The grave accent is represented by a mark placed over a letter, or syllable, to show that it must be pronounced with the falling inflection of the voice; as, Reuthȧmir.

The acute accent is represented by a similar mark, pointing in the opposite direction, to show that the letter or syllable must be pronounced with the rising inflection of the voice; thus, Epicuréan, European.

The meaning of a sentence often depends on the kind of accent which is used; thus the following sentence, if the acute accent be used on the word alone, becomes a question:

"Pleased thou shalt hear, and thou alóne shalt hear?"

But if the grave accent be placed on the word alone, it becomes a simple declaration; as,

"Pleased thou shalt hear, and thou alone shalt hear."

The circumflex accent is the union of the grave and acute accents, and indicates that the syllable on which it is placed should have both the rising and falling inflection of the voice.

The caret is a mark resembling an inverted V, placed under the line. It is never used in printed books, but, in manuscripts, shows that something has been accidentally omitted; as,

recited

"George has his lesson."
A

When many notes occur on a page, and the reference marks given above are exhausted, it is customary to double them. Some writers prefer to use the numerals, 1, 2, 3, 4, etc., as simpler. This is a matter of taste with the writer.

The section and the paragraph are used to mark the parts of a composition that should be separated. Where you wish the compositor to separate a paragraph into two or more paragraphs, it is not necessary to rewrite the page. Place the where you wish each new paragraph to begin, and the compositor will understand your wishes.

A paragraph denotes the beginning of a new subject, or a sentence not connected with the foregoing.

A section is used for subdividing a chapter into smaller parts.

It is proper here to add, that every composition should be divided into paragraphs, when the sense will allow the separation. Different subjects, unless they are very short, or very numerous in a small compass, should be separated into paragraphs.

Underscoring.

Many mistakes arise from improperly underscoring the words of a manuscript or letter. It is well to refrain from underscoring a word wherever you can do so with propriety, just as you would avoid unduly emphasizing your words in

speaking. A single line drawn under a word indicates that it must be set by the compositor in italics; as, "I dearly love her." Two lines indicate small capitals; as, "I honor him." Three lines indicate large capitals; as, "Help, help, I cry."

(From Parker's "Aids to English Composition.")

ALTHOUGH the details of Grammar and grammatical rule are not embraced in the plan of this work, we may with propriety present some observations with regard to those principles which are most frequently forgotten or disregarded by careless writers. These are here presented in the form of directions.

DIRECTION ISt. In determining the number of a verb, regard must be had to the idea which is embraced in the subject or nominative. Whenever the idea of plurality is conveyed, whether it be expressed by one word or one hundred, and however connected, and in whatever number the subject may be, whether singular or plural, all verbs relating to it must be made to agree, not with the number of the word or words, but with the number of the idea conveyed by the words.

DIRECTION 2d. In the use of pronouns the same remark applies: namely, that the number of the pronoun must coincide with the idea contained in the word, or words, to which the pronoun relates. If it imply unity, the pronoun must be singular; if it convey plurality, the pronoun must be plural. These directions will be better understood by an example.

Thus, in the sentence, "Each of them, in their turn, receive the benefits to which they are entitled," the verbs and pronouns are in the wrong number. The word each, although it includes all, implies but one at a time. The idea, therefore, is the idea of unity, and the verb and pronoun should be singular; thus, "Each of them in his turn receives the benefit to which he is entitled."

The same remark may be made with regard to the following sentences: "Every person, whatever be their (his) station, is bound by the duties of morality." "The wheel killed another man, who is the sixth that have (has) lost their (his) lives (life) by these means." "I do not think that any one should incur cen. sure for being tender of their (his) reputation."

DIRECTION 3d. In the use of verbs and words which express time, care must be taken that the proper tense be employed to express the time that is intended. Perhaps there is no rule more frequently violated than this, even by good writers;

but young writers are very prone to the error. Thus, the author of the Waverley Novels has the following sentence:

“Description,' he said, 'was (is) to the author of a romance exactly what drawing and tinting were (are) to a painter; words were (are) his colors, and, if properly employed, they could (can) not fail to place the scene which he wished (wishes) to conjure up as effectually before the mind's eye as the tablet or canvas presents it to the bodily organ. The same rules,' he continued, ‘applied (apply) to both, and an exuberance of dialogue in the former case was (is) a verbose and laborious mode of composition, which went (goes) to confound the proper art of the drama, a widely different species of composition, of which dialogue was (is) the very essence; because all, excepting the language to be made use of, was (is) presented to the eye by the dresses, and persons, and actions of the performers upon the stage.'"

The author was misled throughout in the tenses of the verbs in this extract by the tense of the verb said, with which he introduces it.

DIRECTION 4th. Whenever several verbs belonging to one common subject. occur in a sentence, the subject or nominative must be repeated whenever there is a change in the mood, tense, or form of the verb.

DIRECTION 5th. In the use of the comparative and superlative degrees of the adjective it is to be remarked, that when two things or persons only are compared, the comparative degree, and not the superlative, should be used. Thus, in the sentence, "Catharine and Mary are both well attired; but, in their appearance, Catharine is the neatest, Mary the most showy," the superlative degree of the adjective is improperly applied. As there are but two persons spoken of, the adjectives should be in the comparative degree: namely, neater and more showy. DIRECTION 6th. Neuter and intransitive verbs should never be used in the passive form. Such expressions as was gone, is grown, is fallen, is come, may be relied on, etc., although used by some good writers, are objectionable.

DIRECTION 7th. In the use of irregular verbs, a proper distinction should be made in the use of the imperfect tense and the perfect participle.

He done (did) it at my request; he run (ran) a great risk; he has mistook (mistaken) his true interest; the cloth was wove (woven) of the finest wool; he writes as the best authors would have wrote (written) had they writ (written) upon the subject; the bell has been rang (rung); I have spoke (spoken) to him upon the subject. These sentences are instances where the proper distinction between the preterite and participle has not been preserved.

DIRECTION 8th. The negative adverb must be followed by the negative conjunction; as, "The work is not capable of pleasing the understanding, nor (not or) the imagination." The sentence would be improved by using the conjunctions in pairs, substituting neither for not.

In the following sentences, the conjunction but is improperly used: "I can not deny but that I was in fault." "I cannot be doubted but that this is a state of positive gratification."