But the grave, solemn cadence becomes still more sensible, when the pause falls after the 7th syllable, which is the nearest place to the end of the line that it can occupy. This kind of verse occurs the seldomest, but has a happy effect in diversifying the melody. It produces that slow Alexandrine air which is finely suited to a close; and for this reason, such lines almost never occur together, but are used in finishing the couplet.

And in the smooth description | murmur still,

Long lov'd, ador'd ideas! | all adieu.

I have taken my examples from verses in rhyme; because in these, our versification is subjected to the strictest law. As blank verse is of a freer kind, and naturally is read with less cadence or tone, the pauses, in it, and the effect of them, are not always so sensible to the ear. It is constructed, however, entirely upon the same principles with respect to the place of the pause. There are some who, in order to exalt the variety and the power of our heroic verse, have maintained that it admits of musical pauses, not only after those four syllables, where I assigned their place, but after any one syllable in the verse indifferently, where the sense directs it to be placed. This, in my opinion, is the same thing as to maintain that there is no pause at all belonging to the natural melody of the verse; since, according to this notion, the pause is formed entirely by the meaning, not by the music. But this I apprehend to be contrary both to the nature of versification, and the experience of every good ear. Those certainly are the happiest lines, wherein the pause, prompted by the melody, coincides in some degree with that of the sense, or at least does not tend to spoil or interrupt the meaning. Wherever any opposition between the music and the sense chances to take place, I observed before, in treating of pronunciation or delivery, that the proper method of reading these lines, is to read them according as the sense dictates, neglecting or slurring the casural pause; which renders the line less graceful indeed, but, however, does not entirely destroy its sound.

Our blank verse possesses great advantages, and is indeed a noble, bold, and disencumbered species of versification. The principal defect in rhyme, is the full close which it forces upon the ear, at the end of every couplet. Blank verse is freed from this; and allows the lines to run into each other with as great liberty as the Latin hexameter permits, perhaps with greater. Hence it is particularly suited to subjects of dignity and force, which demand more

* In the Italian heroic verse, employed by Tasso in his Gierusalemme, and Ariosto in his Orlando, the pauses are of the same varied nature with those which I have shown to belong to English versification, and fall after the same four syllables in the line. Marmontel, in his Poctique Françoise, vol. i. p. 269, takes notice, that the construction of verse is common to the Italians and the English; and defends the uniformity of the French cæsural pause upon this ground, that the alternation of masculine and feminine rhymes furnishes sufficient variety to the French poetry; whereas the change of movement occasioned by the four different pauses in English and Italian verse, produces, according to him, too great diversity. On the head of pauses in English versification, see the Elements of Criticism, chap 18, sect. 4.

free and manly numbers than rhyme. The constraint and strict regularity of rhyme, are unfavourable to the sublime, or to the highly pathetic strain. An epic poem, or a tragedy, would be fettered and degraded by it. It is best adapted to compositions of a temperate strain, where no particular vehemence is required in the sentiments, nor great sublimity in the style; such as pastorals, elegies, epistles, satires, &c. To these, it communicates that degree of elevation which is proper for them; and without any other assistance sufficiently distinguishes the style from prose. He who should write. such poems in blank verse, would render his work harsh and unpleasing. In order to support a poetical style, he would be obliged to affect a pomp of language unsuitable to the subject,

Though I join in opinion with those, who think that rhyme finds its proper place in the middle, but not in the higher regions of poetry, I can by no means join in the invectives which some have poured out against it, as if it were a mere barbarous jingling of sounds, fit only for children, and owing to nothing but the corruption of taste in the monkish ages. Rhyme might indeed be barbarous in Latin or Greek verse, because these languages, by the sonorousness of their words, by their liberty of transposition and inversion, by their fixed quantities and musical pronunciation, could carry on the melody of verse without its aid. But it does not follow, that therefore it must be barbarous in the English language, which is destitute of these advantages. Every language has powers and graces, and music peculiar to itself; and what is becoming in one, would be ridiculous in another. Rhyme was barbarous in Latin; and an attempt to construct English verses, after the form of hexameters, and pentameters, and sapphics, is as barbarous among us. It is not true, that rhyme is merely a monkish invention On the contrary, it has obtained under different forms, in the versification of most known nations. It is found in the ancient poetry of the northern nations of Europe; it is said to be found among the Arabs, the Persians, the Indians, and the Americans. This shows that there is something in the return of similar sounds, which is grateful to the ears of most part of mankind. And if any one, after reading Mr. Pope's Rape of the Lock, or Eloisa to Abelard, shall not admit our rhyme, with all its varieties of pauses, to carry both elegance and sweetness of sound, his ear must be pronounced to be of a very peculiar kind.

The present form of our English heroic rhyme in couplets, is a modern species of versification. The measure generally used in the days of Queen Elizabeth, King James, and King Charles I. was the stanza of eight lines, such as Spenser employs, borrowed from the Italian; a measure very constrained and artificial. Waller was the first who brought couplets into vogue; and Dryden afterwards established the usage. Waller first smoothed our verse; Dryden perfected it. Mr. Pope's versification has a peculiar character. It is flowing and smooth in the highest degree; far more laboured and correct than that of any who went before him. He introduced one considerable change into verse, by totally throwing aside the triplets, or three lines rhyming together, in which Mr. Dryden abound

ed. Dryden's versification, however, has very great merit; and, like all his productions, has much spirit, mixed with carelessness. If not so smooth and correct as Pope's, it is, however, more varied and easy. He subjects himself less to the rule of closing the sense with the couplet; and frequently takes the liberty of making his couplets run into one another, with somewhat of the freedom of blank verse.

QUESTIONS.

ON what has our author now finish- music of the song? What was the eared his observations; and what remains? ly character of these members; but As what does our author design this what followed? From what has been lecture; and in what manner does said, what appears? From what does he propose to treat it? What is our it appear that they knew no other than first inquiry? Of the answer to this these? What, therefore, follows? What question, what is observed? In what farther reason is there why such comhave some made its essence to consist, positions only, could be transmitted to and by what authority do they support posterity? How is this illustrated? their opinion? How does it appear that What bear testimony to these facts; this is too limited a definition? Why is and of this remark, what illustrations it too loose to make the characteristics follow? How does it appear, that, in of poetry lie in imitation? What is the the same manner, among all other namost just and comprehensive definition tions, poets and songs are the first obwhich can be given of poetry? How is jects that make their appearance? this definition fully illustrated? What From this deduction, what follows; has our author added to this definition; and why? What occur among all naand why? How nearly do verse and tions; and what are the general disprose approach each other; and what tinguishing characters of all the most remarks follow? From what will the ancient original poetry? Of that strong truth and justness of the definition hyperbolical manner, which we have given, appear? To whom have the long been accustomed to call the orienGreeks ascribed the origin of poetry? tal manner of poetry, what is obserOf such persons as these, what is re-ved? When do mankind most resemble marked? To imagine what, is a great each other? What is the effect of its error; and why? In order to explore subsequent revolutions? What influthe rise of poetry, to what must we ence has diversity of climate, and have recourse? What has been often manners of living, on the first poetry of said? What period of society never nations? Of this remark, what illusexisted? What illustration, then, of the trations are given? Repeat the passage paradox, that poetry is older than prose, from Lucan. From what does it apfollows? Where, only, have we had an pear that the early poetry of the Gre opportunity of being made acquainted cian nations assumed a philosophical with men in their savage state? Of cast? Who have always been the them, what do we learn from concur-greatest poets of the east; and among ring accounts of travellers? Here, then, them, of what was poetry the vehicle? in what do we see the beginnings of Of the ancient Arabs, what are we inpoetic composition? What two parti- formed? Of what two sorts were they? culars would early distinguish this Of the former, what is observed? Who language of song? How is this illus- seem to have been the first who introtrated? What influence do strong emo- duced a more regular structure, and tions exert over the passions; and what closer connexion of parts, into their do we, consequently, do? Hence, what poetical writings? What was the state arises? What is man by nature; and of poetry during its infancy? In the how is this remark illustrated? What, therefore, follows? As the first poets sung their own verses, of what was this the beginning? What fell in with the

progress of society and arts, what did they begin to assume? But in the first rude state of poetical effusions, what may easily be discerned? How is this re

mark illustrated? Of all of these kinds | What is remarked of this accent? How of poetry, however, what is observed? is this illustrated? Of what structure is What, also, was then blended in one our English heroic verse? With regard mass? How is this illustrated? In to the place of these accents, what rewhat period of society was this the marks are made? What is another escase? When was this order changed? sential circumstance in the construcWhat effect was produced by the intion of our verse? In what other verse vention of the art of writing? What is it found? Of its use in French, what effect did this produce on the histo- is observed; and by what example is rian, the philosopher, and the orator? this illustrated? On French verses, What did poetry now become? What what is farther remarked? On the was the effect of these separations? other hand, what is a distinguishing From what, however, does it appear advantage of our English verse? After that poetry, in its ancient, original con- what syllables may the pause fall, and dition, was perhaps more vigorous than what remark follows? By this means, it is in its modern state? What, there- what are added to English versificafore, is not to be wondered at? When tion? What effect is produced, when did authors begin to affect what they the pause falls earliest, or after the did not feel; and what was the conse-fourth syllable? By what example is quence? Of the separation of music this illustrated? When the pause falls from poetry, what is remarked? How after the fifth syllable, what is its ef is this remark illustrated? Of the mu- fect, and what does the verse then sic, and of the musical instruments of lose? Repeat the example. When that early period, what is observed; the pause follows the sixth syllable, and what follows? What is certain? what air does the tenour of the music When did music lose all its ancient assume? By what example is this ilpower of inflaming the hearers with lustrated? But when does the grave, strong emotions; and into what did it solemn cadence, become still more sensink? What does poetry, in all nations, sible? Of this kind of verse, what is still preserve? Whence arises that observed; and what example is given? great characteristic of poetry which we Why has our author taken his examnow call verse? Why does our author ples from verses in rhyme? Of blank confine himself to a few observations verse, what is here observed? With upon English versification? Upon regard to our verse, what have some what did nations, whose language and maintained? This, in the opinion of pronunciation were of a musical kind, our author, is the same thing as what; rest their versification? Upon what did and why? To what is this apprehendothers, who did not make the quantities ed to be contrary; and for what reaof their syllables so distinctly perceived son? How are blank verse and rhyme in pronouncing them, rest them? The contrasted? With what opinion does former was the case with whom, and our author coincide, yet, in what inwith whom is the latter? Among the vectives can he not join? Why might Greeks and Romans, of every syllable, rhyme be barbarous in Latin or Greek what is remarked? Upon this principle, verse? But what does not, therefore, to what extent was the number of syl- follow? How are these remarks illuslables contained in their hexameter trated? How does it appear to be not verse, allowed to vary? In order to true, that rhyme is merely a monkish ascertain the regular time of every invention? What do these instances verse, what were invented? By these show; and what remark follows? Of measures, what were tried? How is the present form of our English rhyme, this illustrated? Why would the intro- in couplets, what is observed? What duction of these feet into English verse, measure was generally used in the be entirely out of place? What illus- days of Queen Elizabeth; and what is tration of this remark follows? With observed of it? Who first brought coupwhat words is this the case? Of the dif- lets into vogue; and who established ference, in general, made between long the usage? Of them, what is farther and short syllables, in our manner of remarked? What is the character of pronouncing them, what is observed? Mr. Pope's versification? How does From what does the only perceptible Dryden compare with him? difference, among our syllables, arise?!

In the last lecture, I gave an account of the rise and progress of poetry, and made some observations on the nature of English versification. I now proceed to treat of the chief kinds of poetical composition, and of the critical rules that relate to them. I shall follow that order which is most simple and natural; beginning with the lesser forms of poetry, and ascending from them to the epic and dramatic, as the most dignified. This lecture shall be employed on pastoral and lyric poetry.

Though I begin with the consideration of pastoral poetry, it is not because I consider it as one of the earliest forms of poetical composition. On the contrary, I am of opinion that it was not cultivated as a distinct species, or subject of writing, until society had advanced in refinement. Most authors have, indeed, indulged the fancy, that because the life which mankind at first led was rural, therefore their first poetry was pastoral, or employed in the celebration of rural scenes and objects. I make no doubt, that it would borrow many of its images and allusions from those natural objects with which men were best acquainted; but I am persuaded, that the calm and tranquil scenes of rural felicity were not, by any means, the first objects which inspired that strain of composition, which we now call poetry. It was inspired, in the first periods of every nation, by events and objects which roused men's passions; or, at least, awakened their wonder and admiration. The actions of their gods and heroes, their own exploits in war, the successes or misfortunes of their countrymen and friends, furnished the first themes to the bards of every country. What was of a pastoral kind in their compositions, was incidental only. They did not think of choosing for their theme the tranquillity and the pleasures of the country, as long as these were daily and familiar objects to them. It was not till men nad begun to be assembled in great cities, after the distinctions of rank and station were formed, and the bustle of courts and large societies was known, that pastoral poetry assumed its present form. Men then began to look back upon the more simple and innocent life which their forefathers led, or which, at least, they fancied them to have led they looked back upon it with pleasure, and in those rural