prejudice to melody, is the intermixture of Pyrrhics and Spondees; in which, two impressions in the one foot make up for the want of one in the other; and two long syllables compensate two short ones, so as to make the sum of the quantity of the two feet, equal to two Iambics.

On the green bank to look into the clear

Smooth lake that to me seem'd another sky.

Stood rul'd stood vást, înfinitude confin'd.

The next variety admitted is that of the Amphibrach.
Which many a bard hăd cháuntěd mánỹ ă dãy.

In this line, we find that two of the feet are amphibrachs; and three, lambics.

We have before shown that the cæsura improves the melody of verse; and we shall now speak of its other more important office, that of being the chief source of harmony in numbers.

The first and lowest perception of harmony, by means of the cæsura, arises from comparing two members of the same line with each other, divided in the manner to be seen in the instances before mentioned; because the beauty of proportion in the members, according to each of these divisions, is founded in nature; being as one to two-two to three-or three to two. The next degree arises from comparing the members of a cou plet, or two contiguous lines: as,

See the bold youth" strain up the threat'ning steep,
Rush through the thickets" down the valleys sweep

Here we find the cæsura of the first line, at the end of the
second foot; and in the middle of the third foot, in the last line.
Hang o'er their coursers' heads" with cager speed,
And earth rolls back” beneath the flying steed.

In this couplet, the Cæsura is at the end of the third foot, in the first line; and of the second, in the latter line.

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: 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 measure

ment, and an ampler scope for diversity and equality, those ources of beauty in harmony.

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.

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 Anapastic, the Trochaic, Iambic, or Spondaic, prevails even in common discourse, according to the different nature of the sentiments expressed. To imitate 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 oût hūge in length the arch fiend lay. The next example affords instances of the power of a Trochee beginning a line, when succeeded by an Iambus.

-and sheer within

Lights on his feet: as when a prowling wolf
Leáps o'er the fence with ease into the fold.

The Trochee which begins the line shows Satan in the act o lighting: 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 follows66 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, sops us unak pectedly, and forcibly impresses the imagination *** FE tess of the author's loss, the loss of sight.

No sooner had th' Almighty ceas'd, but all

The multitude of angels, with a shout

Loud" as from numbers without number" sweet

As from blest voices uttering joy.

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”
Ténded the sick" búsiest from couch to coúch'

And ōvěr thěm tríúmphánt death” his dárt”

Shook" but děláy'd to strike.

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 infor mation on the subject.

PUNCTUATION.*

PUNCTUATION 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, a 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, 66 Temperance preserves health." A compound sentence has more than one subject, or one finite

* 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 Syn ax, or of Prosody. The nature of the subject, its extent and importance, an the grammatical knowledge which it presupposes, have induced us to make it a distinct and subsequent article.

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 object, the end, the circumstance of timo, 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 tri fles and follies."

Members of sentences may be divided into simple and com pound members. See page 96.

CHAPTER I. Of the Comma.

The Comma usually separates those parts of a sentence. which, though very closely connected in sense and con <truction, require a pause between them.

Rule I. With respect to a simple sentence, the several 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 connexion 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 those interruptions are slight and unimportant, the comma is better omitted: as, “Flattery is certainly pernicious;" "There is surely a pleasure in beneficence."

In the generality of compound sentences, there is frequent occasion for commas. This will appear from the following rules; some of which apply to simple, as well as to compound sentences. Rule III. When two or more nouns occur in the same construction, they are parted by a comma: as, "Reason, virtue, answer one great aim:" "The husband, wife, and children, suffered extremely:"*" They took away their furniture, clothes, and

* As a considerable pause in pronunciation, is necessary between the last oun and the verb, a comma should be inserted to denote it. But as no pause allowable between the last adjective and the noun, under Rule IV. the coma is there properly omitted. See WALKER's Elements of Flocution.

stock in trade:" "He is alternately supported by his father, his uncle, and his elder brother."

From this rule there is mostly an exception, with regard to two nouns closely connected by a conjunction: as, " Virtue and vice form a strong contrast to each other:"" Libertines call religion bigotry or superstition;" "There is a natural difference between merit and demerit, virtue and vice, wisdom and folly." But if the parts connected are not short, a comma may be inserted, though the conjunction is expressed: as, “Romances may be said to be miserable rhapsodies, or dangerous incentives to evil;" "Intemperance destroys the strength of our bodies, and the vigour of our minds."

Rule IV. Two or more adjectives belonging to the same sub stantive are likewise separated by commas: as, "Plain, honest truth, wants no artificial covering;" "David was a brave, wise, and pious man ;" "A woman, gentle, sensible, well-educaten, and religious;""The most innocent pleasures are the sweetest, the most rational, the most affecting, and the most lasting."

But two adjectives, immediately connected by a conjunction, are not separated by a comma: as, "True worth is modest and retired;""Truth is fair and artless, simple and sincere, uniform and consistent." "We must be wise or foolish; there is no

medium."

Rule V. Two or more verbs, having the same nominative case, and immediately following one another, are also separated by commas: as, "Virtue supports in adversity, moderates in prosperity:" "In a letter, we may advise, exhort, comfort, request, and discuss."

Two verbs immediately connected by a conjunction, are an exception to the above rule: as, "The study of natural history expands and elevates the mind;" "Whether we eat or drink, labour or sleep, we should be moderate."

Two or more participles, are subject to a similar rule, and except tion: as, “A man, fearing, serving, and loving his Creator;" "He was happy in being loved, esteemned, and respected;"" By being admired and flattered, we are often corrupted."

Rule VI. Two or more adverbs immediately succeeding one another, must be separated by commas: as, "We are fearfully, wonderfully framed;""Success generally depends on acting prudently, steadily, and vigorously, in what we undertake."

But when two adverbs are joined by a conjunction, they are not parted by the comma: as, “Some men sin deliberately and presumptuously ;""There is no middle state; we must live virtu ously or vitiously."

Rule VII. When participles are followed by something that depends on them, they are generally separated from the rest of the sentence by a comma: as, "The king approving of the plan. put it in execution;""His talents, formed for great enterprises, could not fail of rendering him conspicuous;"" All mankind com. oose one family, assembled under the eye of one common Father."