industry, self-dependence, and frugality."

(b) "After a long and tedious journey, the last part of which was a little dangerous owing to the state of the roads, we arrived safely at York, which is a fine old town."

*Exception.*—When the short final clause is intended to be unexpectedly unemphatic, it comes in appropriately, with something of the sting of an epigram. See (42). Thus:

"The old miser said that he should have been delighted to give the poor fellow a shilling, but most unfortunately he had left his purse at home—a habit of his."

Suspense naturally throws increased emphasis on the words for which we are waiting, i.e. on the end of the sentence. It has been pointed out above that *a monotony of final emphasis is objectionable, especially in letter writing and conversation*.

*31. Suspense must not be excessive.* Excess of suspense is a common fault in boys translating from Latin. "Themistocles, having secured the safety of Greece, the Persian fleet being now destroyed, when he had unsuccessfully attempted to persuade the Greeks to break down the bridge across the Hellespont, hearing that Xerxes was in full flight, and thinking that it might be profitable to secure the friendship of the king, wrote as follows to him." The more English idiom is: "When Themistocles had secured the safety of Greece by the destruction of the Persian fleet, he made an unsuccessful attempt to persuade the Greeks to break down the bridge across the Hellespont. Soon afterwards, hearing &c."

A long suspense that would be intolerable in prose is tolerable in the introduction to a poem. See the long interval at the beginning of Paradise Lost between "Of man's first disobedience" and "Sing, heavenly Muse." Compare also the beginning of Paradise Lost, Book II.:

    "High on a throne of royal state, which far
    Outshone the wealth of Ormuz and of Ind,
    Or where the gorgeous East with richest hand
    Showers on her kings barbaric pearl and gold—
    Satan exalted sat."

with the opening of Keats' Hyperion:

    "Deep in the shady sadness of a vale,
    Far sunken from the healthy breath of morn,
    Far from the fiery noon and eve's one star—
    Sat grey-haired Saturn, quiet as a stone."

*32. In a long conditional sentence put the "if-clause," antecedent, or protasis, first.*

Everyone will see the flatness of "Revenge thy father's most unnatural murder, if thou didst ever love him," as compared with the suspense that forces an expression of agony from Hamlet in—

"Ghost. If thou didst ever thy dear father love— Hamlet. O, God! Ghost. Revenge his foul and most unnatural murder."

The effect is sometimes almost ludicrous when the consequent is long and complicated, and when it precedes the antecedent or "if-clause." "I should be delighted to introduce you to my friends, and to show you the objects of interest in our city, and the beautiful scenery in the neighbourhood, if you were here." Where the "if-clause" comes last, it ought to be very emphatic: "if you were only here."

The introduction of a clause with "if" or "though" in the middle of a sentence may often cause ambiguity, especially when a great part of the sentence depends on "that:" "His enemies answered that, for the sake of preserving the public peace, they would keep quiet for the present, though he declared that cowardice was the motive of the delay, and that for this reason they would put off the trial to a more convenient season." See (27).