18

117

The Comma [,] constitutes a part, or clause
Of Sentences connected, wanting pause;
To measure this by time, you may count one,
Of all the stops in use, we've shorter none.

118

The Semicolon [;] point, observe we take
In parting sentences Compound to make;
Connection shows, but not as Commas do,
To measure this, we pause while counting two.
119

The Colon [] is a stop we must adduce,
Shows less connection, and not much in use;
Not so distinct in sense as periods be,

We pause at this, while counting one, two, three.

120

The Period [.] shows the sentence is complete;
It may be simple, or complex we meet;
The subject known, we've nothing to add more,
A final pause, or count one, two, three, four.

121

This Mark [?] we use when we interrogate,

Who's that?-who rings the bell ?—can he not wait? Pathetic point of Exclamation [ ! ] learn,"Bound every heart! and every bosom burn!"

122

Parenthesis () a sentence doth contain
Which we omit at pleasure, or retain;
It differs from its relative in tone,—

He's ill behav'd, (I think) you're best alone.

123

Apostrophe, mark'd thus ['], our words contract: 'Tis, for it is; for wrecked, we write wreck'd. Caret [▲], a note, when interlin'd 'tis seen,

read

Where what's omitted should be between.

19

124

The Hyphen [-] is conjunctive, thus, to-day.

Diæresis [] disjoins, at least it may

When words like this, create, thus mark'd, 'tis known The vowels form two syllables,—thus shown.

125

The Section [S] means divided from the rest;
By Paragraph¶] distinction is express'd;
Quotation [ shows we cite as evidence,

66

Some Author of reputed competence.

126

The Hand [] or Index, and the little Star
Or Asterisk [], for marks of ref'rence are:
The Obelisk, and Parallel [], likewise,
Refer to margin, for authorities.

Capitals.

127

With Capitals remember to begin,
Poetic lines, and proper names of men;
The names of Deity, the letter O,
The pronoun I,-all words of import too.

Figures of Speech.

128

The rules preceding first digested well,
We here of Tropes and Figures next may tell;
Our language thus, is to perfection brought,
Enrich'd with all the varied shades of thought

Metaphor and Allegory.

129

A Metaphor, in borrow'd words compares,-
Thus, for excess, we say a "flood of tears."

An Allegory, is a chain of tropes,

"I've pass'd the shoals, fair gales, now swelling hopes. Metonymy and Synecdoche.

130

Metonymy, doth take some kinder name,

[shame

"Just Heaven," (for God), confound their pride with

Synecdoche, expresses part for all,

"Instead of ships, a fleet of twenty sail."

20

Frony and Hyperbole.

131

An Irony doth quite reverse intend

To that express'd,“ Well done, right-trusty friend.”
An Hyperbole, exceeds the truth you'll know,-
'Tis "Swift as wind," and "whiter than the snow.'
Climax and Antithesis.

132

A Climax, by gradation still ascends,—
My countrymen, my neighbours, and my friends.
Antithesis, a contrast thus requires,-

Increase not wealth, but lessen your desires.
Apostrophe.

133

Apostrophe, is when the current thought
Is turn'd aside, some other object's caught;
Glad tidings these, that ONE is come to save!
"Now where's thy sting, O Death? Thy victory, Grave?
Prosopopeia.

134

When we Personify, we do invest

Dead things with life, the absent are address'd; "Ask for what end the heavenly bodies shine, Earth for whose use; Pride answers, 'Tis for mine

Vision.
135

Empassion'd by our subject, we suppose
The Object present,—suddenly it rose;
"What beckning ghost, along the moonlight shade,
Invites my steps, and points to yonder glade?"
Grotesis, or Enterrogation.

136

This Figure varies and improves the style,
Invites to converse,—passion's vehicle;
What shall I call him? him a citizen?
Has he our nature? is he really man?

Gcphonesis, or Exclamation.

137

This figure to all Passions doth extend,
The tone of voice, will on the mind depend;
Sorrow, or Joy extreme, take a high tone;
Reproach, Disdain, Contempt, a lower one.

21

Epanaphora, or Repetition.

138

Allied to Climax, its inflections take
With it a sameness,-but a diff'rence make,
Repeated words, increasing force demand,
And rising voice,-this figure must attend.

EXAMPLE.

139

"Thée, his lov'd wife, along the lonely shores; Thée, his lov'd wife, his mournful song deplores; Thée, when the rising morning gives the light, Thée, when the world was overspread with night.” Prolepsis, or Anticipation.

140

This, doth suggest, that some objection lies
Against the speaker,-who to it replies;
Before Prolepsis, mark, the Voice should fall,-
Object with candour,-coolly answer all.

EXAMPLE.

141.

"But grant that others can with equal pride,
Look down on pleasures, and her baits deride,
Where shall we find the man, that bears with woes,
Great and majestic still, as Cato does?

Synchoresis, or Concession.

142

Concession differs thus, from all before,
It grants some thing, intent to gain the more,
In low light voice, as no import we yield,
Then raise the tone and force, to take the field.
EXAMPLE.

I grant them learning, genius, eloquence,
Yea, if they claim some other excellence
I'll not dispute their title, but forsooth,
They are not honest, nor regard the truth.

Epanorthosis, or Correction.

144

Here we recall, what we before have said,
To substitute a stronger word instead;

The current thought turn'd back upon its source,
Returns abruptly, with redoubl'd force.

22

EXAMPLE.

145

The friendship of the world, (delusive name,)
Springs oft from pleasure, oft from hope of gain;
But lasting friendship, that no ills can move,
From kindred flows,-nay virtue,—this I prove.
Anastrophe, or Enversion,

146

This figure's us'd, when we the rule invert
Of Sentences, the last part, first insert;
Milton's example see, where, "Heav'nly Muse,"
Is first in order,-here no pause we use.

Polysyndeton, or Redundance,

147

The Polysyndeton, redundance makes

Of Copulatives, see below it takes;

These weight and gravity, 'tis thought afford,
Allowing time, to think, on what is heard.

EXAMPLE.

148

"Not death, nor life, nor angels, no, nor pow'rs,
Nor present things, nor things to come, (they're ours ;)
Nor height, nor depth, nor creature, sever can
The Love Divine, which flows through Christ to man."
Asynxeton, or Omission.

All those renew'd, in holy fruits abound,

In love, joy, peace,-long suff'ring, too they're found; They're gentle, good, believing, meek,-and hence They're not condemn'd; they've also temperance. Paralepsis, cr Omission.

151

Here we pretend to pass, or to conceal
What we intend to speak, or to reveal;
With soft high tone, an air indifferent,
As if to wave advantages we meant.