rily adopts the falling inflexion on the laft word ftate, and this directs the rifing inflexion to be placed on the two words falling, and the falling inflexion on greatly, which produces this order, falling, rifing, rifing, falling, or B, A, A, B. This order of placing the inflexions is not invariably adopted, because emphafis fets afide every other rule, and makes harmony fubfervient to fense: but it may be afferted, that this order of arranging the inflexions is fo generally adopted by the ear, that when emphafis does not forbid, this is the arrangement into which the verse naturally flides. It may likewise be obferved, that where emphafis coincides with this arrangement, the verfe is always the most harmonious, and the fenfe in its most poetical drefs. Nay, we fhall find harmonious profe, where emphafis does not interrupt the natural current of inflexion, glide infenfibly into this rhythmical arrangement of inflexion. Let us take an example:

Exercife and témperance ftréngthen the conftitution. Agreeably to the order we have just taken notice of, we find this fentence adopt the falling inflexion on exercife, the rifing on temperance and ftrengthen, and the falling on conftitution; but if we add another member to this fentence, so connected with this as to require the rifing inflexion on conftitution, we fhall find that the arrangement of inflexion is changed, but the fame order preserved.

E'xercife and temperance strengthen the conftitution, and fweéten the enjoyments of life.

Here, I fay, contrary to the former arrangement, we find the rifing inflexion on exercife,

the falling on temperance and firengthen, and the rifing on conftitution; becaufe here the fenfe remains fufpended and unfinished. See Plate I. N° IV. p. 74, 75. A final member fucceeds, confifting of three accented words; the two laft of which must always be pronounced with different inflexions; that is, the penultimate with the rifing, and the ultimate with the falling inflexion; but the antipenultimate word Sweeten, may adopt either the rifing or falling inflexion, as either will diverfify it fufficiently from the preceding and fucceeding inflexions; but the falling inflexion on this word feems to be preferable, as the three words Sweeten, enjoyment, and life, form one diftinct portion; and this portion can be no way fo variously pronounced as by the falling inflexion on Sweeten, the rifing on enjoyments, and the falling on life. But whatever may be the order of arrangement in the commencement and middle of a fentence, it is certain, that if we mean to form an harmonious cadence, one of thefe two arrangements of inflexion ought to take place at the end of a fentence: that is, if the last member confifts of four accented words, the fame inflexions ought to take place at the end of a fentence, as we find generally obtain in the laft line of a couplet in poetry; or if the last member confift of three accented words, fuch inflexions ought to be adopted as will make a feries of three inflexions moft various, which is, by giving the laft word the falling, the penultimate the rifing, and the antipenultimate either the rifing or falling inflexion. See Simple Series, Rule iv. p. 113.

An inftance of the first arrangement is the following fentence:

The immortality of the foul is the bafis of morality, and the fource of all the pléafing hòpes and sècret jóys, that can arìfe in the heart of a reasonable creature. Spect. N° 111.

In the last member but one of this fentence, the words pleafing and joys have the rifing inflexion, and hopes and fecret the falling; and in the last member, the words arife and creature have the falling, and heart and reasonable the rifing inflexion, which is exactly the order of inflexion in the laft couplet of the tragedy of Cato:

Prodúces fraud and cruelty and strífe

And robs the guilty world of Cáto's life :

where produces and ftrife have the rifing inflexion, and fraud and cruelty the falling; and guilty and life the falling, and world and Cato the rifing inflexion.

An inftance of the other arrangement we find in this fentence:

Cicero concludes his celebrated books de Oratore, with fome precepts for pronunciation and action; without which part he affirms, that the best orator in the world can never fucceed, and an indifferent one, who is mafter of this, fhall gain much greater applaufe.

In order to pronounce this fentence with an harmonious cadence, the word this must have the rifing inflexion, as at the end of the first line of a couplet, and the three laft words, much greater applaufe, which form the laft member, must be pronounced very diftinctly with the falling inflexion on the laft, the rifing inflexion on greater, and the falling on much.

The rule, therefore, that arifes from these

obfervations is, that when the last paufe neceffarily leaves the last member of a fentence with four accented words, as in the first example, they are pronounced with the inflexions in the order falling, rifing, rifing, falling; and when the paufe leaves three accented words in the laft member, they are pronounced as in the last example; that is, either in the order, falling, rifing, falling; or rifing, rifing, falling.

As a corroboration of these principles, we may observe, that where the paufe neceffarily leaves but two accented words in the last member, and that emphafis forbids the preceding member to be fo pronounced as to form the order of inflexions we have prefcribed; when this is the cafe, I fay, we fhall find the period end inharmoniously. Let us take an example:

If they do not acquiefce in his judgment, which I think never happened above once or twice at most, they appeal to mè.

Spectator.

Here the fenfe requires, that the emphasis with the falling inflexion fhould be placed on the word moft after which must be a pause: and as the final member confifts only of two accented words, appeal and me, no tolerable cadence can be formed; for these words, having neceffarily the rifing and falling inflexion, are but a repetition of the fame inflexions, in the fame order as on the words twice and most, which forms as monotonous a conclufion as the feries,

A, B; A, B.

It feldom happens, however, that the fentence is so constructed as to prevent the ear from falling into one or other of the two before

mentioned arrangements of inflexion. For fo agreeable to the ear is an harmonious cadence, that for the fake of forming one, allowances will be made for giving an emphatic accent even to words not entitled to it from their sense. Let us fuppofe the following fentence forming the conclufion of a difcourfe:

So that from what has been faid, we may certainly conclude, that as virtue is not always rewarded in the prefent life, it will be fure to meet with the most ample and fatisfactory reward in the life to come.

If this fentence is properly pronounced, there must be a confiderable paufe at the word reward, in order to pronounce the laft member with a distinct and harmonious fall; but if we pause here, we shall find it impoffible to pronounce the last member harmonioufly without laying a stress on the word in; and though this word has no title either to accent or emphasis from the sense it conveys, yet the neceffity of concluding a difcourfe, or any capital branch of a difcourfe, with an harmonious fall, will fufficiently authorize a confiderable ftrefs and diftinct inflexion on that infignificant word.

A good ear, therefore, will fometimes lay a ftrefs on certain words, and fometimes omit it for the fake of an harmonious cadence. Thus, in Sterne's Sermon on the Houfe of Mourning and the Houfe of Feafting, we meet with this paffage :

From reflexions of this serious caft, how infenfibly do the thoughts carry us farther! and from confidering what we are, what kind of world we live in, and what evils befall us in it, how naturally do they fet us to look forwards at what poffibly we fhall be! for what kind of world we are intended---what