Pursuing the principle further, it is obvious that for producing the greatest effect, not only should the main divisions of a sentence observe this sequence, but the sub-divisions of these should have their parts similarly arranged. In nearly all cases, the predicate is accompanied by some limit or qualification called its complement. Commonly, also, the circumstances of the subject, which form its complement, have to be specified. And as these qualifications and circumstances must determine the mode in which the acts and things they belong to are conceived, precedence should be given to them. Lord Kaimes notices the fact that this order is preferable; though without giving the reason. He says:—“When a circumstance is placed at the beginning of the period, or near the beginning, the transition from it to the principal subject is agreeable: is like ascending or going upward.” A sentence arranged in illustration of this will be desirable. Here is one: ―― Whatever it may be in theory, it is clear that in practice the French idea of liberty is—the right of every man to be master of the rest. In this case, were the first two clauses, up to the word “practice” inclusive, which qualify the subject, to be placed at the end instead of the beginning, much of the force would be lost; as thus: ―― The French idea of liberty is—the right of every man to be master of the rest; in practice at least, if not in theory. Similarly with respect to the conditions under which any {344} fact is predicated. Observe in the following example the effect of putting them last: ―― How immense would be the stimulus to progress, were the honour now given to wealth and title given exclusively to high achievements and intrinsic worth! And then observe the superior effect of putting them first: ―― Were the honour now given to wealth and title given exclusively to high achievements and intrinsic worth, how immense would be the stimulus to progress! The effect of giving priority to the complement of the predicate, as well as the predicate itself, is finely displayed in the opening of “Hyperion:” “_Deep in the shady sadness of a vale_ _Far sunken from the healthy breath of morn,_ _Far from the fiery noon, and eve’s one star,_ _Sat_ grey-haired Saturn, quiet as a stone.” Here we see, not only that the predicate “sat” precedes the subject “Saturn,” and that the three lines in italics, constituting the complement of the predicate, come before it; but that in the structure of this complement also, the same order is followed: each line being so composed that the qualifying words are placed before the words suggesting concrete images.