The reason of these observations, will be evident upon the slightest reflection. Betwixt things so intimately connected as sense and sound in pronunciation, to find discordance is unpleasant to the ear; and for that reason, it is a matter of importance, to make the musical pauses coincide as much as possible with those of the sense. This is requisite, more especially, with respect to the pause. A deviation from the rule is less remarkable in a semipause, which makes but a slight impression. Considering the matter as to modulation solely, it is indifferent whether the pauses be at the end of words or in the middle. But when we carry the sense along, nothing is more disagreeable than to find a word split into two parts, neither of which separately have any meaning. This bad effect, though it regard the sense only, is by an easy transition of ideas transferred to the sound, with which the sense is intimately connected; and by this means, we conceive a line to be harsh and grating to the ear, which in reality is only so to the understanding[100]. To the rule which places the pause after the 5th portion, there is one exception, and no more. If the syllable succeeding the 5th portion be short, the pause is sometimes postponed to it: Pupillis quos dura || premit custodia matrum Again, In terris oppressa || gravi sub religione Again, Et quorum pars magna || fui; quis talia fando This contributes to diversify the melody; and where the words are smooth and liquid, is not ungraceful; as in the following examples. Formosam resonare || doces Amaryllida sylvas Again, Agricolas, quibus ipsa || procul discordibus armis If this pause, postponed as aforesaid to the short syllable, happen also to divide a word, the melody by these circumstances is totally annihilated: witness the following line of Ennius, which is plain prose. Romæ mœnia terru||it impiger | Hannibal armis