RULE IX. 327. After an adjective pronoun, when it follows a series, or a succession of similar words or clauses. EXAMPLES. 328. Sweet was the sound, when oft, at evening's close, There, as I passed with careless steps and slow, all in soft confusion, sought the shade, And filled each pause the nightingale had made. 329. "The calls of business, the press of occupation, will not suffer me," says one, "to give that time to the duties of piety, which otherwise I would gladly bestow." Say you THIS without a blush? 330. But the sorrows of the poor, who have no outward appliances to soothe; the sorrows of the aged, with whom life at best is but a wintry day, and who can look for no aftergrowth of joy; the sorrows of a widow, aged, solitary, destitute, mourning over an only son, the last solace of her years; THESE indeed sorrows which make us feel the impotency of consolation. are 331. The history of religion is ransacked for instances of persecution, of austerities, and enthusiastic irregularities; and when they are all collected, the cold-hearted, thoughtless irreligionist exclaims, "THESE are the fruits of piety!" 332. OBSERVATION. It can hardly fail to strike any one with force, that the spirit and meaning of the above passages are more fully brought out, by the use of the rhetorical pause after the demonstrative pronouns. The pause in this place gives the hearer time to reflect on the particulars which have just been enumerated, and serves both to impress them on his mind, and prepare his attention for what is to follow. RULE X. 333. After an adjective, when used with the definite article "the" before it, by ellipsis as a noun; and also before and after a parenthetic member, and when an ellipsis occurs. EXAMPLES. 334. In the hand of Mirza, the balance of distribution was suspended with impartiality, and under his administration the weak were protected, the learned received honor, and the 335. War is the element, or rather the sport and triumph, of Death, who glories not only in the extent of his conquest, but in the richness of his spoils. In the other methods of attack, in the other forms which Death assumes, the feeble aged and the are usually the victims: here, they are the vigorous and the strong. Parenthetical Member. 336. The pleasures of the imagination taken in their widest extent are not so gross as those of sense, nor so refined as those of the understanding. Ellipsis. 337. Herculaneum, a great city situated amidst all that nature could create of beauty and of profusion, or art --collect of science and magnificence; the residence of enlightened multitudes; the scene of splendor, and festivity, and happiness; was withered in one moment, as by a spell. Its palaces, streets, temples, and gardens obliterated from their very place in creation, presented a scene on which the wildest imagination might grow weary without even equalling the grand and terrible GENERAL REMARKS ON PAUSE. 338. Let the pupil now read, observing the rhetorical pauses, as marked in the following exercise: SORROW FOR THE DEAD. 339. The sorrow for the dead is the only sorrow from which we refuse to be divorced. Every other wound seek to heal every other affliction to forget wound we consider it a duty -- we but this we cherish -- and brood over in solitude. Where is the mother - who would willingly forget the infant that perished. like a blossom-from her arms though every recollection — is a pang? Where is the child — that would willingly —forget the most tender of parents — though to remember — be — but to lament? Who even in the hours of agony - would forget a friend- over whom he mourns? Who even when the tomb is closing upon the remains of her he most loved when he feels his heart as it were - crushed in the closing of its portal - who would accept of consolation — that must be bought - by forgetfulness! No- the love—that survives the tomb is one of the noblest attributes of the soul. If it has its woes it has likewise its delights-and-when the overwhelming burst of grief is calmed into the gentle tear of recollection — when the sudden - and the convulsive agony · over the present ruins of all - that we most loved is softened away pensive meditation on all that was liness who - in the days of its lovewould root out such a sorrow- from the heart? 340. A high degree of impressiveness may be given to a word imbodying emotion, by the introduction of a pause in connection with the "emphasis of force." As this pause, like the "emphasis of force," depends on the taste and feeling of the speaker, it may be noted as the "pause of feeling." 341. This pause, when judiciously employed, adds greatly to the "emphasis of force;" it arrests the attention of the hearer, holds him in suspense, as if in expectation of something superlative, while the speaker seems hesitating in the selection of some word or phrase sufficiently strong to express his feelings. Then, if the speaker be master of its use, and the subject be of sufficient magnitude to admit of its adoption, he will not fail to gratify the expectations which the well-timed use of it invariably excites. EXAMPLES OF THE PAUSE OF FEELING. 342. O, pardon me, thou bleeding piece of earth, That I am meek and gentle with these 343. Speak of Mortimer? butchers! Zounds! I will speak of him; and let my soul Yea, on his part, I'll empty all these veins, As high i' the air as this unthankful king, As this ingrate and cankered Bolingbroke. 344. Glendower. I can call spirits from the vasty deep. Hotspur. Why, so can I; or so can any man; But will they come - when you do call for them? 345. This pause may be used with good effect when there is a sudden or unexpected change in the sentiment, especially in subjects of a burlesque or humorous description, when the voice should be suspended on a loud full tone, and then terminate in a lower subdued tone. EXAMPLES. 346. Her love was sought, I do aver, The king himself has followed her 348. 347. But now, her wealth and finery fied, Her doctors found, when she was dead Her last disorder mortal. He, I warrant him, Believed in no other gods than those of the creed; 349. Prince Henry. How now, wool-sack! What mutter you? Falstaff. Are you not a coward? answer me to that; and Poins there? Poins. Zounds! ye fat fellow, an ye call me coward, I'll stab thee. Fal. I call thee coward! I'll see thee hanged ere I call thee coward; but I would give a thousand pound I could as fast as thou canst. run CIRCUMFLEX. 350. The circumflex is a very frequent element of expression, and performs high offices in speech. It consists of the upward and downward inflections of the voice in continuous movement. 351. If the voice be so inflected as to begin with the falling, and end with the rising inflection on the same syllable, the sound produced is then called the rising circumflex. If it begin with the rising, and end with the falling inflection, it is then called the falling circumflex. They are thus marked, The rising circumflex, V The falling circumflex, |