-f E. \ 1\0 ~-l

PREFACE.

. ~B fo

THE Principles of English Composition first appeared
in 1831, preceded by the following

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ADVERTISEMENT.,
: ·'1.

J,QNDON:

PRINTED BY J. H. STARII<:,

166, High Holborn.

"Of this work, the second, third and fourth chapters
have been reprinted, with a few alterations, from the
introductory portion of the Analytical Dictionary. _The
Author is not conscious of having appropriated a single
line, from any other writer, without acknowledgment." .
In this improved Edition, the Chapters above mentioned have been left out ·as, · besides being printed in
C1ther of th~ Author's works, they contained nothing
that did not belong to GRAMMAR, properly so called,
rather than to CoMPOSITION ; and the vacuity has been
filled up with new matter more analogous to the subject
of the present volume; the type of which has been chosen of a smaller size so as to lessen the selling price.

·~

Chm·lotte Sfreet, Bloomsbury.

M:ay, 1840.

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CONTENTS.
Chap.

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Page.
Of Composition and its divisions · into
Grammatical and Rhetorical-Distinction between Syntax and Construction
-on Accent and Emphasis
1
II.
Of Punctuation
8
Of the Construction, or Arrangement, · of
III.
22
Sentences
IV.
Construction of Sentences continued-Comparison with the Arrangement of other
33
languages
v. Of Metaphors.-Symbols
45
VI.
Of Figurative language generally.-Differ'i.
54
ent species of Tropes
VII.
Figures of Thought
63
VIII. , Figures of Thought ~continued
71
IX.
Of l>rosopopecia, or Personification-Gen.
I
ders of Nouns
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97
x.
Of Style
130
XI.
Of Prosody
152
XII.
Of Rhyme and Alliteration
165

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XIII.
XIV.
XV.
XVI.
XVII.
XVIII:

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Of the different species of Verse
Of Lyric Poetry ·
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continued
Of Pastoral Poetry
Of the higher species of Poetry
B:i~herf.§peci1~ .U: Po~try continued ' i

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236
252
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:EN GLISH : ·COMPO.SIJr I .O;N:•
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CHAPTER ·L .
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COMPOSITION, AND '

MATICAL

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AND

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AND EMPHASIS .

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GRAM-

RHETORICAL,__;_DISTINCTION BE•
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TWEEN SYNTAX AND CoNSTRUCTION.-01" AccENT

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ITS .- ~IVI~IO~S · ~~TO

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THE objects of language, whether .spoken or written,
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are threefold:
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1. To communicate .t o others the impressions which
the speaker has received ;
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2. To recal to the memory of others what they once
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knew; and,
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3. To excite sensations in .others throp.gh t~e-11ieditrm
of the imagination.
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To produc{l either, or a11, of these ends, by·!neans of
speech. and gesture, is the business · of the or~~or ; to
gain the same purpose, qy an arrangement of. cl_rnracters
that represent words !).nd sentences,, is the provin!!e: of
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OF

COMPOSITION.

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the writer . . The sp~e~h is an ORATION~ ~r<l. ~.~~, writing
is a CoMPOSITION; and b0th nre eloquent i(theY.J?.lense

tl~~ ear. f}n~ sat~~f~ ~~H ju~p1nent ?f tlw~~ , ~R« ~.i~o:i1~ ·they
1 ....

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are . 11;dd.r f1ssefi. . :~~e, ~ipJincti9n ., howe~e. r, :· }!.e,t,weyn , im
1
Oration 1J),nd fl qQ30P;.<?S~,ti\m is only 9cc~siop11I,.17:PQ,~ , J.;Ini~

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versa!. . · ~~( l,lnprep1.~~i~itt~d l~_a~l!l)g~e n~~ i~~~<l.q~, ~~j'.; ~f
fl\e,. a(ivwi.tl}gtls,i9fir µt~;;r,.r1 l~bo~r. i; ....fl~t:? tl~~Jl~~~9;11~ .
those Masters, who, in successiYe !ages, .~11p.~? ,yf ~;~t;t·~? .~~-e

~I ) · /;.

-?f

attentio!\, fW~\¥eP?J~~'~e~.~!1e. h.carts of ~l~~ir, 1 h~11;1::er~·J•nve
all .s~elt,qftl~e- l~~1P: ~v,~r. sipce the d,ny~ P,tPel\1qsthen~~~
Cofi/,J?,osiff Pn:1P:~Y,~ ~i~h propije,ty, -~e._ d.i,vid~.d, jn~~ 1 ~ito
part~.? qr.amw~t~~f.J. ~114 .Rhetor~ca~ 1 ·, J'h~ , ~or1;n~~ , ~~~~f~
of the arran-genwn~/~~ the materi~ls , ,. ,tl~e. l~tt~~ of t~1e
materials themselves.

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of

The one teaches- ., ' the
art
p' 1 \

mounting the ·~~~Mon, w~th pins . 1'11d with ~ires ; . 'the
other ch,ll~f'l~0~1}~/i,i.,in~st forms f1:0111 the valley, binds them
with si11~\~~ and ~o.v~r~ them wi,tlt,fi~sh, a,r,14, animating
th,erp. ,wit)f ,tl1~ ..~r~1ath . of Genius, ~i~~ the dry bones live.
J ;l'h~r G~aipJI!a9.W!-\ , division of qu,~ ..work ha~ · be~IJ. niuch
more generally i~v()stigated th~n .~h~ Rhet?~ical. · Some.

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tl}fl]K,_Pn).~1-~ , ,:S.~.\Jj;ect may be. seen in ~~~ry Gram?1ar;
and, 1,lnl~ss, ,,when. we hope to ,Wm tr~~<t ~il~at 1 .has _.~een
left. obscure, or_to.bring f.orwµrd what.h.a.s. 9e~~1 n~glect.eJ,
":'C ,:p:e not . :much incJin~J to tread, nnc~ ,t he ':"earisomc

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pa~h of ,o ur, ~/1ii~hqocL

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OF SYNTAX AND CONSTRUCTION~ ·

~9r, t11e present, .t l,1erefore, with

q1Y: ex<;epti?n of .a Je:-v ca,~,ual ref!l~rks, ~~1e" 4e?lensio.n s
ap1d conjugati~n~ sl,f\ll '9,e allowed . to. r~111¥n, m;ial~ered,
~s ,they are . foun~l in ~~it)t,\i.Fa~ory Schq~ls . . ;1J~fore,
however, entering upon the ground : which ,"'.e me\111 to
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occupy, we must . h~~ lej'!::YC t9,,di,ffqr so far : from the or-

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OF ACCENT AND EMPtlASiS,

OF SYNTAX AND CONSTRCCTION,

· '• ! T J"l .l l [';.> ;( U

have ' pr~i;a~t~d ! ~y · ~'c>°rk till rnost of those iun-b""sunk
1
into' .the' g~·a~~,' ~1~cn~ ''i ~~{sh ed to please'; hn'vl1i1'g 1 iittle ·
to f~ar ·~~; ··fci Ii~pe ' N~!~h . ~e1~sur~ · 01: ' frbn~·; }1.rhis(!;'\~i th
1
frigid trd~qJiility;· 11 l1 1~ref~r~ «1is:~1iss ' 1t.' "' ! •:; ) ' " ( ' n ·• !'
.' 'i ha~·e p·f~t~act~d.' ~} ·,vork tin ino~f'~rtr1~~e 1 \fhom 1!
1
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I 'wished ~F~-:~~ea~e~lrn~e .sun~' i'nto '_ tl/e' gta\\~, uiitl su'cbe~'s
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and n~ iscarriage ! are' '~in'pty sotinds;' '1' th~tefore 'Jishiiss it '
with frigid , tranguillity, having little to fear 'of' td li'o~~
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rf l 'J> ': ; I ·•f t I,,·
t t;·r ' ' I ' ' ''' · 1 -.
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from censure or r?m praise.
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·'oth~~' iii~~~g~di eiil~ ' ci{ th~5({pi~rliJcs 'liiight be forinccl,
" "~ '""''' ""4" j '1'frl ·\·. ,j .,.. i' I 'JI "
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or ev~~ t~~ )n~ases___ t?e.m~elve~ 'fuigh~ ' lie'. ihvbtle<l ;I! hh'cF
he is'th~ best\}
c6i1it>J~~i 'U.1~~· I i~,-, al.fik' I cHu~e th'e?hlOsf I
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I~;~ui~u:t;~'J: ~~~t ;haihl6iii6~{5: 6f tHe'' .frv~\.~1 · t!onSt~tf~~ '
ti~n~: )?'.sUi~hf ·~p~aki dg, tii~t~ ·is, ·'ifrobab11~' 1 Jii'~Wade : 1 Jlf'
1

clistii~cti'~~ 'inf~~aning,' ~~~e '~~ ·1k'ss 'oui1b'us:· b~tween ~very I
Btlt 'tH&' 1iti'fes·1·

two Constrri~ti6n's 'o'f t:h~' ~d~ii~· il/e~;ie'11c~}
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ti~ati~ri 6rTha· ~~tjkd\vb ~1·<l 'h·~~·~ · b~ '}J~k~iritlitf:·1·rdtl" lwe

. , '' l\3 c ~;!J.: <Jid1! .1 ·1.".111 ·1l·•" !f• J ' •' • :~1: ·r ·i "': • ;! i 11i f,,, 11 ,,; '•,'
are now invmg e6 mhons-not exump es.
· · · - ··
u1;~'10~~ b'F~~~~tru~tiiih''inliy tle ihidetst6'0'd in fwo

<liff~~
~f1~~;i~~~ (:.,o~i~ ~s"ih~\ ·i66br<la11ctt 1bt1 tile 1~~+eiu1
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1~;1a 'iiiri):t'e 1bo'1tiplttgc1w ay~~~;. I
ID ~~~~~~'~t
tl{e
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t~~,i~ A'.i- ~hi~~6 tti~b :'' 1the ~thb~\ ifd'tb'~ r 1JtHsfHg ¥ubhllssHhi'
1./c , ..: ! 111:; 'i rC U:·.r · ·- ·; ~ G I!i' l.,~ ·lo u.oit , :.uu..I
1 · _pernal'S', m:: mun::
.e:glpllases, anu wou1c,
1
1
~c~~~~t~if Jei{~r~i;,'~t~J ' 'Gy 't'. J;~' iah 1 ' it6fody 1!11it "fu~m5·
ti:~ '. ~~~?ti '~~d '~·l~g~~~-~~ 1~'t l\ru~~ '; ':a;(d; 'M1~ti 'the o~deP Of
s~~~-~~~-ion 1 {~ -~~!~~er~~d'\~lm i~cai·t. red1't~guhi'rit~ 1 i~ 1 !cofi\J

,,.. .,;1 'lf H·.'... L' l"i tn n

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a~cent~ , ~n_u,

s~it~t~d ~f1i~~-~s~i~g~' ~~~~~~~'. in: pLJ1'1ii{\.' f$ 1HHt,·1b~CIUsiVe~
1

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l~, ·~1iie4' ~io '~itl,1 ~r ~'-' 1 'it 1 1c~1;~·i~'t~ 'ill' ~l1~Loi1yihg tH~ fMrli'~
1
or°tl~i1~~ t~1k;~J~~;;· ~;1'J.' i;~· ,givii1g\i» ~ir1y ' 111_oti1H1~ idoch1
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hab1tnbon and n. name.

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·J>n os:J!: (' -atin mroaa 1 is from prorsits sh;ai~ht f'orwatd;
,~ , n ..
, ,. f-' ,,_,, 11!'1 !! • :(( 11 111 Ill.I .il'!\Pl Yrrt 119 :lJnJO'HJ '.H JHJ.
in contrarl~stinction to Vv.n.sE fLat1n ver&Us) rom vertere .
--., r.rn :.;'i'i'I_,. ··•r " " J:·:l• f ·'T:r•:.11!}1 11
fllO JI W , 9'1.131!) '.> ri1 O II!l
tod )rrr+nrn • because m the ' one case the read.er ~es
-: ·, 2'JHf (L J1w It '" ·1u~~ff 9~_mcr~' oqod. oj w ·1. '.> t oj
on to the end of, the naraerau . w eteils1 • .m the ot ~r, .
·
. J1 ~'7\JJta l'l:l :.i10 :iw1 j 1. ,'(_
J11lwpnn1.t ;gnl
hP. mnst · tum. back at the end of ev.ery- 'verse; whe er
mrrfnT 'k11TI T io .J<:om llil J110vr '{ill 11 ~1 .::unto11.r ~:rmrl >
thP. line he 1'11erl un or not. It · ts on. a'Cconnt . of
E '..l ' "'11) ~ J'} rr. ,J!'/1i'ii:J ~H ojm HHJJ? ~ -~nli o;;H':ll(J oi.h~dern I
fhPSP . tu'Almll's- t.h at. the lesser d1VIs10ns m tne .li11Jle -are
'"ft' ;;-:' i"!FfJT '."<'OVJ1~1H

cal\~~ Y,~r~~S~.r.9)

r

1cLJJIJJOa '{Jf!Jf{9 918 ;a;j . l11'1Jl~ a.i (U

bctS

•1ftj j[ 'tJ flf'IH,f .yJrJTiJ ?r~JllJ, U.i~i·\t. rh_l{.I

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Thnt part of Composition, whicli tea e!! · the claws o ,

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fflhl

QO s·u/BII9'.> f.[J,l·l'li

v~r:>\~c~tiiw1\~JH\*1-.r.~\'1n~5s~??.c!i {t~m#,~')1i~.~~:.13r.;'9":fjlf'

acr<>nt . anrl Jlthot11)'h . the F.ne:hs lan 1e oes not
"l'M
.•Ii ! TJ~': 1W ".l\T Ji'!"fnrn ~ ::n Gatn : lJ a ~ i 1.C 9 ! j ll9V3 l.O
' sess fl.,, mo.lulatioris which. belone:ed tq t e a.pcepts.ot
p~s , "~t°t' o7.1lt:i <1J :.iwr. ei 011'11 1'..la~moCr ja?Q. srt:t i::1. 9rJ
·
c
ation . such
we h ve it, is _the
thf1 , Q~~~~Jl• J;}'/'.,t,~ m~°'!u ;rn~•ruorm.Gr jaom 'Em1 aIIOCJJflJJJJ
snle foundation of. our Verse. Those are supposed tQ
r
" , -~ li r '( H fot1 flJ ,a r :J'I'.lJLt . ,~mlfl'H.fB. yfbJ!fd , 1 ?110 0
have .been nf t.he nature of musical note~, afld hence t.l}eir
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:nom .~m.crf9.qr ur nod:Hu:tetl1

name,;fmw Hm ~~WlJ9HTaP8RB;~ tt~f.Vi~' ~:i.~W:fli1.tanoe>. on 1
· rrt.,,. ... ,.c<>nt.s of the EpE?Jish toneue .wh1cn.~i:e on lY tq
-"'--<+11r: :rrrrmn 9 tq u 1 s> :J1r fJluo"tl ;t'.)9
a1 J lo II01JA!1fi
be fonnd in Dictio;i:i,_aries) merelv mar t e s. r.ess ot tne
.<'':11'tIHHx1 Jun---enorjmi) !~ ~qrvr:a VTQII ~:m :
•
·
n cert ·n s Hap s, m the same
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V!J~~. fl9-!rJ?i 1f.~~tim; !~.P~nm ooN:>m~no:k1i\ Yl1~NJI.11.IL . _

way,t~,at'.Jf ¥·fJI~Wr,~)(fJ55ff JJ}Jf.i°'al ~Etf ~~~~~~ae~~:r;W!t
fl ·1,}
nnn~,i.ntfon nf a narticular word Iti a sentence.
orci'f & ~HWJ:•'1TJ, , 1 , rw'.J §u xntrr J.Jn.c 9:>rraJfII98 ~.s-U lo endm9m
S 1·JJ.g tl.ii,t on our nntic1nles.. evecy, po lVSYl11tb~1s a com. ,
~<1
nt. ::r~1 mno ilt':rJ lU ?. I 191110 .SIL1 .'91lffa9j
1A Ul V:t.I
b · t · 0fan ma;}R senarnte words Accent ~n mphaSJs
IJ1.~r'o~.,- ,f-!, 1r.m '.J ,owuw JJun ,;'.'J~f.ilcL1{ii'·£~rr!l ajn{?''fla·

n"~ ~1'e ~Jlm1 F1()' · ! e~rr~ <;_BWPfcY~ff J~}}~ub1fu~c~f.!1.}Jl~~;;~c

l1 i-.1., is ol.vioncolv a minori sentence or J:'hrttseJ ·w1tn
sy ~l\wto ·n l t1tt1m:r~f.u ; n01 l 1u :>:1pn;.p 9 bu.r-...vt~dk•11b
h t'cn.J ~ord ·«As emuhas1s, savs iyu; Wal er,
1"t"
~. ~.mp , ~rhr.. JJcfn 11~11 . '' .f.l'.:)m cu1v1 JJ'ffI'l891'cr ar Jt0ie1n'.>:Jue
"
-· ,1 ntly no1"nts out t.he.-most s1e:n1ticant word m ·a sen,ev~µ~''Y" ,un ~J y HT:!ftn .9a't:JV' 10 '.)0,ll9?e~ ollt a9JuiiJf
tence so }v.l.exe. other .reasons do.not toTQ1Cl., lie l;lCCei1 ..
.
j ., , ,,} ~rtlvJ_UlfJJ J'.) Jrl P,j2 f8 11 0'..l H
19IIJ13· o.t f~91Ilr. .·1I
lwnvs r.lwP. ls wit.l. .E?rentest force. on th.at part oftne word
n ··1'1J • ,... n in11 i/~fr fii' 111 ~ l/PJ~
1i;u1 ifiw'h~uluu ~ud\Ai
which from its importance, the hearer as a1 _ Y~ J ,

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OF 'ACCENT AND EltPllASIS

greatest;occ~ion to observer; · and this is 'tmeessarily the
\ roo~J or body;· qfthe word." ;
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·: dividual :words, there'. mi~ tpnm.sn.cl."Cademif,BW!ongittg.to
each of the members of a p~mdrnwhit:ftri ill,.hotl ptoperly

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•AccehtlJ; · l11~Ving b~en fixed b"'customl· af-e· invariable •
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'- · ut, Empha~js d~hjft.; 1IDtH · the,_:men.ning' oHhe "spe&ker.
· A-ltlicnigh -~he,ex~mple given_, by. Mr.. $lreridHm Jnm. beeri
~.often;,~µQte<l,, ~it \sin illustfatidn so.plain/ a.trilyet ~ainpie
f'~Jmt,:Jti .WptJld Pe :afl'ec~tion 'f-0' SUqstitute·'. m:\other.1r!.JJt,jg

• a!isorted;i will qesttoyot'tt~ harmonydqfrtlter£wh"b1~):.i1The

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,waHe4:.torlM:o:·of1 1riai:mtio~J~f{:1Fe~o~lrti~Bdtf,C\1Iftr~fy

a question of six·.w:o~d~ whlth niny•.hnve fivei-diffetfent 1fn..
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erpre .atmns1 ,; '"1 •. ,.,,. t ' ~'
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·; ,., Sh~ll.~.o.u !ride;to t\Jwn .to-thortow ?" :s~~*': ;:iii i::· · 1:·1 i ·
. :·_; {~:{~1th~ .en;i~~~sbt~s 9ni_skalk.M ·f 8.kall }';Pu~ide. to;tpwn
- to-wqtrow,il'.!tlrmJpli~Sj <thit..t:rtherrp.eooD.7spblf.eJi 1~Jhad
e:x,pt~s.£:~~fQr~. §lu® ~n inten..tl.iO.U, ·lHH '1hat.iliemis '.SOme
' ~lottbt; in J}le, qu~stio'l).~_J\ < 'fheHxer . Jfo:be ,dete1'.ll1in~i0n

at

or-not; and-~Qe auswel'\f may '.he,x '·edrtitintyJ: 10 :niit~Uhot
sure.' If it be on you, as, •Shall you .ridh,f Ml ifown·!to..
morrow?' the question implies that some one is to go, and
' Do you mean to go yourself, or send some one in fout
stead?' and the answer may be 'No, but my servant shall.'
If on ride, as, 'Shall you ride, &c.?' the answer mny be
' No, I shall walk, or go in a coach.' If on town, as,
' Shall you ride to town to-morrow ?' the answer may be,
'No, but I shall ride to the forest.' If on to-mon·ow as
' '
' Shall you ride to townt<f:'.inor1·ow ?' the answer may be,
'No, not to-morrow, but tlie next day'."
The Accents and Emphases, in a sentence, may, therefore, be compared to the pulsations of a string; and it is
easy to conceive that they may strike the ear, as dissonant or ?11usical, according as their.succession is abrupt or
harmomous. But, separate from the Empb.asis on in-

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r;and rofi conhnanlf, :aft t'f;iih~at\1erof 9tlf~i~~ffet'eht
,,r.eelings .liJJ/.fue :~~i tlFat~si thJ~11ge'iti~fit
,·bfl thcn lltirdsi is.. t~ely wlicridiiate~ b.b:~v11lbht1ttgh
.;they:itrRliforopfuB.ouh1'¢rilll~r phgeyraui~l~~~ter
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