to him with the fame Pleasure, as they take in hearing an Italian Singer recite the harmonious Verses of Metastafio.

Be all this, however, as it may, it is 'certain that the Constitution of English Numbers depends no lefs on the Strength and Weakness of the Voices compofing them, than they do on their Length, i. e. their being uttered quick or flow.

Nor, indeed, are these the only Ingredients in their Compofition. The Circumstances of Harfonefs and Smoothness are likewife to be confidered. These are compatible both with strong and weak, long and Short Sounds; fo that a Measure or Foot, in English Verse, hath three effential Qualities in its Compofition; the Syllables of which it is composed being either long or short, loud or foft, harsh or Smooth. And hence arifes that expreffive and beautiful Variety we find in them, without our being obliged to found them in different Tones, as if we were Singing, instead of Speaking.

To determine, however, in what Manner these several Qualities of Syllables are blended in the Compofition of metrical Feet, and in what Cafes they may be fub

ftituted

ftituted for each other, is a Task too arduous to be included in the present Defign +.

But were we perfectly acquainted with the Mystery of fimple Numbers, as far as the Compofition of each is separately concerned, we might ftill, nevertheless, have an imperfect Knowledge of thofe Circumftances, on which the Power and Harmony of numerous Compofition depend. Numbers are but the Materials with which

to build the lofty Rime 3

it being from their artful Combination and Succeffion, that their Force and Beauty are properly displayed, as the fame Feet, differently difpofed, may form Verses very different both in Melody and Energy.

The following, however, would be no incurious Problems to refolve: 1ft. Why doth Force, i. e. the Strefs of the Voice in Accent and Emphafis, fupply the Place of Time in English Numbers? And in what Manner do they compenfate each other? 2d. Are not harsh Sounds in Poetry introduced, like Discords in Mufic, to improve the Harmony, and with the fame Success?

SECT.

SECT. XII. On the Mechanism and Harmony of English Verfe.

Will it be faid, "that, however in"fufficient the Modes of Tone and Time are to explain the Energy and Harmony of English Numbers, their Combina"tion must yet neceffarily break in upon "the Propriety of reciting Poetry, if poetical Paufe and Cadence are to be in any Degree obferved, in Reading."

It is very true, it would fo, in the Recital of most Poetry, especially if the Modulation of the Voice were regulated by the common Rules of Pause and Cadence. But the Distinction already made, between that Poetry which is to be fung, and that which is to be faid, will affift us in setting this Matter in a true Light.

To this End, I fhall begin with fhewing the Difference between that natural Modulation of Voice which is common to Speech, and that arbitrary and mechanical Modulation which is peculiar to Poetry.

It has been obferved, in the fecond Section, that a Number of Syllables pronounced

nounced fuccceffively in one uniform and unvaried Manner (that is, equally loud and long) would appear only as fo many furd and unmeaning Sounds; and that therefore the Voice naturally falls into a Kind of Modulation in Speaking. This was exemplified in the following Words.

Be, what, you, will, so, you, be, ftill, the, fame.

The Reason, however, why these Words fo pronounced would be in a Manner unintelligible, is, that they would thus be deprived of the most effential Part of oral Expreffion, which confifts in laying the Strefs or Emphafis of Voice on Words or Syllables, in Proportion as they are fignificant; fo that, the Words compofing the above Line not being equally fignificant, there is a Want of Expression in fuch an uniform Mode of Utterance. But let us fuppofe the following Line fubftituted

in its Room.

Tow'rds four fair Nymphs, ran four tall Men full Speed.

In this Line, it is evident, that every Word should be pronounced equally strong, and in the fame uniform Manner; all the Modu

Modulation it will admit of, being formed by the flight Pause at the Comma in the Middle. For if it be read otherwife, i. e. with any other Modulation, it would lofe its Expreffion.

Thus, fhould we, for Inftance, repeat it as an heroic Verfe, after the common Method, it would run thus:

Tords four fer Nymphs, ran four tol Men full Speed.

Here we fee that the arbitrary and artificial Modulation of the Verfe, breaks in upon that natural Modulation, which is ef fential to Expreffion. It is this Difference between the natural and artificial Modulation of Profe and Verfe, that hath induced fome Writers on the Art of Reading, to lay it down as a pofitive Rule, that when you read Verse, you must not in the least attend to the Measure, the fame Rules being to be observed in reading Poetry as in Profe.

But is not this the fame Thing as to say that Poetry cannot be read at all, or at leaft no otherwife than as Profe? This, however, is not true. The Modulation, or mechanical Difpofition of Pauses in L Po