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lief that there is a real difference of local interests and views. One of the expedients of party to ac quire influence, within particular districts, is to misrepresent the opinions and aims of other districts. You cannot shield yourselves too much against the jealousies and heart-burnings which spring from these misrepresentations; they tend to render alien to each other those who ought to be bound together by fra ternal affection.
All obstructions to the execution of the laws, all combinations, and associations under whatever plausible character, with the real design to direct, controul, counteract, or awe the regular deliberations and actions of the constituted authorities, are des tructive of the fundamental principles of our govern ment, and of fatal tendency. They serve to organize faction; to give it an artificial and extraordinary force; to put it in the place of the delegated will of the nation, the will of a party, often a small but artful and enterprizing minority of the community; and according to the alternate triumphs of different parties, to make the public administration the mirror of the illconcerted and incongruous projects of fashion, rather than the organ of consistent and wholesome plans, digested by common councils, and modified by mutual
However combinations or associations of the above description may now and then answer popular ends, they are likely in the course of time and things, to become potent engines, by which cunning, ambitious, and unprincipled men, will be enabled to subvert the power of the people, and to usurp for themselves the reigns of government; destroying afterwards the very engines which have lifted them to unjust dominion.
How far in the discharge of my official duties, I have been guided by the principles that have been delineated, the public records and other evidences of my conduct must witness to you and to the world. To myself the assurance of my own conscience is, that I have at least believed myself to be guided by them.
PIECES IN POETRY.
RULES FOR READING POETRY.
Rule I. As the exact tone of the passion, emotion, or sentiment which verse excites, is not, at the commencement of a piece with which we are not ac"quainted, easy to hit, it will be proper to begin a poem in a simple and almost prosaic stile, and so proceed till we are warmed by the subject, and feel the passion or emotion we wish to express.
Rule II. Pronounce poetry with that measured, harmonious flow, which distinguishes it from prose. Avoid, in humouring the smoothness and melody of verse, all monotony sing song, and bombastic cant, which too often usurp the place of graceful and harmonious reading.
Rule III. In verse, every syllable must have the same accent, and every word the same emphasis as in prose. If by observing this rule, some poetry should be reduced to prose, the fault must rest with the poet, not with the reader.
In the first example which follows, the word as should have no accent, because it is a light syllable in both lines-the word excellent in the second, and eloquence in the third example, must have the accent upon the first syllables, and not upon the last, as the verse requires :
RULES FOR READING POETRY.
Eye nature's walks, shoot folly as it flies,
Rule IV. The vowel e, which is frequently cut off and supplied by an apostrophe, as th', every, gen' rous, dang'rous, ought to be both written and pronounced. Such words as giv'n and heav'n, should have the e in the last syllable written but not pronounced. To should not be written t' but to and also pronounced. Why the present poets write looked, loved, asked, instead of look'd, lov'd, ask'd, when the verse neither admits of them, nor are they ever so pronounced in prose when it is properly read, is a query I leave to themselves to solve.
Rule V. In familiar, strong, argumentative subjects, the falling inflexion should prevail, being more adapted to express activity, force, and precision: whereas light, beautiful, and particularly plaintive subjects, naturally take the rising inflexion as more expressive of such sentiments and feelings.
Rule VI. Sublime, grand, and magnificent description in poetry, frequently require a lower tone of voice, and sameness of inflexion approaching to a monotone.
Rule VII. A simile in poetry must be read in a lower tone than that which precedes it.
Rule VIII. Where there is no pause in the sense at the end of a verse, the last word must have the same inflexion it would have in prose.
Over our heads a chrystal firmament
THE FOLLOWING EXAMPLES CONTAIN VERSES, THE SOUND OF WHICH IS AN ECHO TO THE SENSE.
Soft and Rough.
Soft is the strain when Zephyr gently blows,
When Ajax strives some rock's vast weight to throw, The line too labours, and the words more slow.
Swift and Easy.
Not so when swift Camilla scours the plain, Flies o'er the unbending corn and skims along the main.
Loud sounds the axe redoubling strokes on strokes : On all sides round the forest hurls her oaks Headlong. Deep echoing groan the thickets brown; Then rustling, crashing, cracking, thunder down.
Sound of a Bow String.
The string let fly,
Twanged short and sharp, like the shrill swallows cry.
Scylla and Charybdis.
Dire Scylla there a scene of horror forms,
Boisterous and Gentle Sounds.
Two craggy rocks projecting to the main,
Laborious and Impetuous Motion.
With many a weary step and many a groan,
Regular and Slow Movement.
First march the heavy mules securely slow;
Slow and Difficult Motion.
A needless Alexandrine ends the [along. That, like a wounded snake, drags its slow length
A Rock torn from the Brow of a Mountain.
Still gaining force, it smokes, and urg'd amain, [plain. Whirls, leaps, and thunders down, impetuous to the
Extent and Violence of the Waves.
The waves behind impel the waves before,