With respect to inversion, it appears both from reason and experiments, that many words which cannot bear a separation in their natural order, admit a pause when inverted. And it may be added, that when two words, or two members of a sentence, in their natural order, can be separated by a pause, such separation can never be amiss in an inverted order. An inverted period, which runs cross to the natural train of ideas, requires to be marked in some measure even by pauses in the sense, that the parts may be distinctly known. Take the following examples. As with cold lips || I kiss’d the sacred veil. With other beauties || charm my partial eyes. Full in my view || set all the bright abode. With words like these || the troops Ulysses rul’d. Back to th’ assembly roll || the thronging train. Not for their grief || the Grecian host I blame. The same where the separation is made at the close of the first line of the couplet: For spirits, freed from mortal laws, with ease Assume what sexes and what shapes they please. The pause is tolerable even at the close of the couplet, for the reason just now suggested, that inverted members require some slight pause in the sense: ’Twas where the plane-tree spread its shades around: The altars heav’d; and from the crumbling ground A mighty dragon shot. Thus a train of reasoning hath insensibly led us to conclusions with regard to the musical pause, very different from those in the first section, concerning the separating by an interjected circumstance words intimately connected. One would conjecture, that where-ever words are separable by interjecting a circumstance, they should be equally separable by interjecting a pause. But, upon a more narrow inspection, the appearance of analogy vanisheth. To make this evident, I need only premise, that a pause in the sense distinguishes the different members of a period from each other; that two words of the same member may be separated by a circumstance, all the three making still but one member; and therefore that a pause in the sense has no connection with the separation of words by interjected circumstances. This sets the matter in a clear light. It is observed above, that the musical pause is intimately connected with the pause in the sense; so intimately indeed, that regularly they ought to coincide. As this would be too great a restraint, a licence is indulged, to place pauses for the sake of the music where they are not necessary for the sense. But this licence must be kept within bounds. And a musical pause ought never to be placed where a pause is excluded by the sense; as, for example, betwixt the adjective and following substantive which make parts of the same idea, and still less betwixt a particle and the word which makes it significant.