hearer time to reflect on the particulars which have just been enumerated, and serves both to impress them on his mind, and prepare his attention for what is to follow. RULE X. 333. After an adjective, when used with the definite article "the" before it, by ellipsis as a noun; and also before and after a parenthetic member, and when an ellipsis occurs. EXAMPLES. 334. In the hand of Mirza, the balance of distribution was sus pended with impartiality, and under his administration the weak were protected, the learned - received honor, and the 335. War is the element, or rather the sport and triumph, of Death, who glories not only in the extent of his conquest, but in the richness of his spoils. In the other methods of attack, in the other forms which Death assumes, the feeble aged and the are usually the victims: here, they are the vigorous and the strong. Parenthetical Member. 336. The pleasures of the imagination taken in their widest extent are not so gross as those of sense, nor so refined as those of the understanding. Ellipsis. 337. Herculaneum, a great city situated amidst all that col nature could create of beauty and of profusion, or art lect of science and magnificence; the residence of enlightened multitudes; the scene of splendor, and festivity, and happiness; was withered in one moment, as by a spell. Its palaces, streets, temples, and gardens obliterated from their very place in creation, presented a scene on which the wildest imagination might grow weary without even equalling the grand and terrible GENERAL REMARKS ON PAUSE. 338. Let the pupil now read, observing the rhetorical pauses, as marked in the following exercise : SORROW FOR THE DEAD. 339. The sorrow for the dead is the only sorrow from which we refuse to be divorced. Every other wound - we seek to heal every other affliction to forget - but this wound we consider it a duty to keep open this affliction we cherish and brood over — in solitude. Where is the mother - forget the infant - that perished is like a blossom-from her arms though every recollection a pang? Where is the child that would willingly-forget the most tender of parents - though to remember-be- but to la ment? Who- even in the hours of agony would forget a friend over whom he mourns? Who- even when the tomb is closing upon the remains of her he most loved when he feels his heart- as it were crushed - in the closing of its portal-who-would accept of consolation-that must be bought - by forgetfulness! No- the love- that survives the tomb is one of the noblest attributes of the soul. If it has its woes it and — when the overwhelming into the gentle tear of recollection and the convulsive agony over the pres ent ruins of all that we most loved is softened away — into pensive meditation - on all that was - in the days of its love liness who would root out such a sorrow from the heart? 340. A high degree of impressiveness may be given to a word imbodying emotion, by the introduction of a pause in connection with the "emphasis of force." As this pause, like the "emphasis of force," depends on the taste and feeling of the speaker, it may be noted as the "pause of feeling." 341. This pause, when judiciously employed, adds greatly to the "emphasis of force;" it arrests the attention of the hearer, holds him in suspense, as if in expectation of something superlative, while the speaker seems hesitating in the selection of some word or phrase sufficiently strong to express his feelings. Then, if the speaker be master of its use, and the subject be of sufficient magnitude to admit of its adoption, he will not fail to gratify the expectations which the well-timed use of it invariably excites. EXAMPLES OF THE PAUSE OF FEELING. 342. O, pardon me, thou bleeding piece of earth, That I am meek and gentle with these 343. Speak of Mortimer? butchers! Zounds! I will speak of him; and let my soul Yea, on his part, I'll empty all these veins, As high i' the air as this unthankful king, As this ingrate and cankered Bolingbroke. 344. Glendower. I can call spirits from the vasty deep. 345. This pause may be used with good effect when there is a sudden or unexpected change in the sentiment, especially in subjects of a burlesque or humorous description, when the voice should be suspended on a loud full tone, and then terminate in a lower subdued tone. EXAMPLES. 346. Her love was sought, I do aver, 347. But now, her wealth and finery fled, Her doctors found, when she was dead Her last disorder mortal. He, I warrant him, Believed in no other gods than those of the creed; 348. 349. Prince Henry. How now, wool-sack! What mutter you? Falsaff. Are you not a coward? answer me to that; and Poins there? Poins. Zounds! ye fat fellow, an ye call me coward, I'll stab thee. Fal. I call thee coward! I'll see thee hanged ere I call thee coward; but I would give a thousand pound I could as fast as thou canst. run CIRCUMFLEX. 350. The circumflex is a very frequent element of expression, and performs high offices in speech. It consists of the upward and downward inflections of the voice in continuous movement. 351. If the voice be so inflected as to begin with the falling, and end with the rising inflection on the same syllable, the sound produced is then called the rising circumflex. If it begin with the rising, and end with the falling inflection, it is then called the falling circumflex. They are thus marked, — The rising circumflex, V The falling circumflex, A 352. The circumflexes are always used to express irony, contempt, reproach, sneer, raillery, scornful compliment, or strong emphasis. EXAMPLES. 353. Yes they will give enlightened freedom to our minds, who are themselves the slaves of passion, avarice, and pride! 354. Most courteous tyrants! Romans! rare patterns of humanity! 355. So, then, you are the author of this conspiracy against me? It is to you, then, that I am indebted for all the mischief that has befallen me. 356. I know you, sir - I know you, sir. You, sir, are below contempt! 357. So, then, Mr. Gil Blas, this piece is not to your taste? 358. The circumflex may be used with good effect when a speaker takes up his own words, and puts them in a different form; or in dialogues, wben the words of one speaker are repeated in a sneering, contradictory manner by another. 359. Conscript fathers! I do not rise to waste the night in words. Let that plebeian talk; 'tis not my trade. But here I stand for right. Let him show proofs 360. Brave peers of England! pillars of the state! To you Duke Humphrey must unload his grief, Your grief, the common grief of all the land. 361. Then he who had received the one talent came and said Lord, I knew thee, that thou art a hard man, reaping where thou hast not sown, and gathering where thou hast not strawed; and ] was afraid, and went and hid thy money in the earth. Lo, there thou hast that is thine. His lord answered and said unto him, Thou wicked and |