I 1 der if U got that 1 I wrote 2 U B 4 I sailed in the R K D A, And sent by L N Moore. My M T head will scarce contain A calm I D A bright But A T miles from U I must M︷ this chance 2 write. And 1st, should N E N V U, B E Z, mind it not, Should N E friendship show, B true; They should not B forgot From virt U nev R D V 8; Her influence B 9 A like induces 10 dern S, Or 40 tude D vine. And if U cannot cut a —— Or cut an ! I hope U’ll put a . 2 1 ?. R U for an X ation 2, My cous N?—heart and ☞ He off R’s in a ¶ A § 2 of land. He says he loves U 2 X S, U R virtuous and Y’s, In X L N C U X L All others in his i’s. This S A, until U I C, I pray U 2 X Q’s, And do not burn in F E G My young and wayward muse. Now fare U well, dear K T J, I trust that U R true— When this U C, then you can say, An S A I O U. Monosyllables. “And ten low words oft creep in one dull line.” Some of our best writers have very properly taken exception to the above line in Pope’s Essay on Criticism, and have shown, by reference to abundant examples, that many of the finest passages in our language are nearly, if not altogether, monosyllabic. Indeed, it could not well be otherwise, if it be true that, as Dean Swift has remarked, the English language is “overstocked with monosyllables.” It contains more than five hundred formed by the vowel _a_ alone; four hundred and fifty by the vowel _e_; nearly four hundred by the vowel _i_; more than four hundred by the vowel _o_; and two hundred and sixty by the vowel _u_; besides a large number formed by diphthongs. Floy has written a lengthy and very ingenious article, entirely in monosyllables, in which he undertakes, as he says, to “prove that short words, in spite of the sneer in the text, need not creep, nor be dull, but that they give strength, and life, and fire to the verse of those who know how to use them.”