Hypocrisy is a serious word. We are accustomed to consider the hypocrite as a hateful, despicable character, and an uncommon one. How is it, then, that our Blessed Lord, when surrounded by an innumerable multitude, began, _first of all_, to warn His disciples against hypocrisy, as though they were in especial danger of becoming like those base deceivers the Pharisees? Thus an instructive subject is opened to our consideration, which I will now pursue.--Vol. I. Serm. X. The next thing was that, instead of rambling and straggling over a large subject, each sermon seized a single thought, or definite view, or real difficulty or objection, and kept closely and distinctly to it; and at the same time treated it with a largeness and grasp and ease which only a full command over much beyond it could give. Every sermon had a purpose and an end which no one could misunderstand. Singularly devoid of anything like excitement--calm, even, self-controlled--there was something in the preacher's resolute concentrated way of getting hold of a single defined object which reminded you of the rapid spring or unerring swoop of some strong-limbed or swift-winged creature on its quarry. Whatever you might think that he did with it, or even if it seemed to escape from him, you could have no doubt what he sought to do; there was no wavering, confused, uncertain bungling in that powerful and steady hand. Another feature was the character of the writer's English. We have learned to look upon Dr. Newman as one of the half-dozen or so of the innumerable good writers of the time who have fairly left their mark as masters on the language. Little, assuredly, as the writer originally thought of such a result, the sermons have proved a permanent gift to our literature, of the purest English, full of spring, clearness, and force. A hasty reader would perhaps at first only notice a very light, strong, easy touch, and might think, too, that it was a negligent one. But it was not negligence; real negligence means at bottom bad work, and bad work will not stand the trial of time. There are two great styles--the self-conscious, like that of Gibbon or Macaulay, where great success in expression is accompanied by an unceasing and manifest vigilance that expression shall succeed, and where you see at each step that there is or has been much care and work in the mind, if not on the paper; and the unconscious, like that of Pascal or Swift or Hume, where nothing suggests at the moment that the writer is thinking of anything but his subject, and where the power of being able to say just what he wants to say seems to come at the writer's command, without effort, and without his troubling himself more about it than about the way in which he holds his pen. But both are equally the fruit of hard labour and honest persevering self-correction; and it is soon found out whether the apparent negligence comes of loose and slovenly habits of mind, or whether it