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Pedantic Punctuation.

fice except that of euphony.'

I fear, however,

that in the cases which I have in view, the most charitable critic would be unable to give any such explanation of the defect in question. Probably the most common offenders are either imperfectly educated or very juvenile correspondents (already referred to), whose epistles not unfrequently consist of a single sentence, embracing a large number of the most heterogeneous subjects. But many letters of a more pretentious kind present examples of the same objectionable feature; and I hope the ladies will excuse me when I take the liberty of stating that their epistolary productions would, in many instances, be materially improved by a more sparing use of conjunctions on the one hand, and a more liberal allowance of full stops on the other.

In ordinary correspondence, too much attention may, of course, be paid to punctuation; and occasionally one meets with a letter in which the writer's anxiety about the stops amounts to something very like pedantry. Ex

1 The reader will probably smile when he gets to the end of this sentence, for the length of which, however, I am not mainly responsible.

Categorical Repetitions.

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empli gratiâ, I have in my collection of autographs a note from a popular living poet to a mutual friend, in the shape of an acceptance of an invitation to dinner, to the following effect:

DEAR MRS. P--We shall be very happy. This evening, then, at seven, Mrs. F-, I, and a daughter, will duly appear at your house.-Truly yours, A. B. F.

How such an effusion would have horrified Sarah Jennings, the eccentric Duchess of Marlborough, who is said to have systematically neglected the dotting of her i-s and the stroking of her t-s to save ink!

The last blemish to which I shall venture to allude is the provoking practice, in which some letter-writers indulge, of categorically repeating, in their correspondent's own words, every question propounded before proceeding to furnish a reply. This is said to be a frequent characteristic of a lawyer's letter; and in communications of a strictly business kind, such a mode of treatment is probably better calculated than any other to prevent misunderstandings. But in a familiar correspondence between two intimate friends it is altogether out of place.

Dr. Johnson, in the Rambler, makes some very sensible observations on the importance of

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cultivating a good epistolary style; and appears to consider that our own countrymen have been surpassed by the French in that branch of composition. As letters,' he says, 'are written on all subjects, in all states of mind, they cannot be properly reduced to settled rules, or described by any single characteristic; and we may safely disentangle our minds from critical embarrassments, by determining that a letter has no peculiarity but its form, and that nothing is to be refused admission, which would be proper in any other method of treating the same subject. The qualities of the epistolary style most frequently required are ease and simplicity, an even flow of unlaboured diction, and an artless arrangement of obvious sentiments. But these directions are no sooner applied to use, than their scantiness and imperfection become evident. Letters are written to the great and to the mean, to the learned and the ignorant, at rest and in distress, in sport and in passion. Nothing can be more improper than ease and laxity of expression, when the importance of the subject impresses solicitude, or the dignity of the person exacts reverence.

'That letters should be written with strict

Epistolary Style.

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conformity to nature is true, because nothing but conformity to nature can make any composition beautiful or just. But it is natural to depart from familiarity of language upon occasions not familiar. Whatever elevates the sentiments will consequently raise the expression; whatever fills us with hope or terror, will produce some perturbation of images, and some figurative distortions of phrase. Wherever we are studious to please, we are afraid of trusting our first thoughts, and endeavour to recommend our opinion by studied ornaments, accuracy of method, and elegance of style. The purpose for which letters are written when no intelligence is communicated, or business transacted, is to preserve in the minds of the absent either love or esteem; to excite love we must impart pleasure, and to raise esteem we must discover abilities. Pleasure will generally be given, as abilities are displayed by scenes of imagery, points of conceit, unexpected sallies, and artful compliments. Trifles always require exuberance of ornament; the building which has no strength can be valued only for the grace of its decorations. The pebble must be polished with care, which hopes

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Lord Collingwood

to be valued as a diamond; and words ought surely to be laboured, when they are intended to stand for things.'

Not less sound are the directions on the subject of letter-writing which are given by Lord Collingwood,-himself an admirable letterwriter, in a communication addressed to one of his daughters, dated July 1809: When you write a letter,' he says, 'give it your greatest care, that it may be as perfect in all its parts as you can make it. Let the subject be sense, expressed in the most plain, intelligible, and elegant manner that you are capable of. If in a familiar epistle you should be playful and jocular, guard carefully that your wit be not sharp, so as to give pain to any person; and before you write a sentence, examine it, even the words of which it is composed, that there be nothing vulgar or inelegant in them. Remember, my dear, that your letter is a picture of your brains; and those whose brains are a compound of folly, nonsense, and impertinence, are to blame to exhibit them to the contempt of the world, or the pity of their friends. To write a letter with negligence, without proper stops, with crooked lines, and great flourishing

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