2. Closing a sentence with the accent removed several syllables from the end.

Thus, both of the following are faulty:

"I have done all the things which I have spoken of;" "The general seemed to be in a rage, and he gave the order both hastily and peremptorily."

They would be more harmonious if arranged as follows:

"I have done all the things of which I have spoken;" "The general seemed to be in a rage, and hastily gave the order in a peremptory manner."

3. Adaptation of Sound to Sense. This is not only the highest kind of harmony, but also the most difficult to attain and the most effective when attained.

Certain sounds or currents of sound seem to be adapted to certain kinds of composition. To express that which is grave, important, or grand in the same kind or current of sounds employed to express violent passion, earnest reasoning, or familiar conversation would be absurd. No one class of sounds is adapted to all kinds of composition, or even to different parts of the same composition. It would be manifestly improper to use in an oration the same class of words, or even the same cadence, that we would use in a letter. Taste and judgment must be exercised in suiting the sound of the words used to the sense to be conveyed.

In seeking the kind of words to be used in adapting sound to sense a greater variety is admissible than would be under other circumstances.

Grave and serious ideas should be expressed in words whose sounds are slow and measured. Thus from the "Burial of Sir John Moore":

"Slowly and sadly we laid him down,

From the field of his fame fresh and gory;
We carved not a line, we raised not a stone,
But we left him alone in his glory."

Gentleness and benignity require soft and flowing words, while sternness requires words that are harsh and discordant. Note the adaptation of the two following sentences to the ideas to be expressed. Both are taken from Milton's Paradise Lost. The first represents the sounds on the opening of the gates of hell; the second, those heard on the opening of the portals of heaven:

"On a sudden fly,

With impetuous recoil and jarring sound,

The infernal doors; and on their hinges grate
Harsh thunder."

"Heaven opened wide

Her ever-during gates, harmonious sound,

On golden hinges turning."

The roaring of a whirlpool is represented by Pope as follows:

"Dire Scylla there a scene of horror forms,

And here Charybdis fills the deep with storms;
When the tide rushes from her rumbling caves,

The rough rock roars: tumultuous boil the waves."

The strokes of axes and the falling of oaks are represented by the same writer as follows:

"Loud sounds the axe, redoubling strokes on strokes;

On all sides round the forest hurls her oaks

Headlong. Deep echoing groan the thickets brown,
Then rustling, crackling, crashing, thunder down."

Tennyson's "Bugle Song" and Poe's "Bells" are well-known examples of the adaptation of sound to sense in producing an harmonious flow of words.

Sound and Motion.-Sound is employed also to imitate motion, whether fast or slow, violent or gentle. This

imitation may be produced either by the sounds of the words or by the rhythm of the poetry.

Long syllables give the impression of slow and difficult motion. See the following from Pope:

"A needless Alexandrine ends the song;

That, like a wounded snake, drags its slow length along."

A succession of short syllables, containing but few consonants, denotes a rapid motion, as in the following lines from Cowley: "He who defers this work from day to day

Does on a river's bank expecting stay,

Till the whole stream that stopped him shall be gone,-
Which runs, and, as it runs, for ever shall run on."

The following from Pope represents an easy metrical flow: "Soft is the strain when Zephyr gently blows,

And the smooth stream in smoother numbers flows."

Slow and rapid motion are both admirably imitated in the following from Pope:

"When Ajax strives some rock's vast weight to throw,

The line too labors, and the words move slow.

Not so when swift Camilla scours the plain,

Flies o'er the unbending corn, and skims along the main.”

Special actions also may be imitated to some extent by the movement of the sentence. Thus the galloping of a horse is represented by Longfellow in the following:

"At each bound he could feel his scabbard of steel

Smiting his stallion's flanks."

The following from Boker imitates a variety of warlike sounds:

"Hark to the brazen blare of the bugle!
Hark to the rattling clatter of the drums!
The measured tread of the steel-clad footmen!

Hark to the laboring horses' breath,

Painfully tugging the harnessed cannon,
The shrill, sharp clink of the warriors' swords

As their chargers bound when the trumpets sound

Their alarms through the echoing mountains !"

Sound and Passions.-Sound is employed to represent the various passions and emotions. This is true not only of individual words, as interjections, but it is true of words as arranged in sentences.

Note the following from Milton, the first example representing gayety; the second, soberness:

"Haste thee, nymph, and bring with thee

Jest and youthful Jollity,

Quips and Cranks, and wanton Wiles,
Nods and Becks, and wreathed Smiles,

Such as hang on Hebe's cheek,
And love to live in dimple sleek;
Sport that wrinkled Care derides,
And Laughter holding both his sides.
Come, and trip it, as you go,

On the light fantastic toe;

And in thy right hand lead with thee

The mountain-nymph, sweet Liberty."—In "L'Allegro.”

“Come, pensive nun, devout and pure,

Sober, steadfast, and demure,
All in a robe of darkest grain,
Flowing with majestic train,
And sable stole of Cyprus lawn
Over thy decent shoulders drawn.
Come, but keep thy wonted state
With even step and musing gait ;
And looks commercing with the skies,
Thy rapt soul sitting in thine eyes.
There, held in holy passion still,
Forget thyself to marble, till
With a sad, leaden downward cast
Thou fix them on the earth at last;
And join with thee calm Peace and Quiet,
Spare Fast, that oft with gods doth diet,

And hears the Muses in a ring,

Ay, round about Jove's altar sing;
And add to these retired Leisure,

That in trim gardens takes his pleasure.
But first, and chiefest, with thee bring
Him that yon soars on golden wing,
Guiding the fiery-wheeled throne,

The cherub Contemplation."-In “Il Penserosc.”

Dryden's "Ode on St. Cecilia's Day" is a striking example of the adaptation of word-arrangement to the passions. Collins's "Ode to the Passions," from which we quote below, is also one of the most striking examples in English:

"Next Anger rushed, his eyes on fire,

In lightnings owned his secret stings;
In one rude clash he struck the lyre,
And swept with hurried hand the strings.

"With woeful measures wan Despair-
Low sullen sounds his grief beguiled;
A solemn, strange, and mingled air;
'Twas sad by fits, by starts 'twas wild!

"But thou, O Hope, with eyes so fair,
What was thy delighted measure?
Still it whispered promised pleasure,
And bade the lovely scenes at distance hail!
Still would her touch the strain prolong,
And from the rocks, the woods, the vale,

She called on Echo still through all her song;

And where her sweetest theme she chose,

A soft responsive voice was heard at every close,
And Hope, enchanted, smiled, and waved her golden hair.”

Onomatopoeia.-There are many words in the language that individually resemble the sounds which they name. These are called onomatopoetic. Thus, we speak of the hiss of the serpent, the coo of the dove, the roar of the ocean, the mew of a cat, the crack of a whip, the clash