because it was not the only faculty he possessed. He justified the description of the poet,—
"How charming is divine philosophy!
Not harsh and crabbed as dull fools suppose,
But musical as is Apollo's lute!"
Those who object to this union of grace and beauty with reason, are in fact weak-sighted people, who cannot distinguish the noble and majestic form of Truth from that of her sister Folly, if they are dressed both alike! But there is always a difference even in the adventitious ornaments they wear, which is sufficient to distinguish them.
Burke was so far from being a gaudy or flowery writer, that he was one of the severest writers we have. His words are the most like things; his style is the most strictly suited to the subject. He unites every extreme and every variety of composition; the lowest and the meanest words and descriptions with the highest. He exults in the display of power, in shewing the extent, the force, and intensity of his ideas; he is led on by the mere impulse and vehemence of his fancy, not by the affectation of dazzling his readers by gaudy conceits or pompous images. He was completely carried away by his subject. He had no other object but to produce the strongest impression on his reader, by giving the truest, the most characteristic, the fullest, and most forcible description of things, trusting to the power of his own mind to mould them into grace and beauty. He did not produce a splendid effect by setting fire to the light vapours that float in the regions of fancy, as the chemists make fine colours with phosphorus, but by the eagerness of his blows struck fire from the flint, and melted the hardest substances in the furnace of his imagination. The wheels of his imagination did not catch fire from the rottenness of the materials, but from the rapidity of their motion. One would suppose, to hear people talk of Burke, that his style was such as would have suited the "Lady's Magazine;" soft,
