every other acquisition;" when the sentence, thus completed, exhibits two classes of agents, actions, and subjects, but contains only one full meaning, or one proposition.

2. Again," If virtue constitutes the supreme good; if it can com municate the most substantial comfort and support;" still these two members leave the sense imperfect, and the mind hesitates, till it is added, "all wise men.will prefer it to every other acquisition;" this completes both the proposition and the meaning.

3. The inconclusive members may be farther augmented: "If virtue constitutes the supreme good; if it can communicate the most substantial comfort and support; if it oan-procure the approbation of all good men in this world, and the. favour of heaven hereafter;" still the sense is incomplete, till the efficient member is subjoined, "all wise men will prefer it to every other acquisition;" which produces an entire proposition, fully satisfies the mind, and preserves the unity of the period. (Corol. Art. 133.)

Corol. From these observations it is apparent, that the unity of a sentence is not impaired by its length, and that it will naturally be longer or shorter as the leading agent or member is attended with more or fewer dependent or explanatory agents, or members. No more members must ever be accumulated than are consistent with unity and perspicuity; but neither should the meaning nor the cadence be interrupted by a frequent recurrence of abrupt sentences of one or two members. The sense is the main regulating principle of the length; the sound is only a secondary consideration; if; however, the former be preserved, the latter may be consulted, by a variety of modulation as great as possible. (Scholium, Art: 138.)

135. SHORT SENTENCES impart animation and energy to 'style. They are contrasts to periods, they are simple and perspicuous, and the ideas which they convey are usually lively, forcible, or dignified. They are also employed chiefly to deliver maxims of wisdom and sublime sentiments, which, supported by their natural importance and elevation, spurn the pomp and ornaments of language. (Art. 142.)

Obs. The intermediate sentences of two or three members participate the vivacity of short sentences, or the force and cadence of periods, according as they approach nearer to the one or the other. Their business is to convey the greater part of the sentiments which occur in the course of a long work, and which can be neither very lively nor very forcible.

136. All complex sentences are not equally connected, nor are their members equally dependent on one another. The members are often conjoined by a simple copulation, and the relation, in respect of meaning, amounts to little more than juxta-position: They contain different views of the same thought; or the succeeding members explain, illustrate, extend, or restrict the preceding. (Art. 134:)

Tus. The following example will elucidate these remarks. “Eve

ry one is in some measure master of the art which is generally distinguished by the name of physiognomy, and naturally forms to himself the character or fortune of a stranger, from the features and lineaments of his face."* Expunge the copulative, resume the agent every one, and two complete sentences will appear; so loose is the connexion. (See Art. 121.) ift bima di. yasat nie ....:

i noiteberg v. i 137. Sentences, also, which contain the correspondent conjunctions, seldom admit more than two:members. (See Art. 127.)

Example. "As the secrets of the Ugly Club were exposed to the public, that men might see there were some noble spirits in the world, who were not displeased with themselves upon considerations they had no choice in; so the discourse concerning idols tended to lessen the value which people put upon themselves for personal accomplishments, and gifts of nature." The reader need not be told, that the conjunctions here are, as and so,

138. THE FULL PERIOD of several members possesses most dignity and modulation, and conveys also the greatest degree of force, by admitting the closest compression of thought. The members, are generally conditional, and denote supposition or contrast.

Illus. 1. By supposition is understood, that the preceding members furnish a foundation, on which the conclusion is built; or that they operate as a climax, by which it is raised to the highest elevation.

2. By contrast is understood, that the preceding members are opposed to the concluding member, which, notwithstanding, possesses such energy, that the contrast takes place with irresistible effect.

3. If, besides, such periods are properly constructed; if the members are so formed, as to swell one above another in sound, as well as in sentiment; the impression will become so exceedingly powerful, as not to escape the most inattentive observer.

Example 1. Cicero supplies a beautiful period of the former species, in his oration for the Manilian law. Quare cum et bellum ita necessarium sit, ut neglegi non possit; ita magnum, ut accuratissime sit administrandum; et cum si imperatorem præficere possitis, in quo sit eximia belli scientia, singularis virtus, clarissima auctoritas, egregia fortuna; dubitabitis, Quirites, quin hoc tantum boni, quod vobis a diis immortalibus oblatuin et datum est, in rempublicam conservandam atque amplificandam conferatis."

Illus. The members present a striking gradation in the sentiment. The war is absolutely necessary, and of great magnitude; Pompey is the greatest, the bravest, the most successful general; he must therefore be preferred, to secure the favour of the gods, and the safety of the empire, An analogous elevation is discernible in the sound. The members rise above one another, both in length and modulation. The pleasure of the ear powerfully concurs to recommend and impress the :,,,,

sense.

Example 2. The subsequent period will supply an example of the ̧ latter species. Though the people should riot, and project insur

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reetion; though the tyrant should rage, and threaten destruction; though the hurricane should lay open the bed of the sea, and the earthquake should tear the globe in pieces; though the stars should fall from their spheres, and the frame of nature should be dissolved; yet, according to Horace, Virtue will protect her votaries, and the good man will remain tranquil amid the ruins of the world."

Mus. A similar gradation is perceptible, as in the preceding instance. The members increase both in extent and cadence. The rising series of contrasts convey inexpressible dignity and energy to the conclusion.

Scholium. The proper union of sentences, also, is a matter of considerable importance to the effect of a composition. It seems, indeed, to be difficult, if not impracticable, to assign any rules relative to the proper intermixture of sentences expressive of strong, or even of moderate passion, as feelings on such occasions supersede all the dictates of theory, and the considerations of sound. (Illus. Art. 73.) But in grave and extended compositions, where the chief aim of the author is to instruct and amuse, the practice best supported by reason and experience, is, to intermix short, long, and intermediate sentences, in such a manner as to introduce as great variety as possible of cadences. Great care, however, must be taken to conceal all attention to art. If it become apparent, it disgusts the reader, and generally loses its effect. The species of sentence preferred by the writer should always seem to be the most proper and natural he could have employed. Its length should be determined always by the sense, never by the punctuation. (Illus. Corol. and Art. 147.)

CHAPTER II.

OF THE ERRORS TO BE AVOIDED IN THE STRUCTURE OP SENTENCES, AND THE ARRANGEMENT of single WORDS.

139. WE derive little light from the names, ambitus, circuitus, comprehensio, circumscriptio, employed by Cicero, and approved by Quinctilian, as definitions of a period.These names are manifestly derived from the Greek term regíodos; and the Latin critics have not ventured to proceed farther than their masters. (Illus. 2. Art. 130.)

Obs. Without having recourse to the meaning of a period, or the species of dependence that subsists among its members, to explain its nature, they have been satisfied with some indefinite speculations about its length, and the artificial measure in which it ought to be composed. They tell us, it should seldom exceed the length of four hexameter verses, or require more time to pronounce it than is requisite for one complete respiration of a full-grown man.* But the practice of the most perfect orators of antiquity frequently transgressos

these rules.

Cic. Orat. chap. 66. Quinct. lib. IX. chap. 4

140. If two or more leading thoughts or agents, which have no natural relation to one another, nor any dependence on one another, and which concur not in pointing toward any one object, are introduced into a sentence, they will destroy its unity. This is a frequent and gross error in the structure of sentences.

Example. "As much as the fertile mould is fitted to the tree as much as the strong and upright trunk of the oak or elm is fitted to the twining] branches of the vine or ivy, so much are the very leaves, the seeds, and the fruits of these trees fitted to the various animals; these again, to one another, and to the elements where they live, and to which they are as appendices, in a manner, fitted and joined; as either by wings for the air, fins for the water, feet for the earth, and by other correspondent inward parts, of more curious frame and texture."*

Illus. This long and involved period presents two agents; trees lead the first member, animals the second and the third.It should, therefore, it seems, be divided into two, or, perhaps, three sentences, with the proper agents prefixed. In this view, the first member may remain as it is, but the second and third members will assume the following appearance. Animals, again, are fitted to one another, and to the elements where they live, and to which they are as appendices. They are adapted by wings for the air, fins for the water, feet for the earth, and by other correspondent inward parts, of more curious frame and texture."

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141. Errors are frequently committed in the extent of periods, which are sometimes swelled to too great length; at other times formed too short or abrupt.

Obs. A long period, perfectly clear and well constructed, is always beautiful and pleasant, if it be not so prolonged as to exhaust the patience and attention of the reader. But it is extremely difficult to compose such periods; and, for this reason, a great many of them are ungraceful and obscure.

142. It is, perhaps, more necessary, at present, to remonstrate against a deviation to the opposite extreme. The style of many of our present writers is too short and abrupt. (Art. 135.)

Illus. An affectation of sprightliness, or of oracular wisdom, seems to have infected some of our authors, and to have tempted them to employ that laconic diction, which is very current with our neighbours, the French, and which is generally supposed most correspondent to this species of composition. The appearance of such a style, is, however, no symptom of the general corruption of the public taste and ear. But when we recollect the progress and revolutions of literature, both in Athens and Rome, we cannot be too quick-sighted in apprehending danger. The manner of the authors who succeeded the most flourishing æra of the Grecian eloquence, undoubtedly displayed the strongest attachment to this mode of style; and many of

* Shaftesbury.

the most conspicuous writers of Rome, posterior to the Augustan age, furnish examples of the same kind of composition.

143. The arrangement of the AGENT, the ACTION, and the SUBJECT, the chief ingredients in all members, sentences, and periods, is almost invariable. The agent appears first, the action succeeds, and the subject, if there be one, takes its station last.

Illus. If the agent or the subject be modified or illustrated by adjectives, or the action be extended or restricted by adverbs, the dependent words assume their stations in juxta-position to their principals, the adjectives to their substantives, and the adverbs to their verbs. The adjective is placed before its correspondent substantive, when it has no circumstance depending on it; but it is situated after its substantive when it is followed by some modification. "A wise man." "A good book." A spacious apartment." But we say, "A man wise for himself." "A book good for amusement." "An apartment convenient for company." Adverbs generally follow neuter, but precede active verbs. "Cæsar fought bravely." Pompey rashly engaged him at Pharsalia." Our adjectives have no inflexions, and therefore can be arranged only on the principle of juxta-position. (§ II. p. 67.)

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144. Though in every member of a sentence, there must be an agent, an action, and a subject, unless the action be intransitive; there are to be found in many members two, in some three, classes of agents, actions, and subjects, that explain, restrict, or otherwise depend on the primary class, by which the member is discriminated.

Example. "It is usual," says Addison,*" for a man who loves country-sports, to preserve the game on his own grounds, and divert himself on the grounds of his neighbours. My friend Sir Roger generally goes two or three miles from his own house, and gets into the frontiers of his estate before he beats about for a hare or a partridge, on purpose to spare his own fields, where he is always sure of finding diversion, when the worst comes to the worst."

Illus. In the former of these sentences, there is one class only of agents, actions, and subjects, " man who loves country-sports;" but there are no fewer than three such classes, in the first clause of the latter sentence: "Sir Roger generally goes two or three miles; he gets into the frontiers of his estate, before he beats about for a hare or a partridge." These dependent classes, like dependent words, adjectives, and adverbs, are arranged on the principle of juxta-position, as near to the primary class as is consistent with the intimacy of their relation. (Illus. Art. 143.)

145. Of the arrangement of the other parts of speech, pronouns, participles, prepositions and conjunctions, no directions can be given, that will not be liable to many exceptions. The following principles seem to include every

*Spectator, No. 131.