ever then be the meaning of junctura, it is clear we are not to explain it of fuch words as exemplify the rule de verbis ferendis. But junctura will be beft interpreted by the ufage of Horace together with the context; 1. The word occurs only once more in this poet, and that in this very Epiftle. It is where he advises a conduct with regard to the fubjectmatter of a poem, analogous to this concerning the language of it. Ex noto fictum carmen fequar tantum feries juncturaque pollet.. 1. 242. Does he mean the joining two fubjects together and combining them into one, fo as that the compound fubject shall be a new one? No fuch thing; "The subject, fays he, shall be a known, an old one. Yet the order, management, and contrivance, fhall be fuch as to give it the air of an original fiction." Apply now this fenfe of junctura to words; and we are only told, that expreffion may be fo ordered as to appear new, when the words, of which it is made up, are all known and common. We have then the authority of the poet him-. felf against the opinion of the French critic. But we have alfo the authoriry of his great initator, or rather interpreter, Perfius; who, fpeaking of the language of his fatires, fays, in allufion to this paffage of Horace, E 2 * Verba "Verba toga fequeris, juncturâ callidus acri. i. 2. Again: the context, as I obferved, leads us to this meaning. The poet in l. 42. hadi been giving his opinion of the nature and effect of method, or orderly disposition in the conduct of a fable. The course of his ideas carries him to apply the observation to words; which he immediately does, only interpofing 1. 46. by way of introduction to it.. On the whole then junctura is a word of large and general import, and the fame in expression, as order or difpofition, in a subject. The poet would fay, "Instead of framing new words, I recommend to you any kind of artful management by which you may be able to give a new air and caft to old ones." Having now got at the true meaning of the precept, let us see how well it may be exemplified in the practice of Shakespeare. 1. The firft example of this artful management, if it were only in complaifance to former commentators, mentators, fhall be that of compound epithets; of which fort are, High-fighted Tyranny Lazy-pacing clouds J. C. A. II. S. 2. A. IV. S. I. A. C. A. 1. S. 6. R. J. A. 11. S. 2. and a thousand inftances more in this poet. But this is a fmall part of his craft, as may be feen by what follows. For this end is attained, 2. By another form of compofition; by compound verbs as well as compound adjectives. To candy and limn are known words. The poet would exprefs the contrary ideas, and he does it happily, by compounding them with our English negative dis, The hearts That pantler'd me at heels, to whom I gave IQ. Though here we may obferve, that for the readier acceptation of thefe compounds, he artfully fubjoins the explanation. 3. By a liberty he takes of converting subftantives into verbs ; A glafs that featur'd them. Cymb. A. 1. S. 1. Simon's weeping Did fcandal many a holy tear Great griefs, I fee, medicine the less. -that kifs I carried from thee, Dear; and my true lip Hath virgin'd it e'er fince- Cor. A. v. S. 3. Or verbs into fubftantives ; Then began -A ftop i' th' chafer, a Retire-Cymb. A. v. S. 2. Still waving, as the fits and firs of's mind Could beft exprefs Cymb. A. 1. S. 5. Sextus Pompeius Hath giv'n the dare to Cæfar- A. C. A. 1, S. 3. 4. By using active verbs neutrally. He hath fought to-day As if a god in hate of mankind had Defroy'd, in fuch a fhape- A. C. A. iv. S. 6. It is the bloody business, that informs Thus to mine eyes And neutral verbs actively, Macb. A. II. S. 2. - never man Sigh'd truer breath; but that I fee thee here, Thou Thou noble thing! more dances my rapt heart Than when I firft my wedded miftrefs faw Beftride my threshold- Cor. A. IV. S. 4. -like fimiling Cupids, With divers-colour'd fans, whose wind did feem Toglow the delicate checks which they did coolA. C. A. II. S. 3. 5. By converting Adjectives into Subftantives. I do not think So fair an outward and fuch stuff within Cymb, A. 1. S. 1. 6. By converting Participles into Subftantives. He would have well become this place, and grac'd The thankings of a King- Cymb. A. v. S. 5. The herbs, that have in them cold dew.o' th'night Are Arewings fitt'ft for Grayes A. 1v. Sn5、 Then was I as a 'trée Whose boughs did bend with fruit. But, in one night, A ftorm, or robbery, call it what you will, Shook down my mellow hangings |