The next perception of harmony arises from comparing a greater number of lines, and observing the relative proportion of the couplets to each other, in point of similarity and diversity, as : 1 Thy forests, Windsor," and thy green retreats, At once the monarch's" and the muse's seats, Invite my lays." Be present Sylvan maids, Unlock your springs" and open all your shades. Not half so swift" the trembling doves can fly, When the fierce eagle" cleaves the liquid sky; Not half so swiftly" the fierce eagle moves, When through the clouds" he drives the trembling doves. In this way, the comparison of lines variously apportioned by the different seats of the three cæsuras, may be the source of a great variety of harmony, consistent with the finest melody. This is still increased by the introduction of two cæsuras, and much more by that of semi-pauses. The semi-pauses double every where the terms of comparison; give a more distinct view of the whole and the parts; afford new proportions of measurement, and an ampler scope for diversity and equality, those sources of beauty in harmony. Warms' in the sun" refreshes' in the breeze, Glows' in the stars" and blossoms' in the trees; 3d. The last object in versification regards expression. When men express their sentiments by words, they naturally fall into that sort of movement of the voice, which is consonant to that produced by the emotion in the mind; and the Dactylic or Anapæstic, the Trochaic, Iambic, or Spondaic, prevails even in common discourse, according to the different nature of the sentiments expressed. To imi te nature, therefore, the poet in arranging his words in the artificial composition of verse, must take care to make the movement correspond to the sentiment, by the proper use of the several kinds of feet and this is the first and most general source of expression in numbers: That a judicious management of the feet and pauses, may be peculiarly expressive of particular operations and sentiments, will sufficiently appear to the learner, by a few select examples under each of those heads. In the following instance, the vast dimensions of Satan are shown by an uncommon succession of long syllables, which detain us to survey the huge arch fiend, in his fixed posture. Sō stretch'd out huge in length the arch fiend lay. The next example affords instances of the power of a Trochee beginning a line, when succeeded by an Iamburs: -and sheer within Lights on his feet: as when a prowling wolf The Trochee which begins the line shows Satan in the act of lightning : the Iambus that follows, fixes him-"Lights on his feet." The same artifice, in the beginning of the next line, makes us see the wolf" leap o'er the fence."-But as the mere act of leaping over the fence, is not the only circumstance to be attended to, but also the facility with which it is done, this is strongly marked, not only by the smooth foot which follows-" with ease"-itself very expressive, but likewise by a Pyrrhic preceding the last foot into the fōld”which indeed carries the wolf" with ease into the fōld” The following instances show the effects produced by cæsuras, so placed as to divide the line into very unequal portions: such as that after the first, and before the last semipede. -thus with the year Seasons return, but not to me returns Day" or the sweet approach of even or morn. Here the cæsura after the first semipede Day, stops us unexpectedly, and forcibly impresses the imagination with the greatness of the author's loss, the loss of sight. No sooner had th' Almighty eeas'd, but all The multitude of angels, with a shout Loud" as from numbers without number' sweet There is something very striking' in this uncommon cæsura, which suddenly stops the reader, to reflect on the importance of a particular word. We shall close the subject, with an example containing the united powers of many of the principles which have been explained. Dire was the tossing" deep the grōans" Despair” Many of the rules and observations respecting Prosody, are taken from "Sheridan's Art of Reading;" to which book the Compiler refers the ingenious student, for more extensive information on the subject PUNCTUATION.* FUNCTUATION is the art of dividing a written composition into sentences, or parts of sentences, by points or stops, for the purpose of marking the different pauses which the sense, and an accurate pronunciation, require. The Comma represents the shortest pause; the Semicolon, or pause, double that of the comma; the Colon, double that of the semicolon; and the Period, double that of the colon. The precise quantity or duration of each pause cannot be defined; for it varies with the time of the whole. The same composition may be rehearsed in a quicker or a slower time; but the proportion between the pauses should be ever invariable. In order more clearly to determine the proper application of the points, we must distinguish between an imperfect phrase, a simple sentence, and a compound sentence. An imperfect phrase contains no assertion, or does not amount to a proposition or sentence: as, "Therefore; in haste; studious of praise." A simple sentence has but one subject, and one finite verb, expressed or implied: as, " Temperance preserves health." A compound sentence has more than one subject, or one finite verb, either expressed or understood; or it consists of two or more simple sentences connected together; as, "Good nature mends and beautifies all objects;" "Virtue refines the affections, but vice debases them." In a sentence, the subject and the verb, or either of them, may be accompanied with several adjuncts: as, the * As punctuation is intended to aid both the sense, and the pronunciation of a sentence, it could not have been exclusively discussed under the part of Syntax, or of Prosody. The nature of the subject, its extent and importance, and the grammatical knowledge which it presupposes, have induced us to make it a distinct and subsequent article, object, the end, the circumstance of time, place, manner, and the like: and the subject or verb may be either immediately connected with them, or mediately; that is, by being connected with something which is connected with some other, and so on: as, " The mind, unoccupied with useful knowledge, becomes a magazine of trifles and follies." Members of sentences may be divided into simple and compound sentences. See page 128. CHAPTER I. Of the COMMA. THE Comma usually separates those parts of a sentence, which, though very closely connected in sense and construction, require a pause between them. RULE I. With respect to a simple sentence, the sever al words of which it consists have so near a relation to each other, that, in general, no points are requisite, except a full stop at the end of it: as, "The fear of the Lord is the beginning of wisdom." "Every part of matter swarms with living creatures." A simple sentence, however, when it is a long one, and the nominative case is accompanied with inseparable adjuncts, may admit of a pause immediately before the verb: as, The good taste of the present age, has not allowed us to neglect the cultivation of the English language." "To be totally indifferent to praise or censure, is a real defect in character." RULE II. When the connection of the different parts of a simple sentence is interrupted by an imperfect phrase, a comma is usually introduced before the beginning, and at the end of this phrase: as, "I remember, with gratitude, his goodness to me:" "His work is, in many respects, very imperfect. It is, therefore, not much approved." But when these interruptions are slight and unimportant, the comma is better omitted: as, "Flattery is certainly pernicious:" "There is surely a pleasure in benef cence." |