment, and
mmand of language in carrying it cut, proba-
y never surpassed BY any uninsPired writer or
.eaker