[88] Treatise of the sublime, cap. 16.
[89] Taking advantage of a declension to separate an adjective from its substantive, as is commonly practised in Latin, though it detract not from perspicuity, is certainly less neat than the English method of juxtaposition. Contiguity is more expressive of an intimate relation, than resemblance merely of the final syllables. Latin indeed has evidently the advantage when the adjective and substantive happen to be connected by contiguity as well as by the resemblance of the final syllables.
[90] See chap. 1.
[91] Reflections sur la poesie Françoise.
[92] See chap. 2. part 1. sect. 4.
[93] Poet. L. 3. l. 365.-454.
[94] See chap. 2. part 4.
[95] De oratore, l. 3. cap. 58.
[96] De structura orationis, sect. 2.
[97] From this passage, however, we discover the etymology of the Latin term for musical expression. Every one being sensible that there is no music in a continued sound; the first inquiries were probably carried no farther, than that to produce a musical expression, a number of sounds is necessary; and musical expression obtained the name of numerus, before it was clearly ascertained, that variety is necessary as well as number.