Another question which occurs before us, is--whether an attention to our numbers should be extended to every part of a sentence, or only to the beginning and the end. Most authors are of opinion that it is only necessary that our periods should end well, and have a numerous cadence. It is true, indeed, that this ought to be principally attended to, but not solely: for the whole compass of our periods ought likewise to be regulated, and not totally neglected. As the ear, therefore, always directs it's view to the close of a sentence, and there fixes it's attention, it is by no means proper that this should be destitute of _number_: but it must also be observed that a period, from it's first commencement, should run freely on, so as to correspond to the conclusion; and the whole advance from the beginning with such an easy flow, as to make a natural, and a kind of voluntary pause. To those who have been we'll practised in the art, and who have both written much; and often attempted to discourse _extempore_ with the same accuracy which they observe in their writings, this will be far less difficult than is imagined. For every sentence is previously formed and circumscribed in the mind of the Speaker, and is then immediately attended by the proper words to express it, which the same mental faculty (than which there is nothing more lively and expeditious) instantly dismisses, and sends off each to its proper post: but, in different sentences, their particular order and arrangement will be differently terminated; though, in every sentence, the words both in the beginning and the middle of it, should have a constant reference to the end. Our language, for instance, must sometimes advance with rapidity, and at other times it's pace must be moderate and easy; so that it will be necessary at the very beginning of a sentence, to resolve upon the manner in which you would have it terminate; but we must avoid the least appearance of poetry, both in our numbers, and in the other ornaments of language; though it is true, indeed, that the labours of the Orator must be conducted on the same principles as those of the Poet. For in each we have the same materials to work upon, and a similar art of managing them; the materials being words, and the art of managing them relating, in both cases, to the manner in which they ought to be disposed. The words also in each may be divided into three classes,--the __metaphorical_,--the new-coined,--and the antique;--for at present we have no concern with words _proper_:--and three parts may also be distinguished in the art of disposing them; which, I have already observed, are _juncture_, _concinnity_, and _number_. The poets make use both of one and the other more frequently, and with greater liberty than we do; for they employ the _tropes_ not only much oftener, but more boldly and openly; and they introduce _antique_ words with a higher taste, and new ones with less reserve. The same may be said in their numbers, in the