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"self in secret places, that I shall not see him, ,J faith the Lord? Do not I fill heaven and "earth, faith the Lord?" And it is told us, A8s iv. 19. that " Peter and John answered and "laid to them," to the Jewish council, " whether "it be right in the sight of Gqd to hearken unto "you more than unto God, judge ye." So 1 Cor. iv. 21. "What will ye? Shall I come unto you "with a rod, or in love, and in the spirit of «• meekness?" and Gal. iv. 21. "Tell me, ye that "desire to be under ^the law, do ye not hear "the law?"

§ 4. The use of this Figure seems to lie,

(1) In its familiarity. It has something of the air of conversation •, and though discourses ought not to be turned into mere conversation, yet a proper and decent mixture of such a sort of free-r dom entertains our hearers, both on account of its variety, and its apparent condescension and good-nature.

(2) This Figure pays a compliment to our audience, in that there is an appeal made to their judgment, their equity, and good disposition. Deference and honour are shewn to the persons we address, and our hearers are pleased with our modesty and submission,

(3) In the Anacoenojis there appear a great regard to truth, and an assurance of the goodness of our cause. We are so fully satisfied that justice is on our side, that we venture the matter for a decision to the common principles and dictates as reason and equity,

•{4) This Figure, when addressed to an adversary, carries powerful conviction into his conscience, and makes him as it were condemn himself. A finer instance of which fort perhaps we cannot find, than in the expostulation of God himself with an ungrateful and disobedient people, in Mai. i.. 6. "A son honours his father, and "a servant his master: if I then be a father, "where is my fear? and if I be a master, where u is my honour?" Common language only glances like an arrow, and lightly rases the skin; but this Figure, like a dagger, plunges at once into the heart.

I shall conclude with the account Vossrus gives of this Figure, in which you will observe a coincidence wi«h the sentiments that have already been passed upon it. "This Figure, lays he, is "well adapted to a vindication of ourselves, and "carries a great deal of probability with it: it "is especially of service in shewing our confi"dence in our cause, and in pushing our adver"sary; for if we confer with our adversary, we "take the ready method to press and extort a "confession j or if we discourse with our judges, «* we influence their minds, while they fee that *« we rest our cause upon their equity *."

* Aptum est hoc schema purgationi, multumqoe habetprobabilitatis. Imprimis vero utile est confident & refellenti. Nam si cum adversario communicemu?, valebit ad urgendam atque extorquendam confeffionem. Sin autem judicious prodest ad eorum animos movendos, dum vident nos in ipsorum æquitate fidneiaro nostram collocare. Vossn Rbttorit. 'ib. iy. $16.

The Anastrophe considered.

}. fshe definition of the Anastrophe.. % 2. Examples of this Figure from Milton, Virgil, and Horace. § 3. An instance from the Apostle Paul, in Romans i. 1—7. § 4. ¥he 114th Psalm considered as an Anastrophe, with Doctor Watts'.? remarks and version. § 5. An obfer* vation upon the Anastrophe, and cautions concerning the use of it.

§ 1. yfNastrophe *, 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 innocence;


* From asas-ct^u, I invert.

Sweet is the breath, of morn, her rising sweet,
But neither breath of morn, when (he ascends
With charm of earliest birds; nor rising fun'
On this delightful land, nor herb, fruit, flow's,'
Glist'ring with dew, nor fragrance after fhow'rs,
Nor grateful ev'ning mild^ nor silent night -_:.'? /
With this her solemn bird, nor walk by noon,'
Or jglitt'ring star-light, without thee is sweet *.

"The ancients," fays 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 fus"pended in expectation of something great. We "have an instance of this in Virgil's eighth Eclogue, which begins,

Pastorum musam, Damonis & Alphesibæi,
Immemor herbarum quos est mirata juvenca,
Certantes, quorum stupefactæ carmine Lynces,
Et mutata suos requierunt flumina cursus:.. .y
Damonis mufam dicemus, & Alphesibæi.

,«« If you take away this inversion," fays the Archbishop, "and place the words according to ,** the grammatical order and construction, you "destroy all their force, and grace, and har"mony %." .


* 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 pf the Emperor Augustus, bears us away in his sublime ardor, without; (hewing us whither we are going, or giving us time to breathe; and we cannot find the great character he designs to applaud till the-19th line, though he is raising our expectations, and paying honours to his Hero throughout the long preface.

Such as the bird, that from above
lynches th' avenging holt.of Jqve J
Tp whom the I^ord pf earth and heav'n
The empire o'er the, fowls has giv'n,
Rewarding high his duteous deed
The rape of lovely Ganymede,
Whom youth and his paternal fire
To tempt him from his nest conspire,
Stranger to toils; whom, when no stain,
Nor skirts of vernal clouds remain,
The strong impetuous gales invite,
While his heart quivers at the flight
To his first onset. On the fold,
Upon his pinions swift and bold;
Now down he sweeps: his next delight,
Roaming for prey, and fond of fight,
T' attack the dragon's dreadful fires,
And in his talons-grasp his spires.
Or such as some ill-fated fawn,
Browsing along the flow'ry lawn,
Beholds, all trembling with surprise,
A lion in his terrors rife,
Just wean'd, and bent to rend, to flay
With his young tooth his helpless prey 3


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