d--whether
it be that nature has denied her the possession of a sound critical
judgment, or that she refuses to exercise it in the moment of
inspiration--whether it be that she considers the habit of pure and
polished composition an attainment of very secondary importance--or
whether it be that she has allowed herself to be infected by the
prevailing mannerisms of the day--certain it is, that there is a large
proportion of her poetry in which she has failed to add the graces of
good style and of careful versification to her other excellent
acquirements. That she can write pure English, and that she frequently
does so, is undeniable. In some of the extracts which we shall give, we
believe that the language could scarcely be improved. But we are
constrained to say, that her compositions are very often disfigured by
strained or slovenly modes of phraseology, which greatly detract from
their impressiveness, and which must materially injure the reputation of
their authoress, by turning away many hearts from the homage which they
otherwise would most willingly have rendered to her exalted genius.

Miss Barrett is a classical scholar. She surely knows that the great
works in which she delights have earned the epithet of _classical_, and
come recommended to the reverence of all mankind, solely in virtue of
the scrupulous propriety of their language; and because they are fitted
to serve as models of style to all succeeding generations. The purity of
their diction, and nothing else, has been their passport to immortality.
We cannot but lament that Miss Barrett has not provided more surely for
her future fame, by turning to their best account the lessons which the
masterpieces of antiquity are especially commissioned to teach.

Let it not be thought that we would counsel Miss Barrett, or any one
else, to propose these works to themselves as direct objects of
imitation. Far from it. Such directions would be very vague and
unmeaning, and might lead to the commission of the very errors which
they aimed at preventing. The words "purity and propriety of diction"
are themselves very vague words. Let us say, then, that a style which
goes at once to the point, which is felt to _get through business_, and
which carries with it no affectation, either real or apparent, is always
a good style; and that no other style is good. This is the quality which
may be generalized from the works of the great authors of all ages, as
the prime characteri