therefore, to swell, or to let down the periods, as the subject demands, is a very important rule in oratory. No one tenour, whatever, supposing it to produce no bad effect from satiety, will answer to all different compositions; nor even to all the parts of the same composition. It were as absurd to write a panegyric, and an invective, in a style of the same cadence, as to set the words of a tender love-song to the air of a warlike march.

Observe, how finely the following sentence of Cicero, is adapted to represent the tranquillity and ease of a satisfied state. 'Etsi homini nihil est magis optandum quam prospera, æquabilis, perpetuaque fortuna, secundo vita sine ulla offensione cursu; tamen, si mihi tranquilla et placata omnia fuissent incredibili quâdam et penè divinâ, quâ nunc vestro beneficio fruor, lætitiæ voluptate caruissem.'* Nothing was ever more perfect in its kind: it paints, if we may so speak, to the ear. But, who would not have laughed, if Cicero had employed such periods, or such a cadence as this, in inveighing against Mark Antony, or Catiline? What is requisite, therefore, is, that we previously fix, in our mind, a just idea of the general tone of sound which suits our subject; that is, which the sentiments we are to express most naturally assume, and in which they most commonly vent themselves; whether round or smooth, or stately and solemn, or brisk and quick, or interrupted and abrupt. This gene ral idea must direct the modulation of our periods; to speak in the style of music, must give us the key note, must form the ground of the melody; varied and diversified in parts, according as either our sentiments are diversified, or as is requisite for producing a suitable variety to gratify the ear.

It may be proper to remark, that our translators of the Bible have often been happy in suiting their numbers to the subject. Grave, solemn, and majestic subjects, undoubtedly require such an arrangement of words as runs much on long syllables; and, particularly, they require the close to rest upon such. The very first verses of the Bible, are remarkable for this melody; 'In the beginning, God created the heavens and the earth; and the earth was without form and void; and darkness was upon the face of the deep; and the Spirit of God moved upon the face of the waters.' Several other passages, particularly some of the Psalms, afford striking examples of this sort of grave, melodious construction. Any composition that arises considerably above the ordinary tone of prose, such as monumental inscriptions, and panegyrical characters, naturally runs into numbers of this kind.

But in the next place, besides the general correspondence of the current of sound with the current of thought, there may be a more particular expression attempted, of certain objects, by means of resembling sounds. This can be, sometimes, accomplished in prose composition; but there only in a more faint degree; nor is it so much expected there. In poetry, chiefly, it is looked for; where attention to sound is more demanded, and where the inversions and

liberties of poetical style give us a greater command of sound; assisted, too, by the versification, and that cantus obscurior, to which we are naturally led in reading poetry. This requires a little more illustration.

The sounds of words may be employed for representing, chiefly, three classes of objects; first, other sounds; secondly, motion; and thirdly, the emotions and passions of the mind.

First, I say, by a proper choice of words, we may produce a resemblance of other sounds which we mean to describe, such as, the noise of waters, the roaring of winds, or the murmuring of streams. This is the simplest instance of this sort of beauty. For the medium through which we imitate here, is a natural one; sounds represented by other sounds; and between ideas of the same sense, it is easy to form a connexion. No very great art is required in a poet when he is describing sweet and soft sounds, to make use of such words as have most liquids and vowels, and glide the softest; or, when he is describing harsh sounds, to throw together a number of harsh syllables which are of difficult pronunciation. Here the common structure of language assists him; for it will be found, that in most languages, the names of many particular sounds are so formed, as to carry some affinity to the sound which they signify; as with us, the whistling of winds, the buz and hum of insects, the hiss of serpents, the crash of falling timber; and many other instances, where the word has been plainly framed upon the sound it represents. I shall produce a remarkable example of this beauty from Milton, taken from two passages in Paradise Lost, describing the sound made, in the one, by the opening of the gates of hell; in the other, by the opening of those of heaven. The contrast between the two, displays, to great advantage, the poet's art. The first is the opening of hell's gates:

-On a sudden, open fly,

With impetuous recoil, and jarring sound,
Th' infernal doors; and on their hinges grate
Harsh thunder.-

Observe, now, the smoothness of the other:

B. i.

B. ii.

The following beautiful passage from Tasso's Gierusalemme, has been often admired on account of the imitation effected by sound of the thing represented:

Chiama gli habitator de l'ombre eterne

Il rauco suon de la Tartareo tromba:

Treman le spaciose atra caverne,

Et l'aer cieco a quel rumor rimbomba;
Ni stridendo cosi de la superne
Regioni dele cielo, il folgor piomba;
Ne si scossa giammai la terra,

Quand i vapori in sen gravida serra.

CANT. IV. STANZ. 4.

The second class of objects, which the sound of words is often employed to imitate, is motion; as it is swift or slow, violent or

gentle, equable or interrupted, easy or accompanied with effort. Though there be no natural affinity between sound, of any kind, and motion, yet, in the imagination, there is a strong one; as appears from the connexion between music and dancing. And therefore, here it is in the poet's power to give us a lively idea of the kind of motion he would describe, by means of sounds which correspond, in our imagination, with that motion. Long syllables naturally give the impression of slow motion; as in this line of Virgil: Olli inter sese magna vi brachia tollunt.

A succession of short syllables presents quick motion to the mind; as Quadrupedante putrem sonitu quatit ungula campum.

Both Homer and Virgil are great masters of this beauty; and their works abound with instances of it; most of them, indeed, so often quoted, and so well known, that it is needless to produce them. I shall give one instance, in English, which seems happy. It is the description of a sudden calm on the seas, in a poem, entitled, The Fleece. -With easy course

The vessels glide; unless their speed be stopp'd

By dead calms, that oft lie on these smooth seas
When every zephyr sleeps; then the shrouds drop,
The downy feather, on the cordage hung,

Moves not; the flat sea shines like yellow gold
Fus'd in the fire, or like the marble floor

Of some old temple wide.

The third set of obiects which I mentioned the sound of words as capable of representing, consists of the passions and emotions of the mind. Sound may, at first view, appear foreign to these; but, that here also, there is some sort of connexion, is sufficiently proved by the power which music has to awaken, or to assist certain passions, and, according as its strain is varied, to introduce one train of ideas, rather than another. This, indeed, logically speaking, cannot be called a resemblance between the sense and the sound, seeing long or short syllables have no natural resemblance to any thought or passion. But if the arrangement of syllables, by their sound alone, recall one set of ideas more readily than another, and dispose the mind for entering into that affection which the poet mears to raise, such arrangement may, justly enough, be said to resemble the sense, or be similar and correspondent to it. I admit, that, in many instances, which are supposed to display this beauty of accommodation of sound to the sense, there is much room for imagination to work; and, according as a reader is struck by a passage, he will often fancy a resemblance between the sound and the sense, which others cannot discover. He modulates the numbers to his own disposition of mind; and, in effect, makes the music which he imagines himself to hear. However, that there are real instances of this kind, and that poetry is capable of some such expression, cannot be doubted. Dryden's Ode on St. Cecilia's Day, affords a very beautiful exemplification of it, in the English language. Without much study or reflection, a poet describing pleasure, joy, and

agreeable objects, from the feeling of his subject, naturally runs into smooth, liquid, and flowing numbers:

-Namque ipsa decoram

Cæsariem nato genetrix, lumenque juventæ
Purpureum, et lætos oculis afflarat honores.

Or,

Devenere locos lætos et amæna vireta

Fortunatorum, memorum, sedesque beatas;
Largior hic campos æther, et lumine vestit
Purpureo, solemque suum, sua sidera norant.

EN. L

EN. VI.

Brisk and lively sensations, exact quicker and more animated numbers:

-Juvenum manus emicat ardens

Littus in Hesperium.

Ex. VII.

Melancholy and gloomy subjects, naturally express themselves in slow measures, and long words:

In those deep solitudes and awful cells,

Where heavenly pensive contemplation dwells.

Et caligantem nigra formidine lucum.

I have now given sufficient openings into this subject: a moderate acquaintance with the good poets, either ancient or modern, will suggest many instances of the same kind. And with this I finish the discussion of the structure of sentences: having fully considered them under all the heads I mentioned; of perspicuity, unity, strength, and musical arrangement.

QUESTIONS,

How have we hitherto considered, Among words of any length, which sentences; and how are we now to are the most musical; and what exconsider them? Of sound, what is ob- amples are given? Of the next head, served; and why must it not be disre- what is observed; and why? In the garded? What remark follows? What harmonious structure and disposition is their effect on the imagination? of periods, who excelled all other wriWhat says Quintilian? How extensive ters? What is said of him; and what is the power of music over mankind? example is given? In English, from Of what, therefore, may language be whom is a sentence selected; and what rendered capable; and of what must is it? What is said of it? The structhis heighten our ideas? What remark ture of periods being susceptible of follows? In the harmony of periods, very considerable melody, what is our what two things may be considered? next inquiry? Were we to follow the Of them, respectively, what is obser- ancient rhetoricians upon this subject, ved? First, then, what shall we consi- why would it be easy to give a great der; and to what shall we confine our-variety of rules? What do they hold; selves? This beauty of musical con- and how far do they go? What, construction in prose, will depend upon what sequently, follows? Who are full of two things? With what does our au- this? What qualities do they handle thor begin; and on this head, what is slightly; and where are they copious? observed? What words, is it evident, Of Dionysius of Halicarnassus, what is are most agreeable to the ear? What observed; and what has he done? In may always be assumed as a principle? what four things does he make the exWhat do vowels and consonants, re-cellence of a sentence to consist? On spectively, give to the sound of a word? all these points, how does he write; What does the music of language re-and what follows? Of this whole subquire; and what will be the effect of ject of musical structure of discourse, an excess in either? Which are most what is observed? Why will it be neagrecable to the ear? By what do cessary to give the reasons for this? they please it; and what follows? What is the first reason assigned; and

what is observed; and to this sort of flowing measure, what must be attributed? What must, however, at the same time be observed ?

why? What is the next reason assigned? Of music, among them, what is observed? What have several learned men clearly proved; and what follows? How was all sort of declama- What is the next thing to be attendtion and public speaking carried on by ed to? What says Quintilian on this them; and to what did it approach? subject? When we aim at dignity, Among the Athenians, what existed? what is the only important rule that Among the Romans, what noted story can be given? What example of this prevails? What remark follows? Of is given? Hence, of what must every Quintilian, what is here observed ? reader be sensible? Why does a fallHence, what do we find marked upon ing off at the end injure the melody of the Greek syllables; and for what pur- a sentence? What is here more than pose? Of the Romans, what is here probable; and for what reason? To observed? What is one clear reason illustrate this remark, what example why the Greeks and Romans paid is given; and how might it be correctmuch greater attention to the musical ed? In general, what seems to hold construction of their sentences than we true? Under what circumstances only, do? What is further known, as an- do short syllables conclude a sentence other reason why it deserved to be more harmoniously? What sentences is it studied? What does Cicero tell us; necessary, however, to observe, give a and what does he give? By means of discourse the tone of declamation; and the sound of which, alone, what effect why? If we would keep up the attendoes he tell us was produced? Though tion of the reader or hearer, what is it be true that Carbo's sentence is ex-requisite? What does this equally retremely musical, yet, what cannot our gard? What sentences should never author believe; why; and what fol- follow one another? Why should short lows? For these reasons, of what is it sentences be intermixed with long ones; in vain to think? What has the doc- and even what have sometimes a good trine of the Greeks and Romans, on effect? Of monotony, what is observed; this head, misled some to imagine? On what writers are apt to fall into it; this subject, what is first remarked; and and what follows? How are a very why? What is the next remark? And vulgar ear, and a just and correct one, lastly, of this whole doctrine, what is here contrasted? Though attention to remarked? Of the attention of the an- the music of sentences must not be cients to the melody of discourse, what neglected, yet why must it be kept is further observed? If we consult Ci-in proper bounds? What are great cero's Orator, what shall we see? blemishes in writing; and why? As Why is it not possible to give precise sense has its own harmony, as well as rules concerning this matter, in any sound, what follows? To what conclulanguage? Notwithstanding this musi-sion does Quintilian, after all the labour cal arrangement cannot be reduced which he bestows to regulate the into any system, yet what is our au- measure of prose, come? What is here thor far from thinking? On the con- said of Cicero; and what must we obtrary, what does he hold; and what serve in his defence? Among the few follows? What, in this, must chiefly English classical writers, what is redirect him; and why? On what two marked of Milton, and of the writers of things does the music of a sentence the age in which he lived? Of Lord chiefly depend? In the proper distri- Shaftesbury, what is observed; and bution of the several members of a sen- also of Mr. Addison, Sir William Temtence, what is it of importance to observe? ple, Archbishop Tillotson, Bishop AtWhile the period is going on, what terbury, and Dean Swift? Hitherto, of does the termination of each of its mem- what has our author discoursed; and bers form; and how should these rests what yet remains? How are these conbe distributed? By what example will trasted? What are the two degrees of this be best illustrated? Why is there it, which we may remark? With what not, in this sentence, any harmony? have sounds a correspondence; and On the other hand, what shall we ob- hence, what happens? What is the serve? Of what is he speaking? Re-effect of sentences constructed after the peat the passage. Of this passage, Ciceronian fulness; and why? Wha