dily unite themselves with all the world, are liable to meet with bad company. Gentle, Tame. Gentle animals are naturally so. Tame ones are so partly by the art and industry of man. The dog, the ox, and the horse, are gentle animals; the bear and the lion are sometimes tame. Capacity, Ability. Capacity has more relation to the knowledge of things; ability to their application. The one is acquired by study; the other by practice. He, who has capacity for a thing, is proper to undertake; he, who has ability, to execute. Little, Small. The word little sometimes signifies only want of bigness: and, at other times, want of greatness in every sense; whereas that of small is the opposite only to bigness, and supposes some kind of length. Thus we say a little house; a little man; a little cup; a little globe: but, a small thread; a small line; a small twig. To go back, to Return. We go back from a place where we have some considerable time been. We return to a place we had just before left. Thus, we say he is gone back into his own country. He is returned home. We say, also, he is gone back from virtue; he has returned to his fault. To Put, to Place. Put seems to have a general sense place, one more limited, meaning to put orderly, and in a proper place. We put columns to support an edifice: We place them with symmetry. To Bid, to Order. The first of these is extremely general, the other more limited. To bid intimates direction to perform, whether the person directing has any authority for so doing or' not To order implies the exercise of authority. Some people are so very officious, that they are always ready to do what they are bid, whether the thing be right or wrong, or the person bidding be empowered to order them or not. To Vary, to Change. We vary in our sentiments when we give them up, and embrace them again. We change our opinions when we reject one in order to embrace another. Variation, Variety. Successive changes in the same subject make variation. A multitude of different objects forms variety. Thus, we say the variation of time; variety of colours. There is no government bus is subjeci to variation. There is no species in nature in which we may not observe great variety. Gay, Merry. We are gay by disposition; merry through turn of mind. Sad and serious are exactly their opposites. Our gaiety turns almost entirely to our own advantage: but our merriment at the same time that it is agreeable to others, is no less so to ourselves. We should, if possible, suppress our gaiety when in the house of affliction. We should cease to be merry when others are serious. To Hear, to Hearken. To hear implies having the ear struck with any sound. To hearken means to lend an ear in order to hear Sometimes we hear without hearkening; and we often hearken without hearing. Observations sur la Poésie anglaise. Les vers anglais sont composés d'un certain nombre de syllabes. Généralement deux syllabes forment un pied poétique. Il y en a deux sortes: savoir, le ïambique et le trochée. Le ïambique est composé d'une brève et d'une longue, comme alóft, creáte. Le trochée, d'un longue et d'une brève, comme lófty, hóly. La mesure iamqique est de quatre syllabes. De six. De huit. With ravish'd ears The lord of heav'n confess, DRYDEN. In other men we faults can spy, De dix, pour la poésie héroïque et tragique. In all you write, observe with care and art GAY. DRYDEN. Dans ces mesures, l'accent doit être placé sur les syllabes paires. La mesure trochée est de trois syllabes, Dans ces mesures, l'accent doit être placé sur les syllabes impaires. Le vers de douze syllabes, appelé alexandrin, sert pour diver sifier la poésie héroïque La pause doit-être à la sixième syllabe. РОРЕ. Les vers de quatorze syllabes se sépare en mesures qui sont alternativement de huit et de dix syllabes. She to receive thy radiant name, FENTON. Il y a aussi une mesure très-prompte, fort usitée dans les chansons, appelée anapestique. Dans cette mesure l'accent doit être placé sur chaque troisième syllabe. POPE. May I govern my passions with absolute sway, And grow wiser and better as life wears away. Les mesures le plus en usage sont celles de sept, de huit et de dix syllabes. Elles sont variées par différentes combinaisons de longues et de brèves; qui donnent beaucoup d'harmonie aux vers anglais; et c'est peut-être à cause de la ressource que les Auteurs trouvent dans la prosodie de leur langue, qu'ils négligent souvent la rime, si nécessaire aux vers français. La versification admet quelques licences, savoir: l'élision de l'e dans the devant une voyelle, comme th'eternal; de l'o dans to comme t'accept; la synerese, par laquelle deux voyelles brèves sont unies en une syllabe, comme question, spécial, où un mot est abregé par la suppression d'une voyelle brève devant une liquide, comme av'rice, temp'rance, pour avarice temperance. CHOIX DE POÉSIE ANGLAISE. On Happiness (a).· OH happiness! our being's end and aim! Good, pleasure, ease, content! whate'er thy name: ? ? Ask of the learn'd the way the learn'd are blind; ; Take nature's path, and mad opinion's leave; Or good and nature meant to mere mankind, The progress of life (a). ALL the world's a stage, And all the men and women merely players > : Even in the cannon's mouth: And then, the justice, Sans teeth, sans eyes, sans taste, sans every thing. King Henry the fourth's speech, when he receives news by night of the Earl of Northumberland's rebellion (b). How many thousands of my poorest subjects Why rather, sleep, ly'st thou in smoky cribs, (a) Shakespear, in the play intitled: As you like it. Act, 2. sc. 7. (b) The second part of King Henry the IV. Aci, 3. sc, 1. ง Upon uneasy pallets stretching thee, And hush'd with buzzing night-flies to thy slumber, And lull'd with sounds of sweetest melody? Who take the ruffian billows by the top, Deny it to a King? Then, happy low, lie down! Meditation on death. Hamlet. Act. 3. sc. I. to sleep; To be, or not to be, that is the question: to sleep; Must give us pause: There's the respect, For who would bear the whips and scorns of time, The insolence of office, and the spurns That patient merit of the unworthy takes, With a bare bodkin? Who would fardels bear, To groan and sweat under a weary life, Is siclhy'd o'er with the pale cast of thought; On |