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of the sentence, they ought to have a similar inflexion of the voice. Here is the uniformity: for it is this inflexion or slide of the voice that classes speaking sounds more specifically than any other distinction. But as these particulars, when they form a climax, are really emphatical, and require the falling slide, so every series of particulars, whether they really increase in force or not, may, for the sake of gratifying the ear, and giving an importance to the subject, adopt the falling inflexion likewise. This, however, must be understood only as a general rule.

These observations premised, we may proceed to distinguish the series into two kinds: that, where the series begins the sentence, but does not either end it, or form complete sense; which we may call the commencing series: and that, where the series either ends the sentence, or forms complete sense; which we may call the concluding series. For the pronunciation of these different sentences, we may lay down this general rule.

In a Commencing series, pronounce every particular with the falling inflexion but the last; and in a Concluding series, let every member have the falling inflexion except the last but one; and this ought to have the falling inflexion likewise, if it be of sufficient length to admit of a pause with a rising inflexion before the end.

In order to convey as clear an idea as possible of the pronunciation of this Figure, a Plate is annexed, delineating the inflexions in Mr. Addison's beautiful description of Milton's Figure of Death. See page 115.

I

Commencing Series.

To advise the ignorant, relieve the needy, comfort the afflícted, are duties that fall in our way, almost every day of our lives. Spectator, N° 93.

In our country, a man seldom sets up for a poet without attacking the reputation of all his brothers in the art. The ignorance of the moderns, the scribblers of the age, the decay of poetry, are the topics of detraction, with which he makes his entrance into the world. Ibid. N° 253.

The miser is more industrious than the saint. The pains of getting, the fear of losing, and the inability of enjoying his wealth, have been the mark of satire in all ages.

Ibid. N° 624.

When ambition pulls one way, interest anòther, inclination a third, and perhaps reason contrary to áll, a man is likely to pass his time but ill, who has so many different parties to please. Ibid. N° 162.

As the genius of Milton was wonderfully turned to the sublime, his subject is the noblest that could have entered into the thoughts of man: every thing that is truly great and astonishing has a place in it: the whole system of the intellectual world, the chaos and the creation, heaven, earth, and hell, enter into the constitution of his poem. Ibid. N° 315.

Labour or exercise ferments the humours, casts them into their proper channels, throws off redundances, and helps nature in those secret distributions, without which the body cannot subsist in its vigour, nor the soul act with cheerfulness. Ibid. N° 115.,

Were the books of our best authors to be retailed to the public, and every page submitted to the taste of forty or fifty thousand readers, I am afraid we should complain of many flat exprèssions, trivial observations, beaten tòpics, and common thoughts, which go off very well in the lump.

Ibid. N° 124.

To preserve in Macbeth a just consistency of character, to make that character naturally susceptible of those desires that

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were to be communicated to it, to render it interesting to the spectator by some amiable qualities, to make it exemplify the dangers of ambition, and the terrors of remorse, was all that could be required of the tragedian and the moralist.

Mrs. Montague's Essay on Shakspeare, p. 198.

The descriptive part of this allegory is likewise very strong, and full of sublime ideas. The figure of Death, the regal crown upon his head, his menace of Satan, his advancing to the combat, the outcry at his birth, are circumstances too noble to be passed over in silence, and extremely suitable to this king of terrors. Spectator, N° 310.

Aristotle observes, that the fable of an epic poem should abound in circumstances that are both credible and astonishing. Milton's fable is a master-piece of this nature; as the war in heaven, the condition of the fallen àngels, the state of ìnnocence, the temptation of the serpent, and the fall of mán, though they are very astonishing in themselves, are not only credible, but actual points of faith. Ibid. N° 315.

The inconveniences of attendance on great men are more lamented than felt. To the greater number, solicitation is its own reward. To be seen in good company, to talk of familiarities with men in power, to be able to tell the freshest news, to gratify an inferior circle with predictions of increase or decline of favour, and to be regarded as a candidate for high offices, are compensations more than equivalent to the delay of favours, which, perhaps, he that asks them, has hardly the confidence to expect. Johnson.

Let a man's innocence be what it will, let his virtues arise to the highest pitch of perfection attainable in this life, there will still be in him so many secret sìns, so many human fràilties, so many offences of ignorance, passion, and prejudice, so many unguarded words and thoughts, and, in short, so many defects in his best actions, that, without the advantages of such an expiation and atonement as Christianity has revealed to us, it is impossible that he should be cleared before his sove reign Judge, or that he should be able to stand in his sight. Spectator, No 513.

I would fain ask one of those bigoted infidels, supposing all the great points of atheism, as the casual or eternal formation of the world, the materiality of a thinking substance, the mortality of the soul, the fortuitous organisation of the body, the

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