his proficiency in this study. Let him write, but continually and carefully; for careless or inattentive writing, instead of improving him, will, no doubt, have a directly contrary effect. And he should not only write; it is recommended that he occasionally select an extract from some eminent author, for the purpose of criticism. The heads under which the general subjects of construction and style have been here treated, will suggest points for his consideration; and thus, by studying the best writers for the sake of their style, as well as their matter, he will insensibly improve both his taste and judgment; he will become a better critic of general literature, and at the same time ensure improvement in his own compositions.

EXAMINATION QUESTIONS ON PART VI.

1. What is a sentence?

2. How are sentences here classified?

3. What is a simple sentence?

4. Write a simple sentence.

5. Show how there may be degrees of simplicity in sentences.

6. What is the usual order of a simple sentence?

7. In what cases is this order inverted ?-Give examples.

8. What is meant by the figure' Asyndeton'?

9. What is its effect?

10. What is the figure 'Polysyndeton,' and in what cases is it applicable?

11. What is a complex sentence?

12. What division is made of complex sentences?

13. What is a period?

14. What is the proper test of a period?

15. What is a loose sentence?

16. What general difference of character is found between the period and the loose sentence?

17. In what cases are the period and the loose sentence respectively applicable?

18. What qualities are essential to a perfect sentence?

19. What is meant by unity in sentences?

20. How may a sentence be deficient in unity?

21. What effect on sentences have long or frequent paren

theses?

22. In what other ways may the unity of a sentence be interfered with?

23. What is meant by strength in sentences?

24. What effect has the immoderate or injudicious use of adjectires on sentences?

25. What parts of speech present the greatest difficulty, as to strength, in the construction of sentences?

26. In what part of a sentence should the most important words be placed?

27. What may be said of a sentence in this respect ?

28. Which has generally more strength, a period or a loose

sentence?

29. What is meant by 'Antithesis'?

30. On what grounds may the use of this figure be recommended?

31. In what cases is it especially effective?

32. Into what errors may we fall in applying this figure?

33. What is meant by harmony in sentences?

34. Give the original meaning of the word 'Harmony.' 35. What character does the English language bear with respect to harmony?

36. What division may be made of this subject?

37. Which are the softer, and which the harder final consonants

in English?

38. What differences may be found in the sounds of the same

Vowel?

39. What may be said of the liquid letters, in respect of har

mony?

40. What effect on harmony has the place of the accent?

41. Why are monosyllables to be avoided at the close of a

period?

42. What may be said with respect to rhyming clauses and alliteration?

43. What forms of words are recommended for agreeable

cadences?

44. What is meant by harmony of proportion?

45. How does this principle apply to language?

PART VII.

ON FIGURATIVE LANGUAGE.

THERE is in man's nature a principle which strongly urges him to believe that inanimate objects and abstract qualities are endowed with passion and power, and that they can think, feel, and act like human beings. Certain minds, by reason of their temperament, have a stronger tendency to this belief than others, but all possess it in some degree. It may be observed almost from the cradle, and few men are wholly exempt from its influence through life. When a child talks to her doll, or beats the table against which she has struck herself, this poetical nature is exhibited. The boy, who loves to range alone through woods and rocks, has the same feeling still more strongly within him; and the man, though every year may tend to unpoetise him, and make him more philosophical, can never entirely cast it off.

The expression of this feeling is, in truth, poetry; and every form of what is called figurative language has its origin in this universal belief. It is worthy of notice that, as the poetical principle is seen to exist

from the very infancy of the child, so it is known to have been most intense and abundant in the earliest ages of the world. The saying that 'Man begins by being a poet, and ends by becoming a philosopher,' is as true of society collectively as of its members individually; and though figurative language is not now so common as in ancient times, it still exercises a much more powerful influence on thought than many may imagine. Its proper domain is, of course, poetry; but poetical figures are also used with great effect in prose language, where they assist in giving clearness, as well as beauty and vivacity, to expression.

In the first place, such language, when well chosen, imparts perspicuity, and makes a deeper impression. Take the following sentence: 'When we dip too deeply into pleasure, we always stir a sediment that renders it impure and noxious.' The thought is here expressed by a figure of speech. Now, if this sentence were stated in ordinary language-' When we indulge too freely in pleasure, we are sure to receive injury from the excess' the language, though intelligible, would certainly not be so impressive. A child will see the relation between cause and effect as expressed in the former sentence. The language is picturesque, and the commonest understanding will more readily perceive truth in this form; whereas, in the latter, the expression is less lively, and requires more consideration to comprehend it fully.

Again, figures give elevation and dignity to style. In truth, whenever a writer wishes to impart loftiness to the expression, he always uses figure. In all impassioned appeals, descriptions of the sublime or