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OF THE PAUSE OR CÆSURA OF VERSE. Almost every verse admits of a pause in or near the middle of the line, which is called the Cæsura ; this must be carefully observed in reading verse, or much of the distinctness, and almost all the harmony, will be lost.

Tbough the most harmonious place for the capital pause is after the fourth syllable, it may, for the sake of expressing the sense strongly and suitably, and even sometimes for the sake of variety, be placed at several other intervals.

The end of a line in verse naturally inclines us to pause; and the words that refuge a pause so seldom occur at the end of a verse, that we often pause between words in verse where we should not in prose, but where a pause would by no means interfere with the sense : this, perhaps, may be the reason why a pause at the end of a line in poetry

is

sup. posed to be in compliment to the verse, when the very same pause in prose is allowable, aod, perhaps, eligible, but neglected as unnecessary; however this be, certain it is, that if we pronounce many lines in Milton, so as to make the equality of impressions on the car distinctly perceptible at the end of every line; if by making this pause, we make the pauses that mark the sense less perceptible, we exchange a solid advantage for a childish rhythm, and, by endeavouring to preserve the name of verse, lose all its meaning and energy

OF THE CADENCE OF VERSE. In order to form a cadence in a period in rhyming verse, we must adopt the falling inflec ticn with considerable force in the cæsura of the last line but one.

HOW TO PRONOUNCE A SIMILE IN POETRY. A simile in poetry ought always to be read in a lower tone of voice than that part of ths passage which precedes it.

This rule is one of the greatest embellishments of poetic propunciation, and is to be observed no less in blank verse than in rhyme.

GENERAL RULES. Where there is no pause in the sense at the end of a verse, the last word must have exactly the same inflection it would have in

prose. Sublime, grand, and magnificent description in poetry, requires a lower tone of voice, and a sameness nearly approaching to a monotone.

When the first line of a couplet does pot form perfect sense, it is necessary to suspend the voice at the end of the line with the rising slide.

This rule holds good even where the first line forms perfect sense by itself, and is followed by another, forming perfect sense likewise, provided the first line does not end with an emphatic word, which requires the falling slide.

But if the first line ends with an emphatical word, requiring the falling slide, this slide must be given to it, but in a higher tone of voice than the same slide in the last line of the couplet.

When the first line of a couplet does not form sease, and the second line, either from its pot forming sense, or from its being a question, requires the rising slide; in this case, the first line must end with such a pause as the sense requires, but without any alteration in the tone of the voice.

In the same manner, if a question requires the second line of the couplet to adopt the rising slide, the first ought to have a pause at the end, but the voice, without any alteration, ought to carry on the same tone to the second line, and to continue this tone almost to the end.

The same principles of harmony and variety induce us to read a triplet with a sameness of voice, or a monotone, on the end of the first line, the rising slide on the end of the second, and the falling on the last.

This rule, however, from the various sense of the triplet, is liable to many exceptions ; but, with very few exceptions, it may be laid down as a rule, that a quatrain, or stanza of four lines of alternate verse, may be read with the monotone ending the first line, the rising slide ending the second and third, and the falling the last.

The plaintive tone, so essential to the delivery of elegiac composition, greatly diminishes the slides, and reduces them almost 10. monotones; nay, a perfect monotone, without any inflection at all, is sometimes very judiciously introduced in reading verse.

ON SCANNING. A certain number of syllables connected form a foot. They are called feet, because it is by their aid that the voice, as it were, steps along through the verse, in a measured pace.

All feet used in poetry consist either of two, or of three syllables, and are reducible to eight kinds; four of two syllables, and four of three, as follows: Dissyllable.

Trisyllabie. A Trochee

A Dacty! An Tambus

An Amphibrach A Spondee

An Anapæst A Phyrrhic

A Tribrach The hyphen - marks a long, and the breve a short syllable.

Such as wish to inform themselves more particularly concerning versification, may code sult the Author's Natural Grammar and Juvenile Expositor where they will find the sp's iect treated of at very considerable length.

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PIECES IN POETRY

The Doves.

REAS’NING at ev'ry step he treads,

Man yet mistakes his way,
While meaner things, whom instinct leads,

Are rarely known to stray.
One silent eve I wander'd late,

And heard the voice of love;
The turtle thus address'd her mate,

And sooth'd the list’ning dove :
*Our mutual bond of faith and truth,

No time shall disengage;
Those blessings of our early youth

Shall cheer our latest age :
While innocense without disguise,

And constancy sincere,
Shall fill the circles of those eyes,

And mine can read them there :

Those ills that wait on all below

Shall ne'er be felt by nie,
Or, gently felt, and only so,

As being shar'd with thee.
When lightnings flash among the trees,

Or kites are hov'ring near,
I fear lest thee alone they seize,

And know no other fear.
* Tis then I feel myself a wife,

And press thy wedded side,
Resolv'd a union form'd for life

Death never shall divide.
But, oh! if fickle and unchaste,

(Forgive a transient thought,) Thou couldst become unkind at last,

And scorn thy present lot,
No need of lightnings from on high,

Or kites with cruel beak;
Denied th' endearments of thine eye,

This widow'd heart would break.'

Thus sang the sweet sequester'd bird,

Soft as the passing wind; And I recorded what I heard,

A lesson for mankind.

Heavenly Wisdom. How happy is the man who hears

Instruction's warning voice;
And who celestial wisdom makes

His early, only choice.
For she has treasures greater far

Than east or west unfold;
And her reward is more secure

Than is the gain of gold.
In her right hand she holds to view,

A length of happy years;
And in her left, the prize of fame

And honour bright appears.
She guides the young, with innocence,

In pleasure's path to tread: A crown of glory she bestows

Upon the hoary head. According as her labours rise,

So ber rewards increase : Her ways are ways of pleasantness,

And all lier paths are peace.

A Morning in Spring. Lo! the bright, the rosy morning,

Calls me forth to take the air; Cheerful spring, with smiles returning

Ushers in the new-born year. Nature now in all her beauty,

With her gently-moving tongue, Prompts me to the pleasing duty,

Of a grateful morning song. See the early blossoms springing,

See the jocund lambkins play! Hear the lark and linnet singing,

Welcome to the new-born day. Vernal music, softly sounding,

Echoes through the verdant grove Nature now with life abounding,

Swells with harmony and love. Now the kind refreshing showers,

Water all the plaing around :

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Springing grass, and painted flowers,

In the smiling meads abound.
Now their vernal dress assuming,

Leafy robes adorn the trees :
Odours now the air perfuming,

Sweetly swell the gentle breeze.
Praise to thee, thou great Creator !

Praise be thine from ev'ry tongue :
Join, my soul, with ev'ry creature ;

Join the universa song!
For ten thousand blessings giv’n ;

For the richest gifts bestow'd;
Sound his praise through earth and beay's ;

Sound Jehovah's praise aloud !

An Evening Hymn.
And now another day is gone,

I'll sing my Maker's praise ;
My comforts ev'ry hour make known

His providence and grace.
But how my childhood runs to waste!

My sins, how great their sum!
Lord, give me pardon for the past,

And strength for days to come.
I lay my body down to sleep;

Let angels guard my head,
And through the hours of darkness keep

Their watch around my bed.
With cheerful heart I close my eyes,

Since God will not remove;
And in the morning let me rise,

Rejoicing in his love.

The Winter's Day.
WHEN raging stormis deform the air,

And clouds of snow descend;
And the wide landscape, bright and fair,

No deepen'd colours blend ;
When biting frost rides on the wind,

Bleak from the north and east,
And wealth is at its ease reclin'd,

Prepard to laugh and feast;
When the poor trav’ller treads the plain,

All dubious of his way,
And crawls with night increasing pain,

And dreads the parting day:

When

poverty in vile attire, Shrinks from the biting blast, Or hovers o'er the pigmy fire,

And fears it will not last;
When the fond mother hugs her child

Still closer to her breast;
And the poor infant, frost beguild,

Scarce feels that it is prest;
Then let your bounteous hand extend

Its blessings to the poor; Nor spurn the wretched while they bend

All suppliant at your door.

Acknowledgment of Divine Favours. WHENE'ER I take my walks abroad,

How many poor I see !
What shall I render to my God,

For all his gifts to me!
Not more than others I deserve,

Yet God has given me more ;
For I have food while others starve,

Or beg from door to door.
How many children in the street,

Half naked, I behold!
While I am cloth'd from head to feet,

And cover'd from the cold !
While some poor creatures scarce can tell

Where they may lay their head,
I have a home wherein to dwell,

And rest upon my bed.
While giers early learn to swear,

And curse, and lie, and steal,
Lord! I am taught thy name so fear,

And do thy holy will.
Are these thy favours, day by day,

To me above the rest?
Then let me love thee more than they,

And try to serve thee best.

Gratitude to the Supreme Being How cheerful along the gay mead,

The daisy and cowslip appear!
The flocks, as they carelessly feed

Rojoice in the spring of the year.
The myrtles that shade the gay bowers,

The herbage that springs from the sod,

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