In general their effect is extremely bad, being a perplexed method of disposing of some thought, which a writer has not art enough to introduce in its proper place.

The fourth rule for the unity of a sentence is, bring it to a full and perfect close.

In conformity with the first rule stated above, it may be observed, that if there are a number of nominativcs, or subjects which cannot be connected by a conjunction, or thrown into some other case or form, the sentence must be divided, and the parts constructed in independent

sentences.

To show the manner in which the rules now stated should be applied, the following extract is presented from "The Quarterly Review."

"The youth who had found the cavern, and had kept the secret to him self, loved this damsel; he told her the danger in time, and persuaded her to trust herself to him." In this sentence there is perfect unity. The word youth is the governing word, and the pronoun he, its representative, to prevent tautology, is substituted, to avoid the repetition of the conjunc tion and. But the writer continues, "They got into a canoe; the place of her retreat was described to her on the way to it, these women swim like mermaids, she dived after him, and rose in the cavern; in the widest part it is about fifty feet, and its medium height is guessed at the same, the roof hung with stalactites."

Here, every one of the rules of unity is violated. The nominative 18 changed six different times. Ideas having no connexion with each other, namely: Their getting into a canoe, the description of the place of her retreat, the swimming of the women,- her diving and rising in the cavern, the dimensions of the cave, and the ornaments of its roof, are all crowded into one sentence. The expression, "These women swim like mermaids," is properly a parenthesis, occurring in the middle of the sentence; and the clause, "the roof hung with stalactites," does not bring the sentence to a full and perfect close. The same ideas intended to be conveyed, may be expressed as follows, without violating either of the laws of unity.

"As they got into a canoe, to proceed to the cavern, the place of her retreat was described to her. Like the rest of her country women, she could swim like a mermaid, and accordingly diving after him, she rose in the cavern; a spacions apartment of about fifty feet in each of its dimen sions, with a roof beautifully adorned with stalactites."

The unity of a sentence may sometimes be preserved by the use of the participle instead of the verb. Thus: "The stove stands on a platform which is raised six inches and extends the whole length of the room." This sentence is better expressed thus: "The stove stands on a platform, six nches in height, and extending the whole length of the room."

XXXI.

OF THE STRENGTH OF A SENTENCE.

The third requisite of a perfect sentence is strength. By this is meant such a disposition of the several words and members as will exhibit the sense to the best advantage; as will render the impression which the period is intended to make, most full and complete, and give every word, and member its due weight and force.

To the production of this effect, perspicuity and unity are absolutely necessary; but more is requisite. For, a sentence may be clear; it may also be compact, or have the requisite unity; and yet, by some unfavora ble circumstance in the structure, it may fail in that strength or liveliness of impression, which a more happy collocation would produce.

The first rule for promoting the strength of a sentence is, take from it all redundant words.

Thus it is better to say,

"Called to the exercise of the supreme command, he exerted his authority with moderation," &c., than "Being called to the exercise," &c.

It is a most useful exercise, on reviewing what we have written, to contract that circuitous mode of expression, and to cut off those useless excrescences, which are usually found in a first draught. Care must be taken, however, not to prune too closely. Some leaves must be left to shelter and adorn the fruit.

As sentences should be cleared of superfluous words, so also must they be of superfluous members.

Thus, speaking of beauty, one of the most elegant writers in the Eng. lish language says,

"The very first discovery of it strikes the mind with inward joy and spreads delight over the faculties."

In the latter member of this sentence, scarcely anything is added to what was expressed in the first.

The second rule for promoting the strength of a sentence is, pay partic ular attention to the use of copulatives, relatives, and particles employed for transition and connexion.

The separation of a preposition from the noun which it governs, is to be avoided. Thus,

Though virtue borrows no assistance from, yet it may often be accom panied by, the advantages of virtue."

It would be better to say,

"Though virtue borrows no assistance from the advantages of fortune, in may often be accompanied by them." Or, "Though virtue may often be accompanied by the advantages of fortune, it borrows no assistance from

them.

The strength of a sentence is much injured by an unnecessary multi plication of relative and demonstrative participles.

In conversation, and in epistolary writing, the relative pronoun may be omitted; but in compositions of a serious, or dignified kind, it should always be inserted. Thus we may say, in familiar language,

"He brought the books I requested."

But in dignified discourse, the pronoun which should be inserted.

"He brought the books which I requested."

With regard to the conjunction and, it should not be unnecessarily re peated. Whenever, however, we wish objects to appear as distinct from each other as possible, the and may be repeated; thus,

"Such a man may fall a victim to power, but truth, and reason, and liberty, would fall with him."

[N. B. In such cases, the comma must precede each repetition of the conjunction and.]

The third rule for promoting strength is, dispose of the principal word or words in that part of the sentence, where they will make the most striking impression.

In general, the important words are placed at the beginning of a sentence. Sometimes, however, when we propose giving weight to a sentence, it is useful to suspend the meaning a little, and then bring it out fully at the close.

Thus,

"On whatever side we contemplate Homer, what principally strikes us is his wonderful invention,"

The fourth rule for promoting the strength of a sentence is, make the members of them go on rising in importance one above another. This kind of arrangement is called a climax, and is ever regarded as a beauty in composition.

A weaker assertion should never follow a stronger one; and when a sentence consists of two members, the longer should in general be the concluding one. Thus, the following sentence admits two arrangements, of which the latter is the better, for the reasons stated above.

"We flatter ourselves with the belief that we have forsaken our passions when they have forsaken us."

"When our passions have forsaken us, we flatter ourselves with the be lief that we have forsaken them."

The fifth rule for constructing sentences with strength is, avoid con cluding them with an adverb, a preposition, or any insignificant word. Sometimes, however, when words of this kind are particularly emphat ical, this rule may be disregarded; as in the following sentence, and others like it in which they present an antithesis:

“In their prosperity, my friends shall never hear of me; in their adver. sity, always."

But when these inferior parts of speech are introduced as circumstances, or as qualifications of more important words, they should always be disposed of in the least conspicuous parts of the period. Thus, it is much

better to say,

"Avarice is a crime of which wise men are often guilty," than to say, 'Avarice is a crime which wise men are often guilty of."

This latter form is a phraseology, which all correct writers shun. Lastly, it may be observed, that any phrase which expresses a circum stance only, cannot, without great inelegance, conclude a sentence.

The sixth and last rule concerning the strength of a sentence is this. In the members of it, where two things are compared or contrasted; where either resemblance or opposition is to be expressed; some resemblance in the language and construction ought to be observed.

The following passage beautifully exemplifies this rule :

"Homer was the greater genius: Virgil the better artist; in the one we admire the man, in the other the work. Homer hurries as with a com manding impetuosity; Virgil leads us with an attractive majesty. Homer scatters with a generous profusion; Virgil bestows with a careful magnificence. Homer, like the Nile, pours out his riches with a sudden overflow; Virgil, like a river in its banks, with a constant stream. When we look up on their machines, Homer seems like his own Jupiter in his terrors, shaking Olympus, scattering lightnings, and firing the heavens. Virgil, like the same power in his benevolence, counselling with the gods, laying plans for empires, and ordering his whole creation."

Periods thus constructed, when introduced with propriety and not too frequently repeated, have a sensible beauty. But if such a construction be aimed at in every sentence, it betrays into a disagreeable uniformity, and produces a regular jingle in the period, which tires the ears and plainly discovers affectation.

XXXII.

OF THE HARMONY OF A SENTENCE.

Sound is a quality much inferior to sense; yet it must not be disregarded. Pleasing ideas, and forcible reasoning, lose much by being communicated to the mind by harsh and disagreeable sounds. For this reason, a sentence, besides the qualities already enumerated, under the heads of Clearness,

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Unity, and Strength, should likewise, if possible, express the quality of Harmony.

The rules of harmony relate to the choice of words; their arrange ment, the order and disposition of the members, and the cadence or close of sentences.

If we would speak forcibly and effectually, we must avoid the use of such words, -1. As are composed of words already compounded, the several parts of which are not easily, and therefore not closely united; as, unsuccessfulness, wrongheadedness, tenderheartedness. 2. Such as have the syllables which immediately follow the accented syllable crowded with consonants that do not easily coalesce; as, questionless, chroniclers, conventiclers. 3. Such as have too many syllables following the accented syllable; as, primarily, cursorily, summarily, peremptoriness. 4. Such as have a short or unaccented syllable repeated, or followed by another short or unaccented syllable very much resembling it; as, holily, sillily, lowlily, farriery.

But let the words themselves be ever so well chosen, and well sounding, yet, if they be ill disposed, the melody of the sentence is utterly lost, or greatly impaired.

Though attention to the words and members, and the close of sentences, must not be neglected, yet, in no instance should perspicuity, precision, or strength of sentiment, be sacrificed to sound. All unmeaning words, introduced merely to round the period, or fill up the melody, are great blemishes in writing. They are childish and trivial ornaments, by which a sentence always loses more in point of weight than it can gain by such additions to its sound.

The members of a sentence should not be too long, nor disproportion ate to each other. When they have a regular and proportional division they are much easier to the voice, are more clearly understood, and better remembered, than when this rule is not regarded; for whatever tires the voice and offends the ear is apt to mar the strength of the expression, and to degrade the sense of the author.

With respect to the cadence or close of a sentence, care should be taken that it be not abrupt nor unpleasant. The following examples will be sufficient to show the propriety of some attention to this part of the rule.

"Virtue, diligence, and industry, joined with good temper and prudence, are prosperous in general." It would be better thus: "Virtue, diligence, and industry, joined with good temper and prudence, have ever been found the surest road to prosperity."

An author, speaking of the Trinity, expresses himself thus:

"It is a mystery which we firmly believe the truth of, and humbly adore the depth of." How much better would it have been with this transposi tion: "It is a mystery, the truth of which we firmly believe, and the depth of which we humbly adore."