formed any clear conceptions--principles he has none. Now, it is useless to judge of an artist until you have some principles on the art. The two capital secrets in the art of prose composition are these: 1st, The philosophy of transition and connection, or the art by which one step in an evolution of thought is made to arise out of another: all fluent and effective composition depends on the _connections_; --2dly, The way in which sentences are made to modify each other; for, the most powerful effects in written eloquence arise out of this reverberation, as it were, from each other in a rapid succession of sentences; and, because some limitation is necessary to the length and complexity of sentences, in order to make this interdependency felt, hence it is that the Germans have no eloquence. The construction of German prose tends to such immoderate length of sentences, that no effect of intermodification can ever be apparent. Each sentence, stuffed with innumerable clauses of restriction, and other parenthetical circumstances, becomes a separate section--an independent whole. But, without insisting on Lord Brougham's oversights, or errors of defect, I will digress a moment to one positive caution of his, which will measure the value of his philosophy on this subject. He lays it down for a rule of indefinite application, that the Saxon part of our English idiom is to be favored at the expense of that part which has so happily coalesced with the language from the Latin or Greek. This fancy, often patronized by other writers, and even acted upon, resembles that restraint which some metrical writers have imposed upon themselves--of writing a long copy of verses, from which some particular letter, or from each line of which some different letter, should be carefully excluded. What followed? Was the reader sensible, in the practical effect upon his ear, of any beauty attained? By no means; all the difference, sensibly perceived, lay in the occasional constraints and affectations to which the writer had been driven by his self-imposed necessities. The same chimera exists in Germany; and so much further is it carried, that one great puritan in this heresy (Wolf) has published a vast dictionary, the rival of Adelung's, for the purpose of expelling every word of foreign origin and composition out of the language, by assigning some equivalent term spun out from pure native Teutonic materials. _Bayonet_, for example, is patriotically rejected, because a word may be readily compounded tantamount to _musket-dirk_; and this sort of composition thrives showily in the German, as a language running into composition with a fusibility only surpassed by the Greek.