Nonfiction > Henry Craik, ed. > English Prose > Vol. V. Nineteenth Century
Henry Craik, ed.  English Prose.  1916.
Vol. V. Nineteenth Century
By Francis Jeffrey (1773–1850)
From Essays

OF his style, it has been usual to speak with great, and, we think, exaggerated praise. It is less mellow than Dryden’s, less elegant than Pope’s or Addison’s, less noble than Lord Bolingbroke’s, and utterly without the glow and loftiness which belonged to our earlier masters. It is radically a low and homely style, without grace and without affectation, and chiefly remarkable for a great choice and profusion of common words and expressions. Other writers who have used a plain and direct style have been for the most part jejune and limited in their diction, and generally give us an impression of the poverty as well as the tameness of their language; but Swift, without ever trespassing into figured or poetical expressions, or ever employing a word that can be called fine or pedantic, has a prodigious variety of good set phrases always at his command, and displays a sort of homely richness, like the plenty of an old English dinner, or the wardrobe of a wealthy burgess. This taste for the plain and substantial was fatal to his poetry, which subsists not on such elements; but was in the highest degree favourable to the effect of his humour, very much of which depends on the imposing gravity with which it is delivered, and on the various turns and heightenings it may receive from a rapidly shifting and always appropriate expression. Almost all his works after The Tale of a Tub seem to have been written very fast, and with very little minute care of the diction. For his own ease, therefore, it is probable they were all pitched on a low key, and set about on the ordinary tone of a familiar letter or conversation, as that from which there was little hazard of falling, even in moments of negligence, and from which any rise that could be effected must always be easy and conspicuous. A man fully possessed of his subject, indeed, and confident of his cause may almost always write with vigour and effect, if he can get over the temptation of writing finely, and really confine himself to the strong and clear exposition of the matter he has to bring forward. Half of the affectation and offensive pretension we meet with in authors, arises from a want of matter, and the other half from a paltry ambition of being eloquent and ingenious out of place. Swift had complete confidence in himself; and had too much real business on his hands, to be at leisure to intrigue for the fame of a fine writer; in consequence of which, his writings are more admired by the judicious than if he had bestowed all his attention on their style. He was so much a man of business, indeed, and so much accustomed to consider his writings merely as means for the attainment of a practical end—whether that end was the strengthening of a party, or the wounding a foe—that he not only disdained the reputation of a composer of pretty sentences, but seems to have been thoroughly indifferent to all sorts of literary fame. He enjoyed the notoriety and influence which he had procured by his writings; but it was the glory of having carried his point, and not of having written well, that he valued. As soon as his publications had served their turn, they seem to have been entirely forgotten by their author;—and, desirous as he was of being richer, he appears to have thought as little of making money as immortality by means of them.

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