Nonfiction > Henry Craik, ed. > English Prose > Vol. III. Seventeenth Century
Henry Craik, ed.  English Prose.  1916.
Vol. III. Seventeenth Century
A Simple and an Ornate Style
By Thomas Sprat (1635–1713)
From the History of the Royal Society

THERE is one thing more about which the Society has been most solicitous; and that is, the manner of their discourse: which unless they had been very watchful to keep in due temper, the whole spirit and vigour of their design had been soon eaten out by the luxury and redundance of speech. The ill effects of this superfluity of talking have already overwhelmed most other arts and professions; inasmuch, that when I consider the means of happy living, and the causes of their corruption, I can hardly forbear recanting what I said before, and concluding that eloquence ought to be banished out of all civil societies, as a thing fatal to peace and good manners. To this opinion I should wholly incline; if I did not find that it is a weapon which may be as easily procured by bad men as good: and that, if these should only cast it away, and those retain it; the naked innocence of virtue would be upon all occasions exposed to the armed malice of the wicked. This is the chief reason that should now keep up the ornaments of speaking in any request; since they are so much degenerated from their original usefulness. They were at first, no doubt, an admirable instrument in the hands of wise men; when they were only employed to describe goodness, honesty, obedience, in larger, fairer, and more moving images: to represent truth, clothed with bodies; and to bring knowledge back again to our very senses, from whence it was at first derived to our understandings. But now they are generally changed to worse uses: they make the fancy disgust 1 the best things, if they come sound and unadorned; they are in open defiance against reason, professing not to hold much correspondence with that; but with its slaves, the passions: they give the mind a motion too changeable and bewitching to consist with right practice. Who can behold without indignation how many mists and uncertainties these specious tropes and figures have brought on our knowledge? How many rewards, which are due to more profitable and difficult arts, have been still snatched away by the easy vanity of fine speaking? For, now I am warmed with this just anger, I cannot withhold myself from betraying the shallowness of all these seeming mysteries, upon which we writers, and speakers, look so big. And, in few words, I dare say that of all the studies of men, nothing may be sooner obtained than this vicious abundance of phrase, this trick of metaphors, this volubility of tongue, which makes so great a noise in the world. But I spend words in vain; for the evil is now so inveterate, that it is hard to know whom to blame, or where to begin to reform. We all value one another so much upon this beautiful deceit, and labour so long after it in the years of our education, that we cannot but ever after think kinder of it than it deserves. And indeed, in most other parts of learning, I look upon it as a thing almost utterly desperate in its cure: and I think it may be placed among those general mischiefs, such as the dissension of Christian princes, the want of practice in religion, and the like, which have been so long spoken against that men are become insensible about them; every one shifting off the fault from himself to others; and so they are only made bare common-places of complaint. It will suffice my present purpose to point out what has been done by the Royal Society towards the correcting of its excesses in natural philosophy; to which it is, of all others, a most professed enemy.
  They have therefore been most rigorous in putting in execution the only remedy that can be found for this extravagance, and that has been, a constant resolution to reject all the amplifications, digressions, and swellings of style; to return back to the primitive purity, and shortness, when men delivered so many things, almost in an equal number of words. They have exacted from all their members a close, naked, natural way of speaking; positive expressions; clear senses; a native easiness: bringing all things as near the mathematical plainness as they can; and preferring the language of artizans, countrymen, and merchants, before that of wits or scholars.  2
Note 1. disgust = lose the taste for. [back]

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