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(4) This Figure, when addressed to an adversary, carries powerful conviction into his confcience, and makes him as it were condemn himself. A finer instance of which fort perhaps we cannot find, than in the expoftulation of God himself with an ungrateful and difobedient people, in Mal.i. 6. " A son honours his father, and
a servant his master: if I then be a father, as where is my fear? and if I be a master, where is my honour ?
Common language only glances like an arrow, and lightly rafes the fkin; but this Figure, like a dagger, plunges at once into the heart.
I shall conclude with the account Vossius gives of this Figure, in which you will observe a coincidence with the sentiments that have already been passed upon it. “ This Figure, says he, is “ well adapted to a vindication of ourselves, and “ carries a great deal of probability with it: it u is especially of service in shewing our confi“dence in our cause, and in pushing o’r adver, “ fary; for if we confer with our adversary, we “ take the ready method to press and extort a « confession; or if we discourse with our judges, " we influence their minds, while they see that “ we rest our cause upon their equity *."
Aptum eft hoc fchema purgationi, multumque habet probabilitatis. Imprimis vero utile eft confidenti & refellenti. Nam fi cum adversario communicemus, valebit ad urgendam atque extorquendam confeffionem. Sin autem judicibus prodeft ad eorum animos movendos, dum vident nos in ipfo. rum æquitate fiduciam noftram collocarę. Vossui Rhetoric. ib. iv. $ 16.
The ANASTROPHe considered.
$1. The definition of the Anastrophe. $2. Exam
ples of this Figure from MỊlton, Virgil, and HORAÇE. § 3. An instance from the- Apostle Paul, in Romans i. 1---7. $ 4. The 114th Pfalm considered as an Anastrophe, with Dostor Watts's remarks and version. § 5. An observation upon the Anastrophe, and cautions concerning the use of it.
§ 1. A Nastrophe ", or inversion, is a Figure
by which we suspend our sense, and, the hearer's expectation ; or a Figure by which we place last, and perhaps at a great remove from the beginning of the sentence, what, according to common order, should have been mentioned first.
§ 2. We have a charming instance of this kind in the following lines, which are part of a speech of Eve to Adam in the state of inno
Sweet is the breath of morn, her rising sweet,
« The ancients,” says the Archbishop of CamBRAY, “ by frequent inversions made the sweetest « cadence, variety, and passionate expressions, “ easy to the Poet. Inversions were even turned
into noble Figures, and kept the mind sus
pended in expectation of something great. We « have an instance of this in Virgil's eighth Eclogue, which begins,
Pastorum mufam, Damonis & Alphefibæi,
“ If you take away this inversion,” says the Archbishop, “and place the words according to “ the grammatical order and construction, you “ destroy all their force, and grace, and har“ mony 1."
* Milton's Paradise Lost, book iv. line 641.
Letter to the French Academy.
HORACE, in an ode of his that celebrates the praises of DRUSUS, the son-in-law of the Emperor AUGUSTUS, bears us away in his fublime ardor, without fnewing us whither we are going, or giving us time to broathe ; and we cannot find the great character he designs to applaud till tho 18th line, though he is raising our expectations, and paying honours to his Hero throughout the long preface.
Such as the bird, that from above
Such, such our enemies beheld,
Young Drusus plung'd in glorious fight,
§ 3. The first seven verses of the Apostle Paul's Epistle to the Romans is but one period, and seems very irregular and intangled, though it is quite reconcilable to the analogy of rational grammar. The preface, s Paul, a servant of
JESUS CHRIST," waits for its complete sense
Horat. Od. lib. iv. od 4