"How many instances bave we of chastity and excellence in the fair sex!"

"With what prudence does the son of Sirach advise us in the choice of our companions!"

A note of interrogation should not be employed, in cases where it is only said a question has been asked, and where the words are not used as a question. "The Cyprians asked me, why 1 wept." To give this sentence the interrogative form, it should be expressed thus: "The Cyprians said to me, 'Why dost thou weep?"

Exclamation.

The note of Exclamation is applied to expressions of sudden emotion, surprise, joy, grief, &c. and also to invocations or addresses: as, "My friend! this conduct amazes me !" "Bless the Lord, O my soul! and forget not all his benefits!"

"Oh! had we both our humble state maintain❜d,
And safe in peace and poverty remain'd!"

"Hear me O Lord! for thy lovingkindness is great!"

It is difficult, in some cases, to distinguish between an interrogative and exclamatory sentence; but a sentence, in which any wonder or admiration is expressed, and no answer either ex pected or implied, may be always properly terminated by a note of exclamation: as, "How much vanity in the pursuits of men!" "Who can sufficiently express the goodness of our Creator!" "What is more amiable than virtue !"

The interrogation and exclamation points are indeterminate as to their quantity or time, and may be equivalent in that respect to a semicolon, a colon, or a period, as the sense may require. They mark an elevation of the voice.

The utility of the points of Interrogation and Exclamation appears from the following examples, in which the meaning is signified and discriminated solely by the points.

"What condescension!"
"What condescension ?"

"How great was the sacrifice!"
"How great was the sacrifice ?"
Parenthesis.

A Parenthesis is a clause containing some necessary informa tion, or useful remark, introduced into the body of a seutence obliquely, and which may be omitted without injuring the grammatical construction: as,

"Know then this truth, (enough for man to know,)
Virtue alone is happiness below."

"And was the ransom paid? It was; and paid

(What can exalt his bounty more?) for thee."

"To gain a posthumous reputation, is to save four or five letters (for what is a name besides ?) from oblivion.”

" Know ye not, brethren, (for I speak to them that know the law,) how that the law hath dominion over a man as long as he liveth ?"

If the incidental clause is short, or perfectly coincides with the rest of the sentence, it is not proper to use the parenthetical characters. The following instances are therefore improper uses of the parenthesis. "Speak you (who saw) his wonders in the deep." Every planet (as the Creator has made nothing in vain) is most probably inhabited." "He found them asleep again; (for their eyes were heavy ;) neither knew they what to answer him."

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The parenthesis marks a moderate depression of the voice, and may be accompanied with every point which the sense would require, if the parenthetical characters were omitted. It ought to terminate with the same kind of stop which the member has, that precedes it; and to contain that stop within the paren thetical marks. We must, however, except cases of interroga tion and exclamation: as, "While they wish to please, (and why should they not wish it?) they disdain dishonourable means.' "It was represented by an analogy, (Oh, how inadequate !) which was borrowed from paganism." See the Octavo Grammar, on this subject.

There are other characters, which are frequently made use of in composition, and which may be explained in this place, viz. An Apostrophe, marked thus' is used to abbreviate or shorten a word as, 'tis for it is; tho' for though; e'en for even; judg'd for judged. Its chief use is to show the genitive case of nouns. "A man's property; a woman's ornament."

as,

A

A Caret, marked thus is placed where some word happens to be left out in writing, and which is inserted over the line. This mark is also called a circumflex, when placed over a particular vowel, to denote a long syllable: as, Euphrates."

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A Hyphen, marked thus - is employed in connecting com pounded words; as, “"Lap-dog, tea-pot, pre-existence, self-love, to-morrow, mother-in-law."

It is also used when a word is divided, and the former part written or printed at the end of one line, and the latter part at the beginning of another. In this case, it is placed at the end of the first line, not at the beginning of the second.

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The Acute Accent, marked thus': as, “Fancy." The Grave thus: as, "Favour."

In English the Accentual marks are chiefly used in spellingbooks and dictionaries, to mark the syllables which require a particular stress of the voice in pronunciation.

The stress is laid on long and short syllables indiscriminately, In order to distinguish the one from the other, some writers of dictionaries have placed the grave on the former, and the acute on the latter, in this manner: "Minor, mineral, lively, lívid, rival, ríver."

This a

The proper mark to distinguish a long syllable, is this": "Rosy" and a start one this as, "Folly : as, mark is called a breve.

A Diæresis, thus marked ", consists of two points placed over one of the two vowels that would otherwise make a diphthong, and parts them into two syllables: as, "Creator, coädjutor, aërial.” A Section, marked thus §, is the division of a discourse, or chapter, into less parts or portions.

A Paragraph denotes the beginning of a new subject, or a sentence not connected with the foregoing. This character is chiefly used in the Old, and in the New Testaments.

A Quotation "". Two inverted commas are generally placed at the beginning of a phrase or a passage, which is quoted or transcribed from the speaker or author in his own words; and two apostrophes in their direct position, are placed at the conclu sion: as,

"The proper study of mankind is man."

Crotchets or Brackets [] serve to enclose a sentence, which is to be explained in a note, or the explanation itself, or a word or a sentence which is intended to supply some deficiency, or to rectify some mistake.

An Index or hand

points out a remarkable passage, or

something that requires particular attention.

A Brace is used in poetry at the end of a triplet or three lines, which have the same rhyme.

Braces are also used to connect a number of words with one common term, and are introduced to prevent a repetition in writing or printing.

An Asterisk, or little star*, directs the reader to some note in the margin, or at the bottom of the page. Two or three asterisks generally denote the omission of some letters in a word, or of some bold or indelicate expression, or some defect in the manu script.

An Ellipsis is also used, when some letters in a word, or some words in a verse, are omitted: as, "The k-g," for "the king." An Obelisk, which is marked thus †, and Parallels thus ||, together with the letters of the Alphabet, and figures, are used as references to the margin, or bottom of the page.

Paragraphs.

It may not be improper to insert, in this place, a few general directions respecting the division of a composition into paragraphs. Different subjects, unless they are very short, or very nume. rous in small compass, should be separated into paragraphs.

When one subject is continued to a considerable length, the larger divisions of it should be put into paragraphs. And it will have a good effect to form the breaks, when it can properly be done at sentiments of the most weight, or that call for peculiar attention.

The facts, premises, and conclusions, of a subject, sometimes naturally point out the separations into paragraphs: and each of these, when of great length, will again require subdivisions at their most distinctive parts.

Ir cases which require a connected subject to be formed i

several paragraphs, a suitable turn of expression, exhibiting the connexion of the broken parts, will give beauty and force to the division. See the Octavo Grammar.

Directions respecting the use of Capital Letters.

It was formerly the custom to begin every noun with a capital: but as this practice was troublesome, and gave the writing or printing a crowded and confused appearance, it has been discontinued. It is however, very proper to begin with a capital,

1 The first word of every book, chapter, letter, note, or an other piece of writing.

2 The first word after a period; and, if the two sentences are totally independent, after a note of interrogation or exclamation. But if a number of interrogative or exclamatory sentences, are thrown into one general group; or if the construction of the lat ter sentences depends on the former, all of them, except the first, may begin with a small letter: as, "How long, ye simple ones, will ye love simplicity? and the scorners delight in their scorning? and fools hate knowledge ?" "Alas! how different! yet how like the same!"

3 The appellations of the Deity: as, "God, Jehovah, the Al mighty, the Supreme Being, the Lord, Providence, the Messiah, the Holy Spirit.

4 Proper names of persons, places, streets, mountains, rivers, ships: as, "George, York, the Strand, the Alps, the Thames, the Seahorse."

5 Adjectives derived from the proper names of places: as, Grecian, Roman, English, French, and Italian."

6 The first word of a quotation, introduced after a colon, or when it is in a direct form: as, "Always remember this ancient maxim: 'Know thyself." "Our great Lawgiver says, 'Take up thy cross daily, and follow me.' But when a quotation is brought in obliquely after a comma, a capital is unnecessary: as, *Solomon observes, that pride goes before destruction.""

The first word of an example may also very properly begin with a capital: as, "Temptation proves our virtue."

7 Every substantive and principal word in the titles of books: as, "Johnson's Dictionary of the English Language;" "Thom son's Seasons;" "Rollin's Ancient History.”

8 The first word of every line in poetry.

9 The pronoun I, and the interjection O, are written in capi tals: as. 66 I write:" "Hear, O earth!"

Other words, besides the preceding, may begin with capitals, when they are remarkably emphatical, or the principal subject of the composition.

APPENDIX.

CONTAINING RULES AND OBSERVATIONS FOR ASSISTING YOUNG PERSONS TO WRITE WITH PERSPICUITY AND ACCURACY, TO BE STUDIED AFTER THEY HAVE ACQUIRED A COMPETENT KNOWLEDGE OF ENGLISH GRAMMAR.

PERSPICUITY

Is the fundamental quality of style: a quality so essential in every kind of writing, that for the want of it nothing can atone. It is not to be considered as tinerely a sort of negative virtue, or freedom from defect. It has higher merit: it is a degree of posi tive beauty. We are pleased with an author, and consider him as deserving praise, who frees us from all fatigue of searching for his meaning; who carries us through his subject without any embarrassment or confusion; whose style flows always like a limpid stream, through which we see to the very bottom.

The study of perspicuity and accuracy of expression consists of two parts: and requires attention, first, to Single Words and Phrases; and then, to the Construction of Sentences.

PART I.

Of Perspicuity and Accuracy of Expression, with respect to single Words and Phrases.

THESE qualities of style, considered with regard to words and phrases, require the following properties: PURITY, PROPRIETY, and PRECISION.

CHAPTER I. Of Purity.

PURITY of style consists in the use of such words, and such constructions, as belong to the idiom of the language which we speak; in opposition to words and phrases that are taken from other languages, or that are ungrammatical, obsolete, new-coined, or used without proper authority. All such words and phrases as the following, should be avoided: Quoth he; I wist not; erewhile; behest; selfsame; delicatesse, for delicacy; politesse, for politeness; hauteur, for haughtiness; incumberment, connexity martyrised, for encumberance, connexion, martyred.

Foreign and learned words, unless where necessity requires them, should never be admitted into our composition. Barren languages may need such assistance, but ours is not one of these. A multitude of Latin words, in particular, have, of late, been poured in upon our language. On some occasions, they give an appearance of elevation and dignity to style; but they often render it stiff and apparently forced. In general, a plain, native style, is more intelligible to all readers; and, by a proper manage ment of words, it can be made as strong and expressive as this Latinised English, or any foreign idioms.