comes an oppressive burden, and every object appears gloomy." How much more forcible does it become when the shorter and weaker member is placed first: "In this state of mind, every object appears gloomy, and every employment of life becomes an oppressive burden." This arrangement of the members of a sentence constitutes what has already been defined among the rhetorical figures as Climax. What is most emphatic is brought last, in order that a strong impression may be left on the reader's mind. From this rule the next naturally follows. § 373. Avoid closing a sentence with an adverb, a preposi tion, or any small unaccented word. Besides the violation of Harmony involved in placing a monosyllable where we are accustomed to find a swelling sound, there is a peculiar feebleness arising from the fact that the mind naturally pauses to consider the import of the word last presented, and is disappointed when, as in the case of a preposition, it has no signif icance of its own, but merely indicates the relation between words that have preceded it. "He is one whom good men are glad to be acquainted with." It will be readily seen how much is gained by a simple transposition: "He is one with whom good men are glad to be acquainted." The same principle holds good in the case of adverbs. "Such things were not allowed formerly ", is feeble compared with, "Formerly such things were not allowed." When, however, an adverb is emphatic, it is often, according to § 371, introduced at the close of a period with fine effect; as in the following sentence of Bolingbroke's: "In their prosperity, my friends shall never hear of me; in their adversity, always.” This principle, also, requires us to avoid terminating a sentence with a succession of unaccented words; such as, with it, in it, on it, &c. This is a proposition which I did not expect; and I must ask the to that here prescribed? Why is it best to place last that which is most em phatic? § 373. With what must we avoid closing a sentence? What is the effect of terminating a period in this way? Give an example of this error, and show how to correct it. With what part of speech, as a general rule, must a sentence not be closed? Exemplify, and then correct, this error. In what case may an adverb close a period? Repeat a sentence of Bolingbroke's, in which one is so placed with fine effect. What else does this principle require us to avoid? Give an example. privilege of reflecting on it." The last member would be more forcible thus: "and I must ask time for reflection." § 374. Lastly, when in different members two objects are contrasted, a resemblance in language and construction increases the effect. The most striking comparisons are those in which this rule is observed. Thus, Pope, speaking of Ho. mer and Virgil:-" Homer was the greater genius; Virgil the better artist: in the one, we most admire the man; in the other, the work. Homer hurries us with a commanding im petuosity; Virgil leads us with an attractive majesty. Homer scatters with a generous profusion; Virgil bestows with a careful magnificence." We may further illustrate this point by placing side by side two sentences embodying the same thought, in one of which this rule is observed, while in the other it is disregarded. Weak. He embraced the cause of liberty faintly, and pursued it without resolution; he grew tired of it when he had much to hope, and gave it up when there was no ground for apprehension. Strong. He embraced the cause of liberty faintly, and pursued it irresolutely; he grew tired of it when he had much to hope, and gave it up when he had nothing to fear. EXERCISE. In the following sentences, make such corrections as are equired by the rules for the promotion of Strength :- 1. He was a man of fine reputation, and enjoyed a high degree of popularity. 2. I went home, full of a great many serious reflections. 3. This is the principle which I referred to. 4. Catiline was not only an infamous traitor, but a profligate man. 5. We should constantly aim at perfection, though we may have no expectation of ever arriving at it. 6. It was a case of unpardonable breach of trust and gross disregard of official duty, to say the least. 7. We flatter ourselves with the belief that we have forsaken our passions, when they have forsaken us. 8. Every one that aims at greatness does not succeed (§ 371). 9. He appears to enjoy the universal esteem of all men. 10. Though virtue borrows no assistance from, yet it may often be accompanied by, the advantages of fortune. 11. As the strength of our cause does not depend upon, so neither is it to be decided by, any critical points of history, chronology, or language. 12. Alfred the Great, of England, was one of the most $374. When in different members of a sentence two objects are contrasted, how the effect increased? Show how Pope applies this principle in comparing Homer and Virgil remarkable and distinguished men that we read of in history. Though his efforts were unable and insufficient entirely to banish the darkness of the age he lived in, yet he greatly improved the condition of his countrymen, and was the means of doing much good to them. 13. Sensualists, by their gross excesses and frequent indulgences, debase their minds, enfeeble their bodies, and wear out their spirits (§ 372). 14. Ingratitude is not a crime that I am chargeable with, whatever other faults I may be guilty of. 15. The man of virtue and of honor will be trusted, and esteemed, and respected, and relied upon. 16. He has talents which are rapidly unfolding into life and vigor, and indomitable energies (§ 372). 17. It is absurd to think of judging either Ariosto or Spenser by precepts which they did not attend to. 18. Force was resisted by force, valor opposed by valor, and art encountered or eluded by similar address (§ 374). 19. It is a principle of our religion that we should not revenge ourselves on our enemies or take vengeance on our foes. 20. It is impossible for us to behold the divine works with coldness or indifference, or to survey so many beauties without a secret satisfaction and complacency. 21. The faith he professed, and which he became an apostle of, was not his invention. 22. The creed originated by Mohammed, and which almost all the Arabians and Persians believe in, is a mixture of Paganism, and Judaism, and Christianity. 23. There is not, in my opinion, a more pleasing and triumphant consideration in religion than this, of the perpetual progress which the soul makes towards the perfection of its nature, without ever arriving at a period in it. 24. Their idleness, and their luxury and pleasures, their criminal deeds, and their immoderate passions, and their timidity and baseness of mind, have dejected them to such a degree, that life itself is a burden, and they find no pleasure in it. 25. Shakspeare was a man of profound genius, and whose bold and striking thoughts must be admired in every age. 26. Avarice is a crime which wise men are often guilty of. LESSON LXII. HARMONY. §375. THE sixth essential property of a good style is HARMONY; a term used to denote that smooth and easy flow which pleases the ear. Sound, though less important than sense, must not be disregarded, as a means of increasing the effect of what is spoken or written. Pleasing ideas can hardly be transmitted by harsh and disagreeable words; and, what § 875. What is the sixth essential property of style? What does harmony denote? ever emotion we are endeavoring to excite in the reader, we accomplish our object much more readily and effectually by availing ourselves of the peculiar sounds appropriate thereto Harmony consists in, I. The use of euphonious, or pleasant-sounding, words. III. The adaptation of sound to the sense it expresses. nious: I. Derivatives from long compound words; such as barefacedness, wrongheadedness, unsuccessfulness. II. Words containing a succession of consonant sounds; as, form'dst, strik'st, flinched. III. Words containing a succession of unaccented syllables; as, meteorological, derogatorily, mercinariness. IV. Words in which a short or unaccented syllable is repeated, or followed by another that closely resembles it; as, holily, farriering. It must not be inferred that the writer is required, in all cases, to reject the words embraced under the classes just enumerated. Harsh terms are sometimes adapted to the subject, and express the meaning more forcibly than any others. They should be avoided, however, when euphony is desirable, and there are other terms which express the meaning with equal significance. Those words are most agreeable to the ear, in which there is an intermixture of consonants and vowels; not so many of the former as to impede freedom of utterance, or such a recurrence of the latter as frequently to occasion aiatus. § 377. A regard for harmony also requires us, in the prog ress of a sentence, to avoid repeating a sound by employing the same word more than once, or using, in contiguous words, similar combinations of letters. This fault is known as Tautology. It may be corrected by substituting a synonyme for How does sound compare in importance with sense? In what three particulars does harmony consist? § 376. Mention the four classes of words to be avoided as inharmonious. When are Buch words to be rejected? When may they be employed? What words are most agreeable to the ear? § 877. What is tautology? What is its effect? How may it be corrected? Givs examples. The one of the words in which the repeated sound occurs. unpleasant effect of tautology will be readily perceived in the following sentences:-"The general ordered the captain to order the soldiers to observe good order."—" We went in an enormous car." By a substitution of synonymes, as above suggested, we avoid the unpleasant repetitions in these passages, and increase their Strength." The general directed the captain to command the soldiers to observe good order.""We went in a large car." § 378. Harmony, moreover, is deficient in sentences containing a succession of words of the same number of syllables, thus, "No kind of joy can long please us," is less harmonious than, "No species of joy can long delight us. So we improve the sound of the following sentence, in which there is a preponderance of dissyllables, by varying the length of the words. "She always displays a cheerful temper and pleasant humor."" She invariably exhibits a contented and pleasant disposition." § 379. The second particular on which the Harmony of a sentence depends, is the proper arrangement of its parts. However well-chosen the words may be, or however euphonious in themselves, if they are unskilfully arranged the music of the sentence is lost. In the harmonious structure of periods, no writer, ancient or modern, equals Cicero. It was a feature which he regarded as of the utmost importance to the effect of a composition, and to ensure the perfection of which he spared no labor. Indeed, his countrymen generally were more thorough in their investigations of this subject, and more careful in their observance of the rules pertaining thereto, than are the most polished of modern writers. Not only was their language susceptible of more melodious combinations than ours, but their ears were more delicately attuned, and were thus the means of affording them livelier pleasure from a well-rounded period. "I have often," says Cicero, “been witness to bursts of acclamation in the public assemblies when sentences § 378. In what sentences is harmony deficient? Give examples. § 379. What is the second particular on which the harmony of a sentence depends? Who surpasses all writers in the harmonious structure of his periods? How, as regards this property, do the ancient Romans compare with the moderns? What does Cicero |