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o cæsuras, and much more by that of semi-pauses. semi-pauses double every where the terms of comparigive a more distinct view of the whole and the parts; I new proportions of measurement, and an ampler for diversity and equality, those sources of beauty in ony.

Warms' in the sun' refreshes in the breeze,

Glows' in the stars and blossoms in the trees; Lives' through all life// extends through all extent, Spreads/ undivided// operates' unspent.

The last object in versification regards expression. hen men express their sentiments by words, they naly fall into that sort of movement of the voice, which is Onant to that produced by the emotion in the mind; and Dactylic or Anapestic, the Trochaic, Iambic, or Sponprevails even in common discourse, according to the rent nature of the sentiments expressed. To imitate re, therefore, the poet in arranging his words in the cial composition of verse, must take care to make the ement correspond to the sentiment, by the proper use e several kinds of feet: and this is the first and most ral source of expression in numbers.

hat a judicious management of the feet and pauses, be peculiarly expressive of particular operations and ments, will sufficiently appear to the learner, by a few Et examples under each of those heads.

the following instance, the vast dimensions of Satan shown by an uncommon succession of long syllables, ch detain us to survey the huge arch fiend, in his fixed

ure.

Sō stretch'd out huge in length the arch fiend lay. he next example affords instances of the power of a chee beginning a line, when succeeded by an Iambus. -and sheer within

Lights on his feet: as when a prowling wolf

Leaps o'er thě fénce with ease into the fōld.

The Trochee which begins the line shows Satan in the of lightning the Iambus that follows, fixes him— ights on his feet."

'he same artifice, in the beginning of the next line makes

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follows-with ease"-itself very exp by a Pyrrhic preceding the last footwhich indeed carries the wolf" with

The following instances show the cæsuras, so placed as to divide the lim portions such as that after the firs semipede.

-thus with th Seasons return, but not to me ret Day or the sweet approach of e

Here the casura after the first ser unexpectedly, and forcibly impresses the greatness of the author's loss, the No sooner had th' Almighty ceas The multitude of angels, with a = Loud as from numbers without As from blest voices uttering joy There is something very striking i sura, which suddenly stops the reader portance of a particular word.

We shall close the subject, with a the united powers of many of the I been explained.

Dire was the tossing" deep the
Ténded the sick// búsiest from
And over them triúmphánt deat
Shook" but dělāy'd to strike.

Many of the rules and observation are taken from "Sheridan's Art o book the Compiler refers the ingeni extensive information on the subject.

sition into sentences, or parts of sentences, nts or stops, for the purpose of marking the nt pauses which the sense, and an accurate ciation, require.

Comma represents the shortest pause; the olon, or pause, double that of the comma; lon, double that of the semicolon; and the 1, double that of the colon.

precise quantity or duration of each pause cannot be ; for it varies with the time of the whole. The ›mposition may be rehearsed in a quicker or a slower but the proportion between the pauses should be variable.

der more clearly to determine the proper applicathe points, we must distinguish between an imperrase, a simple sentence, and a Ɛompound sentence. mperfect phrase contains no assertion, or does not t to a proposition or sentence: as, "Therefore; in studious of praise."

mple sentence has but one subject, and one finite expressed or implied: as, " Tenperance preserves

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mpound sentence has more than one subject. or one verb, either expressed or understood; or it consists or more simple sentences connected together; as, d nature mends and beautifies all objects;" "Virtue = the affections, but vice de bases them "

sentence, the subject and the veib, or either of them, e accompanied with several adjur cts: as, the object, d. the circumstance of time, place, mannet, and the and the subject or verb may be either immediately tted with them, or mediately; that is, by being con

punctuation is intended to aid both the sense, and the pro tion of a sentence, it could not have been exclusively discuss er the part of Syntax, or of Proscay. The nature of the sub s extent and inportance, ard, the gian matical knowledge it presupposes, have induced us to make it a distinct and subt article.

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compound sentences. See, page 107.

CHAPTER I.

Of the COMMA.

THE Comma usually separates sentence, which, though very clos sense and construction, require them.

RULE I. With respect to a simple se words of which it consists have so nea other, that, in general, no points are full stop at the end of it: as, "The fea beginning of wisdom." "Every part with living creature."

A simple sentence, however, when i the nominative case is accompanied juncts, may admit of a pause immediat as, "The good taste of the present age, to neglect the cultivation of the Englis be totally indifferent to praise or censu in character."

RULE II. When the connection of th a simple sentence is interrupted by an comma is usually introduced before t the end of this phrase: as, "I remer his goodness to me:" "His work is, i imperfect. It is, therefore, not muc when these interruptions are slight a comma is better omitted: as, "Flatter cious" "There is surely a pleasure i

In the generality of compound senter occasion for commas. This will appea rules; some of which apply to simple pound sentences.

RULE III. When two or more nou construction, they are parted by a c virtue, answer one great aim :" "Th

om this

there is mostly exceput, with regalų 10 nouns closely connected by a conjunction: as, " Virind vice form a strong contrast to each other:" "Lib. es call religion bigotry or superstition;" "There is a ral difference between merit and demerit, virtue and wisdom and folly." But if the parts connected are short, a comma may be inserted: as, "Romances may aid to be miserable rhapsodies, or dangerous incentives vil;""Intemperance destroys the strength of our bo, and the vigour of our minds."

ULE IV. Two or more adjectives belonging to the same tantive are likewise separated by commas: as, "Plain, est truth wants no artificial covering;" "David was a e, wise, and pious man ;"" A woman, gentle, sensible, educated and religious;" "The most innocent pleasare the sweetest, the most rational, the most affecting, the most lasting."

ut two adjectives, immediately connected by a conjuncare not separated by a comma: as, "True worth is est and retired;" "Truth is fair and artless, simple sincere, uniform and consistent." "We must be wise

polish; there is no medium."

ULE V. Two or more verbs, having the same nominative , and immediately following one another, are also sepad by commas: as, "Virtue supports in adversity, erates in prosperity;" "In a letter, we may advise, ex, comfort, request, and discuss."

wo verbs immediately connected by a conjunction, are xception to the above rule: as, "The study of natural ory expands and elevates the mind;" "Whether we or drink, labour or sleep, we should be moderate.”

wo or more participles are subject to a similar rule and eption: as, "A man, fearing, serving, and loving his ator;" "He was happy in being loved, esteemed, and rected;""By being admired and flattered, we are often upted"

As a considerable pause in pronunciation is necessary between last noun and the verb, a comma should be inserted to denote But as no pause is allowable between the last adjective and the under Rule IV. the comma is there properly omitted.

See WALKER's Elements of Elocution.
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