MOODS of VERBS. ' 213 



ferrhig of any word or phrafe, and employing it to exprefs a 

 thought different from what it denotes in its original, ftrid, and 

 literal fignification ; which I take to be the very effence and pro- 

 per definition of this figure of fpeech. 



In like manner, the interrogative mood, inftead of the condi- 

 tional or JuhjunBive, which would fully and clearly have ex- 

 prefled the literal meaning of the poet, gives peculiar anima- 

 tion and fpirit to the following lines: 



Fervet avaritia miferoque cupidine peBus ? 

 Laudis amore tumes ? 



Are you a covetous wretch ? Are you a coxcomb f — If you are a 

 7!iifer, If you are a coxcomb^ would furely be flat. 



And, on the fame principle, fuch expreffions as the follow- 

 ing, Shall we receive good at the hand of GoD, and pall we not 

 alfo receive evil? — Shall I do this great evil, and ftn agaiiijl God ? 

 are more animated and forcible than the plain literal expreffions 

 of the fame thoughts would be. 



It is more remarkable, that fometimes a kind of beauty and 

 force, not indeed from greater animation, for fimple command 

 and interrogation, as expreffed by the imperative and interroga- 

 tive moods, are, I believe, the moft animated enunciations of 

 thought, but from greater folemnity, may be given by employ- 

 iij.g the indicative mood, where either the imperative or the inter- 

 rogative would fully have exprefled the fpeaker's meaning. 



Lydia Die per onineis 



'Te deos oro, Sybarin cur properes atnanda 



Perdere : cur, l^c. 



Then follow all the articles of interrogation. The general 

 meaning would have been completely expreffed without the 

 imperative Die, and the indicative ORO ; yet I prefume no perfon 



of 



V 



