Sentinel of the valley. [volume] (Woodstock, Va) 1841-1848, 1844-05-23

If Peter Piper pick peck of pepper,
Where's the peck of pepper Peter Piper
pick'd?"
This elaborate composition, though
not long, combines many extraordinary
merits, and one may discover in it strong
principles of elocution, deep inquiry.
and an accurate conclusion. The usual
point in repeating it, is not to affix the
true meaning to every WORD. or to OBJ
SIEVE the logical manner in which the IN
Quiry and result are founded on the
premises, but to rehearse it three tunes,
without drawing breath. Undoubtedly,
as an exercise of this kind, the difficulty
of pronouncing the words with sufficient
rap;dty to perform it within the compass
OF time that human being can exist,
without repeating the act of respiration,
renders it an useful lesson in the art OF
elocution. Had Demostbenes, at four
years old, been accustomed to reclte
this. composition thus, he would not have
been necessitated, in his ripe years. TO
resort to the toiIsome expedient of filling
his mouth with stones, and decialmlng
to the angry pillows. .~o i
The first circumstance, that strikes
the eye or the ear of common observers
in this charming composition, is the fire.
quent occurrence of the letter P. f.
CURE now we'll known by the name of al
liberation, and thought to add no small
beauty to the finest poems; but doubt
whether any modern poet ever had SO
full command of this admiral figure, as
this authoi. | know not whether it
would be allowed to be a poem, yet
think it has all the inherit qualities of
poetry. Break the lines as you please,
the mutiated fragments are still daS-
juncta membla poete.' Nay, so Perfect
is the harmony, that even putting the last
half of the line first does not iniure it,
as the author has shown in the last line.
to prove his wonderful powers of arrange
ment, where the peck of pepper proceeds
Peter Piperl The two first lines ev.
silently correspond in termination; and
the close Of the third line has that full.
sonorous beauty. which leaves the ear
and mind perfectly satisfied.
Let US now examine the art o. the au-
thor IN raising strong interest IN the
mind Of the reader We are at first sim
ply told the fact, according to well
known critical rule, that narrative should
be clear and concise. To this rule The
ingenious poet has well attended, and
in the circumstance related, we FIND
such an air Of historical truth and >veri
similitude, and such unadorned concise.
ness and nimitabIe brevity in the rela
fiop. that we sit down contented, MOI
suffer dubt to arise of the credibility o.
The information Peter Pipe,
picked a peek OF pepper Good: Here j.
the simple fact related; and though az
;noairing mind may immediately busy it
self in calculating how many pepper
corns would 90 to fill peck measure
Or perhaps some malevoIent cync wouC
y ask. with sheer, whether Peter Pipel
bad employed himself upon peppe
ground or whole, black or white, and ST
5ortb. the candid reader would recolect
that it is die business OF an author to re
cord the grand facts, and those, which
mt you ii once into possession of thu
hero's Character, without descending Il
. the mialuas. No one can retain even
momenlary doubt Of Peter Piper's dill
eence industry, and application, and nj
cne bkmust regret, that talents SO con
snieudas were devoted to the occupation
!. If rscklug pepper, rather than writing
eoamentaries upon Shakspere.
Peter Piper thus introduced to our &C
aaaintance, we set hin down as an in
dustrious picker of pepper, and feel sat
sshed with every thing. but the brevitJ
of the apologize. Immediately, howev
:, follows a line, which informs US there
i vet more to come. The emphatica
~ II lire beginning of the second line