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 couplet, or two contiguous lines: as,

See the bold youth" strain up the threat'ning steep,
Rush thro' 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 eager 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 semipauses 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;
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 Anapæstic, 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 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 Iambus. -and sheer within

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

The Trochee which begins the line shows Satan in the act of 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—“ leáp o’èr 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 fold"-which indeed carries the wolf-" with ease into the fold."

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 un

expectedly, and forcibly impresses the imagination with the greatness 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 groans" Despair"
Ténded the sick" búsiest from couch to couch"
And over them Triumphant death" his dárt"
Shook" but dělay'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 information 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 *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 Prosody. The nature of the subject, its extent and importance, and the grammatical knowledge which it presupposes, have induced us to make it a distinet and subsequent article.

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 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 oftrifles and follies."

Members of sentences may be divided into simple and compound members. See page 101.

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 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 im

perfect. 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 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 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 substantive 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-educated, 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."

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