CHAP. II. THE WAY TO READ AUTHORS TO ADVANTAGE. A STUDENT should be as careful what books he reads, as what company he keeps. They both leave the same tincture on the mind. Do not read indiscriminately; nor indulge a curiosity of perusing every new book that comes out, nor desires to read it, until, from the known ability of the author, or the information of some judicious friend, you know it is worth your reading, The curiosity of Vanillus to be personally aequainted with men and their characters, leads him into all company when he is at Bath; and when ["So far as I can recollect, I never omitted," says Dr. Doddridge, a single lecture on account of any of the books that I have published. The truth is, I do a little now and then, something every day, and that carries me on." This rule he assiduously observed, while he was preparing his Family Expositor for the press; taking his papers with him on a journey, or occasional visits to a friend, where he spent the night. Life, p. 166. T.] B 5 he he hears of a new stranger, he is uneasy until he knows him, and is able to give others a description of his person, equipage, and family. By this turn of temper Vanillus loses much time, which would be more agreeably and profitably spent in the conversation of a few select friends. He knows men, but not human nature. There is a wide difference between a man of reading, and a man of learning. One cannot read every thing; and if we could, we should be never the wiser. The bad would spoil the good, fill our minds with a confused medley of sentiments and desires, and the end of reading would be quite defeated for want of time and power to improve and practise. A man that eats of every dish at table, overloads his stomach, is sick, and digests nothing. He had better have fasted*. 2. Lay aside the fruitless inclination of reading a trifling author quite through, in hopes of finding something better at the end. You are sure of finding something better in another on the same subject; therefore lose not a certainty for the sake of a mere possibility. Why should you confine yourself to listen to the impertinence of one man, when, by only turning your back, you may be enter *Distrahit animum librorum multitudo Fastidi●ntis stomachi multa degustare, quæ ubi varia sunt & diversa inquinant, non alunt. Sen. Ep. 1. tained and improved by the more pleasing and instructive conversation of another? 3. Observe the characteristical beauties of your author. Every good writer has his peculiar felicity, his distinguishing excellence. Some excel in style; entertain us with easy, natural language; or with an elegance and propriety of expression; or delight us with their florid, smooth, and wellturned periods. Some love a figurative, diffuse, and flowing style.-Others, quite a plain, rational, discursive one. Each have their excellence. But the most elegant is that which is most natural, proper, and expressive; it cannot then be too short and plain, both to delight and instruct-the two great ends of language. A style overloaded with studied ornaments grows prolix; and prolixity always weakens or obscures the sentiment it would express. No decorations of well-chosen words, or harmony of cadence, can atone for this fault.Such a style is like a lady who, in adorning her person, spoils a good shape by a tawdry dress, and a fine face by paint and patches. Both proceed from the same affectation, in preferring the embellishments of art to those of nature, whose charms are infinitely more powerful and pleasing.—Others excel in sentiments. Those sentiments strike us with most pleasure, that are strong, or clear, or soft, or sublime, pathetic, just, or uncommon. What ever has the most weight and brevity finds the quickest way to the heart.-Others excel in method; in a natural disposition of the subject, and an easy, free, familiar way of communicating thoughts to the understanding. Nothing is very striking. You approve and are well pleased with your author, and you scarce know for what. This resembles the je ne sais quoi, tout agréable, in the very humour, turn, and air, of some people we converse with.-Others are very happy in their manner and way of conveying clear, rational, solid arguments and instructions to the mind, which arrest your attention, command your approbation, and force your assent at once. You see every thing in broad day, in a fair and strong and proper light. A perfect writer has all these excellences of style, sentiment, method and manner united. A judicious reader will observe in which of them his author mostly excels. 4. From all your authors choose one or two for your model, by which to form your style and sentiments, and let them be your Enchiridia, your pocket-companions. Consult and imitate them every day, until you are not only master of their style and sentiments, but imbibe their spirit. But be very cautious both in your choice and imitation, lest with their excellences you adopt their faults, to which an excessive veneration for them may make you blind *. 5. If your author have an established reputation, and you do not relish him, suspect your own taste and judgment. Perhaps something has biassed your mind against him: find it out and compare it with those beauties which charm his other readers more than all his blemishes offend them +. Or perhaps you do not understand him: then it is no wonder you do not admire him. If your judgment be good, it is a sure sign your author is so, when, the more you read him, the more you like him. A good friend and a good book are known by this: they grow in your esteem as you grow in acquaintance with them. When you meet with such an author on any subject, stick by him, make yourself master of him. You will discover new beauties in him every time you read him, and regret not that you are unread in the common rubbish. Some books better de * Certis ingeniis immorari et innutriri oportet, si velis aliquid attrahere quod in animo fideliter redeat - probatos itaque semper lege, et siquando ad alios divertere libuerit, ad priores redi. Sen. Ibid. Ubi plura nitent in carmine, non ego paucis Aut humana parum cavit natura. Hor. de Art. Poet. 1. 350, serve |