observation may be premised, because it is applicable to every species of verse, That syllables with respect to the time taken in pronouncing, are long or short; two short syllables with respect to time, being precisely equal to a long one. These two lengths are essential to verse of all kinds; and to no verse, as far as I know, is a greater variety of time necessary in pronouncing syllables. The voice indeed is frequently made to rest longer than usual upon a word that bears an important signification: but this is done to humour the sense, and is not necessary for melody. A thing not more necessary for melody occurs with respect to accenting, similar to that now mentioned: A word signifying any thing humble, low, or dejected, is naturally in prose, as well as in verse, pronounced in a tone below the key-note. We are now sufficiently prepared for particulars: beginning with Latin or Greek Hexameter, which are the same. What I have to observe upon this species of verse, will come under the four following heads; number, arrangement, pause, and accent: For as to quantity, what is observed above may suffice. Hexameter lines, as to time, are all of the same length; being equivalent to the time taken in pronouncing twelve long syllables or twenty-four short. An Hexameter line may consist of seventeen syllables; and when regular and not Spondiac, it never has fewer than thirteen; whence it follows, that where the syllables are many, the plurality must be short where few, the plurality must be long. This line is susceptible of much variety as to the succession of long and short syllables. It is however subjected to laws that confine its variety within certain limits: and for ascertaining these limits, grammarians have invented a rule by Dactyles and Spondees, which they denominate feet. ་ One at first view is led to think, that these feet are also intended to regulate the pronunciation: which is far from being the case; for were one to pronounce according to these feet, the melody of a Hexameter line would be destroyed, or at best be much inferior to what it is when properly pronounced.* These feet must be confined to regu * After giving some attention to this subject, and weighing deliberately every circumstance, I was necessarily led to the foregoing conclusion, That the Dactyle and Spondee are no other than artificial measures, invented for trying the accurracy of composition. Repeated experiments have convinced me, that though the sense should be neglected, an Hexameter line read by Dactyles and Spondees will not be melodious. And the composition of an Hexameter line demonstrates this to be true, without necessity of an experiment; for, as will appear afterward, there must always, in this line, be a capital pause at the end of the fifth long syllable, reckoning, as above, two short for one long and when we measure this line by Dactyles and Spondees, the pause now mentioned divides always a Dactyle, or a Spondee,without once falling in after either of these feet. Hence it is evident,that if a line be pronounced as it is scanned, by Dactyles and Spondees, the pause must utterly be neglected; which destroys the melody, because this pause is essential to the melody of an Hexameter verse. If, on the other hand, the melody be preserved by making that pause, the pronouncing by Dactyles or Spondees must be abandoned. : What has led grammarians into the use of Dactyles and Spondees, seems not beyond the reach of conjecture. To produce melody, the Dactyle and the Spondee, which close every Hexameter line, must be distinctly expressed in the pronunciation. This discovery, joined with another, that the foregoing part of the verse could be measured by the same feet, probably led grammarians to adopt these artificial measures, and perhaps, rashly to conclude, that the pronunciation is directed by these feet as the composition is: the Dactyle and the Spondee at the close, serve indeed to regulate the pronunciation as well as the composition; but in the foregoing part of the line, they regulate the composition only, not the pronunciation. If we must have feet in verse to regulate the pronunciation, and consequently the melody, these feet must be determined by the pauses. All the syllables interjected between two pauses ought to be deemed one musical foot; because, to preserve the melody, they must all be pronounced together without any stop. And therefore, whatever number there are of pauses in an Hexameter line, the parts into which it is divided by these pauses, make just so many musical feet. Connexion obliges me here to anticipate, and to observe, that the same doctrine is applicable to English heroic verse. Considering its composition merely, it is of two kinds; one composed of five lambi; and one of a Trochæus followed by four Iambi; but these feet afford no rule for pronouncing; the musical feet being obviously those parts of the line that are interjected between two pauses. To bring out the melody, these feet must be expressed in the pronunciation; or, which comes to the same, the pronunciation must be directed by the pauses, without regard to the Iambus or Trochæus. late the arrangement, for they serve no other purpose. They are withal so artificial and complex, that I am tempted to substitute in their stead, other rules more simple and of more easy application; for example, the following. 1st, The line must always commence with a long syllable, and close with two long preceded by two short. 2d, More than two short can never be found together, nor fewer than two. And, 3d, Two long syllables which have been preceded by two short, cannot also be followed by two short. These few rules fulfil all the conditions of an Hexameter line, with relation to order or arrangement. To these again a single rule may be substituted, for which I have a still greater relish, as it regulates more affirmatively the construction of every part. That I may put this rule into words with perspicuity, I take a hint from the twelve long syllables that compose an Hexameter line, to divide it into twelve equal parts or portions, being each of them one long syllable or two short. A portion being thus defined, I proceed to the rule. The 1st, 3d, 5th, 7th, 9th, 11th, and 12th portions, must each of them be one long syllable; the 10th must always be two short syllables; the 2d, 4th, 6th, and 8th, may either be one long or two short. Or to express the thing still more curtly, The 2d, 4th, 6th, and 8th portions may be one long syllable or two short; the 10th must be two short syllables; all the rest must consist each of one long syllable. This fulfils all the conditions of an Hexameter line, and comprehends all the combinations of Dactyles and Spondees that this line admits. Next in order comes the pause. At the end of every Hexameter line, every one must be sensible of a complete close, or full pause; the cause of which follows. The two long syllables preceded by two short, which always close an Hexameter line, are a fine preparation for a pause: for long syllables, or syllables pronounced slow, resembling a slow and languid motion, tending to rest, naturally incline the mind to rest, or to pause; and to this inclination the two preceding short syllables contribute, which by contrast, make the slow pronunciation of the final syllables the more conspicuous. Beside this complete close or full pause at the end, others are also requisite for the sake of melody; of which I discover two clearly, and perhaps there may be more. The longest and most remarkable, succeeds the 5th portion: the other, which being shorter and more faint, may be called the semi-pause, succeeds the 8th portion. So striking is the pause first mentioned, as to be distinguished even by the rudest ear: the monkish rhymes are evidently built upon it; in which by an invariable rule, the final word always chimes with that which immediately precedes the said pause: De planctu cudo || metrum cum carmine nudo The difference of time in the pause and semipause, occasions another difference no less remarkable, that it is lawful to divide a word by a semipause, but never by a pause, the bad effect of which is sensibly felt in the following examples: Effusus labor, atque inmitis rupta Tyranni Again: Observans nido im||plumes detraxit ; at illa Again: Loricam quam De||moleo detraxerat ipse The dividing a word by a semi-pause has not the same bad effect: Jamque pedem referens || casus elvaserat omnes. Again: Qualis populea || morens Philomela sub umbra Again: Ludere que vellem || calamo per misit agresti. Lines, however, where words are left entire, without being divided even by a semi-pause, run by that means much the more sweetly: Nec gemere aërea || cessabit | turtur ab ulmo. Again: Quadrupedante putrem || sonitu quatit | ungula campum. Again: Eurydicen toto referebant | flumine ripe. The reason of these observations will be evident upon the slightest reflection. Between things so intimately connected in reading aloud, as are sense and sound, every degree of discord is unpleasant: and for that reason, it is a matter of importance, to make the musical pauses coincide as much as possible with those of sense; which is requisite, more especially, with respect to the pause, a deviation from the rule being less remarkable in a semipause. Considering the matter as to melody solely, it is indifferent whether the pauses be at the end of words or in the middle; but when we carry the sense along, it is disagreeable to find a word split into two by a pause, as if there were really two words and though the disagreeableness here be connected with the sense only, it is by an easy. transition of perceptions transferred to the sound; VOL. II. 11a |