This copiousness, while it affords great advantages to a judicious writer, may also be abused, and become the cause of a prolix verbose stile. Instances of this fault occur in almost every author; it is one of the greatest, as well as most frequent faults in writing, and yet has scarcely been censured by critics.[27] There are indeed but few instances in which two or three words express _precisely_ the same idea; but there are many instances of words conveying _nearly_ the same sense, which are thrown together by careless writers without the least occasion. Take for example a passage of Mr. Addison's Cato: "So the _pure_, _limpid_ stream, when _foul_ with _stains_ Of rushing torrents and descending rains, _Works_ itself _clear_ and as it runs _refines_, Till by degrees the floating mirror shines." _Pure_ and _limpid_ are here too nearly synonimous to be applied to the same object. The same objection lies to the use of "_foul_ with _stains_." Between _working clear_ and _refining_, there is perhaps no difference in idea: And the arrangement in the second line is objectionable, for the consequence is placed before the cause; _rushing torrents_ being the consequence of _descending rains_. Such an assemblage of synonimous words clogs and enfeebles the expression, and fatigues the mind of the reader. Writers of an inferior class are particularly fond of crowding together epithets. If they would describe a man they hate, he is a _low_, _vile_, _mean_, _despicable_, _contemptible_ fellow. If they would describe a man of an amiable character, he is the most _kind_, _humane_, _loving_, _tender_, _affectionate_ being imaginable. Epithets, so liberally bestowed, confuse our ideas and leave the mind without any distinct knowlege of the character.[E] To a copiousness of language, on the other hand, may be ascribed the decline of action in speaking, and the want of animation. When nations have but few words to express their ideas, they have recourse to figures, to significant tones, looks and gestures, to supply the defect. Hence the figurative language of the Orientals of antiquity; hence the imagery of the Caledonian Bard;[28] the bold metaphorical language of the American natives, and the expressive tones and gesticulations that attend their speaking. To this cause also must we ascribe the music of the Greek language, and the action which accompanied the rehearsals on the stage. What was the effect of necessity at first, became afterwards a matter of art. This was the origin of the pantomime. Modern operas are also an imitation of the ancient musical rehearsals of the theater.[29]