ever obferve, that if compofition abound with fentences which have two many refts, and these placed at intervals apparently measured and regular, it is apt to favour of affectation.

The next thing which demands attention, is the clofe or cadence of the period. The only important rule, which can here be given, is this, when we aim at dignity or elevation, the found fhould increase to the laft; the longest members of the period, and the fulleft and most sonorous words fhould be referved for the conclufion. As an inftance of this the following fentence of Addifon may be given. "It fills the mind "with the largest variety of ideas; converfes with its "objects at the greatest diftance; and continues the longest in action without being tired or fatiated with "its proper enjoyments." Here every reader must be fenfible of beauty in the just distribution of the pauses, and in the manner of rounding the period, and of: bringing it to a full and harmonious close.

It, may be remarked, that little words in the conclu-fion of a fentence are as injurious to melody, as they are inconfiftent with ftrength of expreffion. A music-. al close in our language seems in general to require either the last fyllable, or the last but one, to be a long fyllable. Words which confift chiefly of short fyllables, as contrary, particular, retrofpect, feldom terminate a fentence harmoniously, unless a previous run of long fyllables have rendered them pleafing to the ear.

Sentences, however, which are fo conftructed as to make the found always fwell toward the end, and reft either on the last or penult fyllable, give a discourse the tone of declamation. If melody be not varied, the ear is foon cloyed with it. Sentences conftructed in the

Tame manner, with the paufes at equal intervals, should never fucceed each other. Short fentences must be blended with long and fwelling ones, to render difcourfe fprightly as well as magnificent.

We now proceed to treat of a higher fpecies of harmony; the found adapted to the fenfe. Of this we may remark two degrees. First, the current of found suited to the tenor of a difcourfe. Next, a peculiar refemblance effected between fome object and the founds that are employed in defcribing it.

Sounds have in many respects an intimate correspondence with our ideas; partly natural, partly produced by artificial affociations. Hence any one modulation of found continued, ftamps on ftyle a certain character and expreffion. Sentences, constructed with Ciceronian fullness, excite an idea of what is important, magnificent, and fedate. But they fuit no violent paffion, no eager reafoning, no familiar addrefs. Thefe require measures brisker, eafier, and often more abrupt. It were as abfurd to write a panegyrick and an invective in a style of the fame cadence, as to fet the words of a tender love-fong to the tune of a warlike march.

Befide the general correfpondence of the current of found with the current of thought, a more particular expreffion of certain objects by refembling founds may be attempted. In poetry this refemblance is chiefly to be fought. It obtains fometimes indeed in profe compofition; but there in an inferiour degree.

The founds of words may be employed for reprefenting chiefly three claffes of objects; firft, other founds; fecondly, motions; and thirdly, the emotions and paffions of the mind.

In most languages the names of many particular founds are fo formed, as to bear fome refemblance of the found which they fignify; as with us the whiftling of winds, the buzz and hum of infects, the bifs of ferpents, and the crash of falling timber; and many other inftances, where the name is plainly adapted to the found it reprefents. A remarkable example of this beauty may be taken from two paffages in Milton's Paradife Loft; in one of which he defcribes the found, made by the opening of the gates of hell ; in the other, that made by the opening of the gates of heaven. The contrast between the two exhibits to great advantage the art of the poet. The first is the opening of hell's gates;

On a fudden open fly

With impetuous recoil and jarring found.
Th' infernal doors; and on their hinges grate
Harfh thunder.-

Obferve the smoothnefs of the other;

-Heaven open'd wide

Her ever during gates, harmonious found!
On golden hinges turning.--

In the fecond place the found of words is frequently employed to imitate motion; as it is fwift or flow, violent or gentle, uniform or interrupted, easy or accompanied with effort. Between found and motion there is no natural affinity; yet in the imagination there is a ftrong one; as is evident from the connexion between mufick and dancing. The poet can therefore give us a lively idea of the kind of motion he would defcribe, by the help of founds which

in our imagination correfpond with that motion. Long fyllables naturally excite an idea of flow motion; as in this line of Virgil,

Olli interfefe magna vi brachia tollunt.

A fucceffion of fhort fyllables gives the impreffion of quick motion; as,

Sed fugit interea, fugit irreparabile tempus.

The works of Homer and Virgil abound with inftances of this beauty; which are so often quoted and fo well known, that it is unneceffary to produce them.

The third fet of objects, which the found of words is capable of reprefenting, confifts of emotions and paffions of the mind. Between fenfe and found there appears to be no natural resemblance. But if the arrangement of syllables by their found alone recall one fet of ideas more readily than another, and difpofe the mind for entering into that affection which the poet intends to raise; fuch arrangement may with propriety be faid to refemble this fenfe. Thus, when pleasure, joy, and agreeable objects are defcribed by one who feels his fubject, the language naturally uns in smooth, liquid, and flowing numbers.

-Namque ipfa decoram

Cæfariem nato genetrix, Jumenque juventæ
Purpureum, et lætos oculis afflarat honores.

Brifk and lively fenfations exact quicker and more animated numbers.

-Juvenum manus emicat ardens

Littus in Hefperium.

Melancholy and gloomy fubjects are naturally connected with flow measures and long words.

In thofe deep folitudes and awful cells,

Where heavenly penfive contemplation dwells.

Abundant inftances of this kind are suggested by a moderate acquaintance with good poets, either ancient or modern.

ORIGIN AND NATURE OF FIGURATIVE
LANGUAGE.

FIGURES may be described to be that language which is prompted either by the imagination or paffions. They are commonly divided by rhetoricians into two great claffes, figures of words, and figures of thought. The former are commonly called tropes, and confift in a word's being used to fignify fomething different from its original meaning. Hence, if the word be changed the figure is deftoyed. Thus, for instance, "light "arifeth to the upright in darkness." Here the trope confifts in "light and darkness" not being taken literally, but fubftituted for comfort and adverfity; to which conditions of life they are fuppofed to bear fome refemblance. The other clafs, termed figures of thought, fuppofes the figure to confift in the fentiment only, while the words are used in their literal fenfe ; as in exclamations, interrogations, apoftrophes, and comparisons; where, though the words be varic, or tranflated from one language into another, the fame figure is still preferved. This diftinction