But it is not on the praises of others, but on his own writings, that he is to depend for the esteem of posterity; of which he will not easily be deprived, while learning shall have any reverence among men; for there is no science in which he does not discover some skill; and scarce any kind of knowledge, profane or sacred, abstruse or elegant, which he does not appear to have cultivated with success.

His exuberance of knowledge, and plenitude of ideas, sometimes obstruct the tendency of his reasoning and the clearness of his decisions:  on whatever subject he employed his mind, there started up immediately so many images before him, that he lost one by grasping another.  His memory supplied him with so many illustrations, parallel or dependent notions, that he was always starting into collateral considerations; but the spirit and vigour of his pursuit always gives delight; and the reader follows him, without reluctance, through his mazes, in themselves flowery and pleasing, and ending at the point originally in view.

“To have great excellencies and great faults, ’magnae; virtutes nee minora vitia,’ is the poesy,” says our author, “of the best natures.”  This poesy may be properly applied to the style of Browne; it is vigorous, but rugged; it is learned, but pedantick; it is deep, but obscure; it strikes, but does not please; it commands, but does not allure; his tropes are harsh, and his combinations uncouth.

He fell into an age in which our language began to lose the stability which it had obtained in the time of Elizabeth; and was considered by every writer as a subject on which he might try his plastick skill, by moulding it according to his own fancy.  Milton, in consequence of this encroaching license, began to introduce the Latin idiom:  and Browne, though he gave less disturbance to our structures in phraseology, yet poured in a multitude of exotick words; many, indeed, useful and significant, which, if rejected, must be supplied by circumlocution, such as commensality, for the state of many living at the same table; but many superfluous, as a paralogical, for an unreasonable doubt; and some so obscure, that they conceal his meaning rather than explain it, as arthritical analogies, for parts that serve some animals in the place of joints.

His style is, indeed, a tissue of many languages; a mixture of heterogeneous words, brought together from distant regions, with terms originally appropriated to one art, and drawn by violence into the service of another.  He must, however, be confessed to have augmented our philosophical diction; and, in defence of his uncommon words and expressions, we must consider, that he had uncommon sentiments, and was not content to express, in many words, that idea for which any language could supply a single term.

But his innovations are sometimes pleasing, and his temerities happy:  he has many “verba ardentia” forcible expressions, which he would never have found, but by venturing to the utmost verge of propriety; and flights which would never have been reached, but by one who had very little fear of the shame of falling.