5. Colloquial adverbs, as—— Yes, no, not, perhaps, indeed, yea, nay, will, why, haply, peradventure, therefore, wherefore, &c. 6. Lastly.—Adverbs ending in ly, (that is, like) which generally denote manner, and have the same meaning as the adjectives from which they are derived, as From just, wise, prudent, brave, scarce, come the Adverbs justly, wisely, prudently, bravely, scarcely, &c. CHAPTER XII. CONSTRUCTION OF INTERJECTIONS. Ben Jonson says-Interjections commonly so termed, are in right adverbs. INTERJECTIONS being expressive of some sudden emotion of the mind, are as various as the passions of the human mind themselves. The principal interjections are, O! Ob! Pish! Heigh! Lo! Behold! Ah! Alas! Tush! Fie! Hush! Hail! Adieu! Alack! Aha! Hey-day! O strange! Hark! Heigh oh! Welcome! Hurrah! Bravo! Bo! Pugh! We have one mode of expression, in which O is employed, not as an interjection, but as an abridgment; as when we say, seven o'clock, we mean seven of or on the clock. Interjections have no government, or grammatical connection with the other words of a sentence, excepting with the vocative case, as- God hath shewed thee, O man! what is good. Hail simplicity! source of genuine joy. from a pès to (or towards,) and won a song. Is that part of Grammar, which teaches the proper quantity, or force of syllables in their pronunciation; or the right employment of words, when used in versification; the chief elements of which, are Quantity, Emphasis, Pause, and Tone. Accent, means the placing a weight and force of sound, upon one syllable in a word, more than the rest; as-ig in indignant. On the accent, Bp. Lowth remarks, we generally throw it as far back as possible towards the first part of the word, in some even to the fourth syllable from the end; and the rest are pronounced in a lower tone, more rapidly and indistinctly.—p. 67. The Quantity of a syllable, is the time which is taken up in it's pronunciation, whether long or short; which is signified by the marks - and the former indicating a long syllable, and the latter a short one, as in presume-fōrtune. By Emphasis is meant the laying a particular stress upon a certain word, (or words,) in a sentence, so as to illustrate the sense by the force of the expression; as-"it is better to obey a precept than simply to learn it." A Pause is employed in reading, so as to mark the sense, either by resting a short time; or occasionally, by a total suspension of the voice, for some seconds; as "Reading-makes a full—man; speaking a ready-man; and writing— a correct--one." Tone is the modulation of the voice, so as oftentimes to express a sense, which would not be apparent in a sentence, when only written, but not spoken, as- Let not thy mother lose her prayers, Hamlet; Where, a peculiar intonation suited to the sense, would rest upon the words, prayers, Hamlet, stay, and go. Accent and quantity, respect the pronunciation of words; emphasis and pause, the meaning of the sentence; while tone refers to the feelings of the speaker. We apply the term verse (verto, to turn) to metrical compositions, which terminate, not at the conclusion of the sense, but after a given number of feet, when a turn is made to commence a fresh line. There was an ancient species of Greek composition, which obtained the name of βουστροφηδόν, or rather βουστεφοδὸν, from its turning at the end of every line, as an ox would turn round the end of a furrow, in ploughing, without reverting to the opposite end. "Verse is so distinguished from prose, because the latter is a composition flowing right onward, (from prosa, i, e., prorsa) -prorsus being formerly used for rectus." Ingram's Inaug. Lect. VERSIFICATION, Is the arrangement of language into lines of a measured length of syllables, long and short, which constitute what are called feet. Language, when not so arranged, is called Prose. Poetry consists of two kinds, Rhyme and Blank verse. Rhyme is produced when one or more lines, in the same couplet, triplet, or stanza, terminate with words of a corresponding sound. Blank verse consists of lines of corresponding metre, but without the harmonic termination. To scan (scando) a verse, is to divide it into the several feet of which it is composed. A couplet consists of two lines, with similar ter minations, as Would'st thou the gen'rous lion bind, Moore's Fables. XI. A triplet has three, as— Stay, till I bring the cup, with Bacchus crown'd, Pope's Iliad. B. VI. 322-4. And a stanza generally consists of verses in alternate rhyme, as— Happy the man, whose cautious feet The feet in most common use are, Iambic, Trochaic, and Anapastic. But besides these, there are other metres, consisting of two or three syllables. Dissyllabic Metres. An Iambus-as became A Spondee-vāin mān A Pyrrhic-Tis thě (voice) Trisyllabic Metres. A Dactyle, as Tyranny. |