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specific objectivity, and each specific quality of objectivities, and our Words have become the symbols of separate and abstract ideas, we are able so to conjoin these abstractionsignificant terms together, that each word shall lose its individual signification in the formation and conveyance of some idea of greater specialization; for "words do not communicate thought by their separate power and effect only, but infinitely more so by their connexion." Indeed, individual words are to our thoughts what letters are to words-mere elements-whose proper power and efficacy are only fully evidenced when employed connectedly. Thus the term knowledge, is the name-sign of one separate abstract idea; the word power, a symbolism for another special notion; the thoughtsign is also possesses its own specific signification; but when all these three are colligated and conjoined, the special individual signification of each is partly lost to the view of the mind, and is merged in the more specific idea which is sought to be unfolded by the junction of the three terms, thus-"knowledge is power." That part of speech which thus re-synthethises ideas by the appropriate colligation of their symbols, and thus expresses the simple act of judgment, is denominated the Verb, and may be defined as that thought-sign whose principal use is to express the affirmations of the intellectual faculties—that word which denotes the energy of the mind, which connects two or more conceptions by an assertive or affirmational process. We have said "whose principal use is to express the affirmations of the intellectual faculties," because, that from the difficulty which the mentality experiences in reducing the concrete and synthetic notions which appear upon the stage of the mind, it has seldom succeeded in wholly disengaging and disjoining really separate and distinct ideas from each other, from which eircumstance it happens that the verb, although in reality it derives its very birth from the assertive power, i. e., the judgment, is very frequently employed to co-express other and clearly different ideas, viz.:

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= I am a thinking being.

1st. An attribute or quality, as, I think 2nd. A connexion between that quality and the objectivity to which it belongs, as, I think I and thinking are conjunct, or thinking is a property belonging to me. 3rd. An assertion, either directly or indirectly, of the connexion which the judgment perceives.

There are besides several minor accidental properties, such as are technically denominated voice, mood, tense, number, person, &c., generally incorporated with the verb, but exertion is undoubtedly the generic connotation of the verb-that by which it is essentially distinguished from every other part of speech. The Verb is distinctly that term by which several special words are conjoined into one logical expression or compound Word, and hence its name.

The three preceding classes of verbalisms may be regarded as the most necessary signs requisite for thought-expression. But the activity of the mind permits it no rest, and it goes on refining," feeling new wants and supplying them, making a luxury even of Language, by exerting its aesthetic powers to render language musical, harmonious, and mellifluent. Man begins to feel fatigued with repetition-sameness jars harshly on his ear; it observes that nouns, while they enable him to express his thoughts regarding objectivities,

*See "Art of Reasoning," vol. i. p. 142, First Edition.

do not possess the capacity of indicating the presence or absence of the object, and that their use frequently leads to periphrastic tediousness; hence his inventive powers are called into action to supply a sign which might fulfil the following pre-requisites, viz.:

1st. Be a substitute, or that which stands for a noun. 2nd. Denote the presence or absence of the objectivity. 3rd. Indicate the gender of the objectivity.

4th. Distinguish the person of the objectivity.

All these ideas he has endeavoured to amalgamate in that class of words called Pronouns, or those words which stand as the representatives or substitutes of nouns.

As both adjectives and verbs are expressive of attributes or qualities, and as those qualities generally admit of modification, it is necessary to have a class of words adapted to express such modifications. The circumstances of an action, the place in which it occurred, the manner in which it was performed, the time at which it was begun or ended, the mutations and varieties of the qualities of objects, cannot be denoted with sufficient minuteness and accuracy by any modal change which it is possible to incorporate with any of the afore-mentioned classes of words; yet the circumstances of society, the happiness of man, the ultimate results of the most important negotiations of men and nations, or the most serious investigations of philosophers, frequently depend upon the accuracy or inaccuracy of the information conveyed regarding time, place, manner, circumstance, or modification of quality. The words which express these modifications are technically denominated Adverbs.

One important purpose of speech is to communicate information regarding the relations which the objectivities which surround us bear to each other. These relations are various, e. g., instrumentality, causation, space, motion, time, accidental connexion and separation, procession, &c. Objectivities, as they are viewed in different lights, or for different purposes, occupy to the minds thus engaged in observation, certain relations in reference to each other, and these peculiar relationships depend upon the particular view taken of objectivities by the perceptive agency. The earlier notices of relation would be confined to sensible objects; but when men began to look, with the eye of consciousness, within, they would observe many analogies between the external world and the universe of mind, and would hence apply those terms metaphorically to the mind which they had previously employed only in the expression of relations perceptible in the sense-impressing world. All such words as express the relation which objectivities bear to each other are called Prepositions.

When, however, we have attained a clear conception of the relations of objects, we cannot long continue insensible to the fact that sentences, or thoughts, also have their relations, e. g.:~

1st. Simple or accidental connexion, as, and, both, &c.

2nd. Connexion of cause and effect, as, therefore, wherefore, that, hence, &c.

3rd. Connexion of effect and cause, as, because, for, since, &c.

4th. Simple or accidental contrariety, as, but, either, or, neither, nor, &c.

5th. Coincidence, or co-existence, as, although, likewise, also, as, so, though, yet, &c. 6th. Essential contrariety, as, unless, else, neither, nor, &c.

7th. Contingency, as, if, lest, &c.

It is of the utmost importance in discourse to be capable of conjoining the sentences in which our thoughts are expressed, in such a manner as shall exhibit the proper and mutual relations which these thoughts bear to each other; and hence the necessity of a class of symbols indicative of the connexion of thought with thought. This office is fulfilled by the Conjunction.

Man cannot become wholly an artificial being; remnants of his natural, or at least of his less cultivated, state still cling to him; and, under the influence of his passions and emotions, when his nature is excited to such a degree as to hold the intellect for a moment in abeyance, the natural ejaculations of pain, pleasure, surprise, &c., rise upon his lips. Such emotional or passionate signs hold no place in intellectual forms, and are, properly speaking, incognoscible by grammar or logic, although among the minor elements of Rhetoric they doubtlessly hold a place-1st, as the signs of being moved by certain feelings; 2nd, as conveying a sudden judgment in a brief, expressive, and emphatic manner; 3rd, to give a command, communicate a desire, or crave a benefit, in such a way as shall indicate the conjoint operation of the intellect and the emotions. They are, in general, however, merely thrust into sentences by the force of feeling, and do not modify, in any degree, the flow of the intellect in the expression of our ideas. Such sounds, therefore, as are significant of passion, and symptomatic of emotion, and hold no syntactical connexion with the other thought-symbols in a sentence, are denominated Interjections.

The following formula will, we hope, give a clear and comprehensive view of " the parts of speech," and be serviceable to our readers as a "reference table" and a Mnemonic guide.

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We subjoin an extract from Coleridge's Hymn in the Valley of Chamouni, in which the parts of speech are indicated by figures, in the following order-Noun, Adjective, Pronoun, Verb, Adverb, Preposition, Conjunction, and Interjection:—

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"A" or "An," and "The," are usually denominated Articles, although, in our opinion, "A" or "An "is a numeral adjective, and "The " a demonstrative adjective pronoun.

Keligion.

CAN CHRISTIANS, CONSISTENTLY WITH THEIR PRINCIPLES, RENDER SUPPORT TO THE BRITISH STAGE?

AFFIRMATIVE ARTICLE.-I.

"Pictured morals charm the mind, And through the eye correct the heart." In our path through life, what a strange contrariety of opinions spread themselves out before us! What conflicts of ideas and sentiments prevail around us! And how often are we called upon to select from the

maze thus created, the path most likely to lead us to right and sound conclusions ! But comes there no good of this? We think we may answer in the affirmative. By the wholesome exercise of the reasoning powers thus occasioned, we become better prepared for the great conflict of life. More

over, whilst learning to respect the opinions of others, we become accustomed to form opinions of our own-and what is equally important, we hesitate not, when occasion requires, fearlessly to assert them. But we mast change the scene of our musings.

The "British Stage" is the subject before us. What pleasing associations rush upon our memory! What a long line of illustrious names presents itself to our mental gaze! Among them men who have long since passed from the troubled stage of earthly existence, but whose lives were no less an honour to their calling than to their country. How forcibly we are reminded--

"There was a period when the stage
Was thought to dignify the age,
When learned men were seen to sit
Upon the benches of the pit;
When to his art and nature true,
Garrick his various pictures drew,
While ev'ry passion, ev'ry thought,
He to perfection fully wrought-
By nature's self supremely taught."

And how the additional fact stands recorded before us, that—

"In those good times none went to see
The mere effects of scenery:
The constant laugh, the forced grimace,
The vile distortions of the face.
In those good times none went to see
Pierots and clowns in comedy.
Men sat perfection to discern,
And learned critics went to learn."

Bat we must come still closer to the matter of inquiry, and before arriving at a onclusion, two previous questions present themselves for solution. First-What is the purpose of the stage? Secondly-What are the principles of Christianity?

The purpose of the stage we shall best nderstand by tracing it to its origin. What, then, do we find to have been the origin of the English drama? Was it with a view to the promotion of vice and immorality that it took its rise? We have no proof of Were its promoters men of base and depraved habits, possessing all the vices, and bat few of the virtues, of mankind? Histury fails to proclaim such a fact. Was it in its early tendency antagonistic to the spirit and purposes of Christianity? We have been unable to discover any such record. What, then, does history say? It says that the clergy were the first persons who in this country introduced dramatic

entertainments; that cathedrals, monasteries, and not unfrequently parish churches, were selected for their performance; that the representations they embodied were chiefly taken from the supernatural events recorded in the Old and New Testaments, and from the lives and histories of the saints. These facts are not recorded on doubtful authority, but are based upon the best historic proofs. Wm. Fitz-Stephen, a monk of Canterbury, in a work written between the years 1170 and 1182, whilst contrasting England with various parts of the continent he had visited, says: "London, instead of common interludes belonging to the theatre, has plays of a more holy character; representations of those miracles which the holy confessors wrought, or of the sufferings wherein the glorious constancy of the martyrs did appear." We see nothing particularly unchristian about this, considering the age! These "miracle-plays" continued for several centuries, accompanied by another description of entertainment, called "moralities," in which the senses, passions, affections, virtues, and vices, were personified, and constituted the characters. But these, too, were of a moral turn, and contrived to "entertain as well as instruct." Thus saith history.

We arrive, then, at this result, that the English drama originated in the attempts of the early ecclesiastics to impart religious and moral instruction to the people, and that this attractive form of instruction was selected upon the principle, that "pictured morals" do "charm the mind, and through the eye correct the heart."

Next, let us inquire, What are the principles and practical aims of Christianity? We speak of Christianity here in its highest and purest sense, and as distinct from all sects and parties-these too often resulting in its misunderstanding or abuse. The true basis of all christian principles and precepts must be in the acknowledgment that man is an immortal but responsible being, endowed with the highest faculties, destined for the most noble ends, and formed for the enjoyment of the most perfect bliss; but that the perfect attainment and enjoyment of all these is dependent upon the manner of his own life and actions. Hence he should cultivate virtue for its own sake, and abhor vice and all wrong-doing. The practical

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