in their combinations; we may infer that we are now, in our use
of sentences, much what the primitive man was in his use of words;
and that a continuance of the process that has hitherto gone on,
must produce increasing heterogeneity in our modes of expression. As
now, in a fine nature, the play of the features, the tones of the
voice and its cadences, vary in harmony with every thought uttered;
so, in one possessed of a fully developed power of speech, the
mould in which each combination of words is cast will similarly
vary with, and be appropriate to the sentiment.

68. That a perfectly endowed man must unconsciously write in
all styles, we may infer from considering how styles originate.
Why is Johnson pompous, Goldsmith simple? Why is one author abrupt,
another rhythmical, another concise? Evidently in each case the
habitual mode of utterance must depend upon the habitual balance
of the nature. The predominant feelings have by use trained the
intellect to represent them. But while long, though unconscious,
discipline has made it do this efficiently, it remains from lack of
practice, incapable of doing the same for the less active feelings;
and when these are excited, the usual verbal forms undergo but
slight modifications. Let the powers of speech be fully developed,
however--let the ability of the intellect to utter the emotions be
complete; and this fixity of style will disappear. The perfect
writer will express himself as Junius, when in the Junius frame of
mind; when he feels as Lamb felt, will use a like familiar speech;
and will fall into the ruggedness of Carlyle when in a Carlylean
mood. Now he will be rhythmical and now irregular; here his language
will be plain and there ornate; sometimes his sentences will be
balanced and at other times unsymmetrical; for a while there will
be considerable sameness, and then again great variety. His mode