But to do this, it is necessary to study
simplicity of style. There never was a ready speaker, whose language
was not, generally, plain and simple; for it is absolutely impossible
to carry the laboured ornaments of language, the round period, or the
studied epithet, into extempore discourses; and, were it possible, it
would be ridiculous. We have learned, indeed, partly from reading
poetry, and partly from reading vicious compositions, to endure, and
too often to admire, such stiff and laboured discourses in writing;
but if it were even possible for a man to speak in the same pompous
diction in which Browne has written his vulgar errors, he would
certainly be very disagreeable. This reason, among others, may be
assigned for it; that however such false ornaments may please for a
time, yet, when a long and steady attention is required, we are tired
and disgusted with every thing which increases our labour, and diverts
the attention from the subject before us. A laboured style is a labour
even to the hearer. A simple style, like simple food, preserves the
appetite. But a profusion of ornament, like a profusion of sweets,
palls the appetite and becomes disgusting. A man might as soon think
of filling his stomach with sweetmeats, as going through a long debate
filled with pompous epithets and sounding language. If we have any
doubt of its being ridiculous, let us only suppose a man arguing an
abstruse subject in metaphysics, in the blank verse of Milton, or the
exact rhymes of Pope.
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