Page:Cyclopaedia, Chambers - Volume 2.djvu/793

 STY

W.Vhore&y gives various other like Infknces, all among his Acquaintance j and adds, That when Mr. Greatrix Jiroaks only tor Pains,. he ufes nothing but his Hand 5 but that for Ulcers, or running Sores, he ufes Spittle on his Hand or Fingers. See Touching.

STROPHE, in the Greek and Latin Poetry, a Stanza, or certain Number of Verfes including a perfect Senfe 5 fucceeded by another, confifting of the fame Number and Mealure of Verles, in the fame Difpofirion and Rythmus, cail'd the Antiffrophe,

What the Couplet is in Songs, and the Stanza in Epic Poetry 5 Strophe is in Odes. See Couplet.

The Word is Greek, rfopij of rp.tpsa, I turn ; becaufe at the End of the Strophe, the Jame Meafures returned again j or rather, as the Term related, principally, to the Mufic or Dancing, becaufe at flrfl coming in, the Chorus or the Dancers turn'd to the Left, and that Meafure ended, they turn'd back again to the Right.

STRUCTURE, in Architecture. See Building.

STRUMA, in Medicine, Tumours arifing moll ufually on the Neck; cail'd alio Scrophulee, and, popularly the JSttf/, or King's Evil, See Evil,

The Word is Latin, form'd, as fbme will have it, a Jirtt- Sndoj becaufe they grow infenfibly, Srruffm affurpint.

The Greeks call them •vptfd<hst Sores.

STUC, in Mafbnry, worn the Italian Stucco, gfc. a Com- petition of Lime and the Duft of white Marble, pounded to- gether and fifred ; whereof Figures and other Ornaments of Sculpture are made.

This is what 'Pliny means by Marmoratim Opus 5 and Albarium Opus. See Plaister. and Mosaic.

STUFF, in Commerce, a general Name for all Kinds of Works made of Gold, Silver, Silk, Wool], Hair, Cotton or Thread, manufactured on the Loom 5 of which Number are Velvets, Brocades, Mohairs, Satwis, Taffeta's, Cloths, Serges, Rateens, and various other Kinds; explain'd under their reipedtive Articles of this Dictionary,

Stuff is particularly ufed, for certain Kinds of flight woollen Stuff's, ufed principally for Linings and Womens wear, as Ltnfeys, Rateens, &c.

STUM, is the Flower of Wine, fet a working. See Wine, Must, $£c.

Hence to Stttm, is to put certain Ingredients into fick and decay'd Wine, in order to revive it, and make it brisk.

STUMBLING, in the Manage, &c. a Vice in a Horfe, either natural or accidental.

The Natural arifes from the Sinews of the fore Legs being fomewhat too frraight, which cramps the Horfe, and prevents his ufing his Legs with the neceflary Freedom and Is'imblenefs.

The Way to cure him, is to cut him of the Cords, i. e. to make a Slit on the Top of his Nofe, and with a Cornet, to raije up the great Sinews, to cut them afunder, and heal them up again with a proper Salve, The Accidental arifes from a Splint, Wind-gall, being founder'd, prick'd, flubbed, gravel'd, \£c,

STUP1FIERS, in Medicine, the fame as Narcoticks and Opiates. See Opiates.

STUPHA, or STUPE, the fame as Fomentation. See Fomentation

STUPOR, a Numbnefs, occafioned by any accidental Bandage that itops the Motion of the Blood and nervous Fluids, or by a Decay in the Nerves, as in a Palfy, ££fc.

STYGIAN Liquors, a Term fome Chymifts apply to acid Spirits, from their Efficacy in destroying or ditlblving mixt Bodies. See Spirit.

STYLE, a kind of Point, or Bodkin, wherewith the Ancients wrote on Plates of Lead, or on Wax, i$c. and which is flill ufed to write on Ivory Leaves, and Paper prepared for that Purpofe, &c. See Writing.

This is the Origin of all the other Significations of the ftme Wurd in Englijh.

Style, in Chirurgery, is a long Steel Inftrument, that goes diminifhing towards one End, fo as to be of a conical Form.

] Tis ufed to be thruft in red-hot, in Cani<t<e, and to be pull'd out again, immediately : 'Tis put in and drawn out fucceflively, as often as is neceffary. In order to do this, 'tis good to have two Styles, to be put in alternately. See Canula.

Style, in Dialling, the Gnomon or Cock of a Dial, rais'd on the Plane thereof/to project a Shadow. Sec Gnomon.

Style, in Botany, the Part riling up the middle of a Rower, and bearing, by its lower Part, on the Seed.

This we more ufually call the Tifiil. See Pistil.

Style, in Matters of Language, is a particular manner of delivering a Man's Thoughts~in Writing, agreeably to the Rules of Syntax ; or, as R %vjfier more accurately defines it, the Manner where the Words conftrudted according to the Lawsof Syntax, are arranged among themfelves, fuitably to the Genius of the Language. See Language.

This Definition fixes the Notion of Style to fomething

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determinate, which before was very vague and arbitrary, whence many Authors, even of Note, confounded it with Syntax itielf. See Syntax.

From the Definition, it appears, that Style fuppofts or incudes the Syntax ; and that Syntax does not extend fofar as Style : For the Syntax may be very juft, where the Style is wretched, were it only in this Example ; God always rewards -with great Fidelity, and greater Liberality the 7"ft' Or this, There isnoBody, who more than I honour you

The Regimens and Terminations of each Word, are per- feaiy juft in each of theft Phrafes : There is no Fault tnen, in the Syntax; but there is fomething wanting in the Arrangement of the Words, to make them in the Genius of the Language ; there is a Fault then, in Ax Style.

Indeed, againft what particular Rule of Grammar the Fault is committed, 'tis icarce poffible to determine pre- cilely; the Tafte and Ufe of a Language being fo exceed- ingly delicate and precarious. 'Tis true, a Fault hi Style, is not lefs a Fault againft Grammar, than is a Fault in Syntax ; Only the former is leis precife and palpable than the latter.

A very common Error in Grammarians, F. Buffier adds, is to confound two Kinds of Styles in one : The Grammatical Style ; or that directed by the Rules of Grammar; and the 'Perfinal Style, which depends lefs on the Grammar, than on the Perlbn that writes; whether with regard to his parti- cular Tafte and Genius, or with regard to his Matter, or the Kind or Cnaracter of his Work,

There are a great many Differences between the Two j the moll effcntial is, that the one may be divetfified an in- finite Number of Ways, and the other cannot.

In effea, the Perfinal Style is naturally variable, accord- ing to the different Genius's, Humours, and Complexions.

'Tis the Imagination thatafts, that conceives, that pro- pofes, and that expreffes Things, according to its Character, which is different in all Men, and which is to be varied, according to the particular Kind of the Work. -

Hence arifes the Gay, the Grave, the Florid, the Jejune, the Copious, the Concifi, the 'Poetical, the Epijiolary, the Burlefque Styles.

Theft 'Perianal Styles are all Independant on the Gram- matical ; and we have Authors, who excel in the one, yet are miferably defeflive in the other. The 'Perfiual Style is not under the Direction of Grammar; but of the Imagina- tion, or rather of Rhetoric, rhat Art having ro do directly with our Thoughts, as Grammar with our Words.

This, however, may be laid, That Grammar is far from being able to vary the fame Words of a Phrale with equal Perfection ; and that generally there is but one Way of de- livering them in theTafte and Genius of the Language. Thus, the Grammatical Style, is invariable in the following Phtafe, and proportionably in others. Death is a Law, which all Men are to undergo : For you cannot well range the Words otherwile than they here are, without going out of the Bounds of Grammar. Would you fay, a Law is "Death, which all Men, i£c. or, a Law is Death, which, lie.

But in the 'Perfinal Style, where the Imagination comes to be concern'd, this Sentence might be varied infinite Ways, according to the Kind of the Writing, whether Oratorial, Poetical, £?c. As, Death neither [pares the Prince nor the 'Peafant. Death knocks equally at the Monarch's 'Palace and the 'Beggar's Hut, (3c.

Style, in Oratory and Poetry, is reftrain'd wholly to what F. Bnffier calls the 'Perfinal Style.

Language tefers principally to the Matter of the Difcourft, viz. the Words ; Elocution to the particular Members or Parts thereof; and Style, to the whole Compofition.

The Mailers of the Art, reduce the Kinds of Style to Three, the Sublime, the Low, and the Intermediate or equable Style.

The Sublime, is that confifting in magnificent Words and Sentences; which, by its noble Boldneis, ravi flies the Hear- ers, and extorts Admitation even from the Unwilling. See Sublime.

The low or fimple Style, is that ordinarily ufed in fmaller and humbler Works, as Epiftles, Dialogues and common Diicourft. The chief Virtues hereof are Perfpicuity, Smoothnels, Eafinefs and Cleannefs; it muft be very fparing in the Ule of Tropes and Figures, efpecially the more violent ones, as the •profopeceia, Jpojlmpbe, f£c.

The intermediate, equable Style, partakes of the Magni- ficence of the Sublime, and the" Simplicity of the Low. It neither rifts to the Majefty of the one in Wotds or Sen- tences; nor yet isfmartly pointed like the other: But, as; Tally excellently expreffes it, Eft Stylus quidam interjetlus, intermedins, gj quaji temferatus ; nee acumine inferioris,"tiec f'tlmine ntensfuperioris, vicimts amborum, in neutro excellent titriufqtie particeps.

The fame Author calls it the Florid and Polijh'd Style ; it being in this that all the Graces and Beauties of Language are principally to be ufed.

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