Blair’s Lectures on Discourse and Composition

Response by Ricki Higdon

In a series of lectures given at the University of Edinburgh, Hugh Blair, Professor of Rhetoric and Belles Letters from 1759 to 1783, expounds on the study of rhetorical discourse and composition in a text so beautifully constructed and finely detailed that the published lectures serve as their own best example. Blair is thoroughly enchanted with human discourse, and when reading his profound teachings, written with such simple eloquence, one is soon susceptible to falling under the same spell.

In the introductory lecture, Blair writes "One of the most distinguished privileges which Providence has conferred upon mankind, is the power of communicating their thoughts to one another" (798). This opening, and deceivingly simple statement, which serves as the foundation for the lectures to follow, established the core from which Blair constructs his recurring theme—the absolute pureness one can attain in the study and application of language and composition.

One would be hard put to imagine that Blair would suffer lightly the disintegration of language in today’s society, for even in the day in which the lectures were written, Blair conceded that "the study of discourse as an art" had brought upon itself a shroud of distaste. Blair writes, "…when the arts of speech and writing are mentioned, I am sensible [of the] many prejudices against them…" (798).

Blair goes on to credit these dark opinions to "the minute and trifling study of words alone; the pomp of expression; the studied fallacies of rhetoric; ornament substituted in the room of use" (798). In his efforts to overthrow these various camps, Blair summarizes his purposes in creating the lectures.

• To apply the principles of reason and logic to the arts of speech and writing.
• To explode false ornament.
• To direct attention more towards substance than show.
• To recommend good sense as the foundation of all good composition.
• To establish simplicity as essential to all true ornament.

Rather than hold up the study of language as a loftier undertaking than other academic

pursuits, Blair does not hesitate to acknowledge the importance of an education in all of the liberal arts. He writes, "It is indeed impossible to contrive an art, … which should give the stamp of merit to any composition rich or splendid in expression, but barren or erroneous in thought" (799).

For Blair, neither the fundamental knowledge of a subject, nor the ability to express oneself gracefully, stand alone. It is only when one is capable of both conceiving the grand idea and of expressing that idea with clarity and eloquence, that one can "do justice to his [or her] own conceptions" (799). Significant for any student of composition is Blair’s theory that through the act of composing, one becomes more deeply involved with his or her own knowledge of a given subject. He states, "the study of arranging and expressing our thoughts with propriety, teaches to think, as well as to speak, accurately. By putting our sentiments into words, we always conceive them more distinctly" (800).

Among the other merits of his lectures, Blair explores the value of criticism as an art. For Blair, the art of criticism is not an engagement in finding the shortcomings of a text, but, rather, it is a means of discerning the merits of a work. True criticism, according to Blair, "…teaches us … to admire and to blame with judgment, and not to follow the crowd blindly" (801). Raising rhetorical study to a higher plane, Blair proclaims that developing the skills of discourse, composition, and criticism advances ones ability to understand. He explains,

To apply the principles of good sense to composition and discourse; to examine what is beautiful, and why it is so; to employ ourselves in distinguishing accurately between the specious and the solid, between affected and natural ornament, must certainly improve us not a little in the most valuable part of all philosophy, the philosophy of human nature. (801)

Blair launches his second lecture, an examination of the matter of taste, by questioning "whether it is to be considered as an internal sense, or as an exertion of reason" (803). He quickly established "that taste is not resolvable into any such operation of reason" (803).

Blair points out that, often, one can be pleasantly affected by an object, yet have no explanation as to why, no reason, that that particular object should provide so much pleasure. He goes on to explain that while taste is an ability intuitive to most, it is nevertheless distributed in unequal proportions. What might catch the eye of one observer, might not garner a glance from another.

Next, Blair considers the question of whether it is possible to refine in a person his or her sense of taste. His response is a resounding yes, and the means for achieving this improvement, according to Blair, are education and culture.

Blair points out "When one is only beginning his acquaintance with works of genius, …he cannot point out the several excellencies or blemishes of a performance which he pursues; [b]ut allow him more experience in works of this kind, and his taste becomes by degrees more exact and enlightened" (804).

In Lecture XIV, "Origin and Nature of Figurative Language," Blair examines figures of speech. According to Blair, figurative language knows no educational or cultural boundary. "They are not the inventions of schools, nor the mere product of study: on the contrary, the most illiterate speak in figures, as often as the most learned" (810). For Blair, the attraction of figures of speech lie in their ability to embellish a simple communication. He writes, "Simple expression just makes our idea known to others; but figurative language, … bestows a particular dress upon that idea; a dress which both makes it to be remarked, and adorns it" (811).

As an explanation of the conception and advancement of figures of speech, Blair describes the origin of language itself and points out that eventually, if every object that humans came across had been given a separate name, the human vocabulary would have been too cumbersome to be effective. Instead, Blair states, early speakers "made one word, which they had already appropriated to a certain idea or object, stand also for some other idea or object; between which and the primary one, they found, or fancied, some relation" (812). It is Blair’s assertion that figures of speech contribute greatly to eloquence and style. He says, "…they enrich language, and render it more copious, by their means, words and phrases are multiplied for expressing all sorts of ideas" (814).

In the remaining lectures chosen by editors Bizzell and Herzberg, Blair continues his discourse on Eloquence, or Public Speaking…, Lecture XXV, and Conduct of a Discourse, Lecture XXXII. It is difficult to discern whether the most value is gained from the lessons and profound wisdom found in Blair’s Lectures, or in the exquisite pleasure one derives from reading the work as prose. For the student of composition and language, Blair’s works are highly recommended. Not only do the Lectures provide a beneficial resource for improving one’s own compositions, but Blair’s fundamental beliefs about the construction and application of rhetorical discourse serve as a supportive mandate for justifying one’s academic endeavors in the disciplines of literature and language. For those in the trenches, who daily endeavor to instruct students in the art of composition, Blair’s words serve as a rally cry. And in Blair himself, one finds a kindred spirit; a comrade-in-arms who worships at the altar of the well-chosen word.

Works Cited

Blair, Hugh. "From Lectures on Rhetoric and Belles Lettres." The Rhetorical Tradition. Ed.

Patricia Bizzell and Bruce Herzberg. Boston: Bedford Books, 1990

History of Rhetoric II, Dr. Wayne Stein, January 18, 2000