and short syllables combined in a sentence, may be found in prose as
well as in verse; considering especially, that in both, particular words
are accented or pronounced in a higher tone than ordinary; and
therefore that the difference betwixt them cannot consist in modulation
merely. The observation is just; and it follows, that the distinction
betwixt prose and verse, since it depends not on modulation merely, must
arise from the difference of the modulation. This is precisely the case,
though the difference cannot with any accuracy be explained in words.
Verse is more musical than prose; and of the former, the modulation is
more perfect than of the latter. The difference betwixt verse and prose,
resembles the difference in music properly so called betwixt the song
and the recitative. And the resemblance is not the less complete, that
these differences, like the shades of colours, approximate sometimes so
nearly as scarce to be discernible. A recitative in its movement
approaches sometimes to the liveliness of a song; which on the other
hand degenerates sometimes toward a plain recitative. Nothing is more
distinguishable from prose, than the bulk of Virgil’s hexameters. Many
of those composed by Horace, are very little removed from prose.
Sapphic verse has a very sensible modulation. That on the other hand of
an Iambic, is extremely faint[98].
This more perfect modulation of articulate sounds, is what
distinguisheth verse from prose. Verse is subjected to certain
inflexible laws. The number and variety of the component syllables are
ascertained, and in some measure the order of succession. Such restraint
makes it a matter of difficulty to compose in verse; a difficulty that
is not to be surmounted but by a singular genius. Useful lessons of
every sort convey’d to us in verse, are agreeable by the union of music
with instruction. But are we for that reason to reject knowledge offered
in a plainer dress? This would be ridiculous; for knowledge may be
acquired without music, and music is entertaining independent of
knowledge. Many there are, not less willing than capable to instruct
us, who have no genius for verse. Hence the use of prose, which, for the
reason now given, is not confined to precise rules. There belongs to it,
a certain modulation of an inferior kind, which, being extremely
ornamental, ought to be the aim of every writer. But to succeed in it,
practice is necessary more than genius. Nor are we rigid on this
article. Provided the work answer its chief end of instruction, we are
the less solicitous about its dress.
Having ascertained the nature and limits of our subject, I proceed to
the laws by which it is regulated. These would be endless, were verse of
all different kinds to be taken under consideration. I propose therefore
to confine the inquiry, to Latin or Greek hexameter, and to French and
English heroic verse; which perhaps will carry me farther than the
reader may chuse to follow. The observations I shall have occasion to
make, will at any rate be sufficient for a specimen; and these with
proper variations may easily be transferred to the composition of other
sorts of verse.
Before I enter upon particulars, it must be premised in general, that
to verse of every kind, five things are of importance. 1st, The number
of syllables that compose a verse. 2d, The different lengths of
syllables, _i.e._ the difference of time taken in pronouncing. 3d, The
arrangement of these syllables combined in words. 4th, The pauses or
stops in pronouncing. 5th, Pronouncing syllables in a high or low tone.
The three first mentioned are obviously essential to verse. If any of
them be wanting, there cannot be that higher degree of modulation which
distinguisheth verse from prose. To give a just notion of the fourth, it
must be observed, that pauses are necessary for three different
purposes. One is, to separate periods and members of the same period
according to the sense: another is, to improve the modulation of verse:
and the last is, to afford opportunity for drawing breath in reading. A
pause of the first kind is variable, being long or short, frequent or
less frequent, as the sense requires. A pause of the second kind, is in
no degree arbitrary; its place being determined by the modulation. The
last sort again is in a measure arbitrary, depending on the reader’s
command of breath. This sort ought always to coincide with the first or
second; for one cannot read with grace, unless, for drawing breath,
opportunity be taken of a pause in the sense or in the melody; and for
that reason this pause may be neglected. With respect then to the pauses
of sense and of melody, it may be affirmed without hesitation, that
their coincidence in verse is a capital beauty. But as it cannot be
expected, in a long work especially, that every line should be so
perfect; we shall afterward have occasion to see, that the pause
necessary for sense must often, in some degree, be sacrificed to the
verse-pause; and the latter sometimes to the former.
The pronouncing syllables in a high or low tone, contributes also to
melody. In reading, whether verse or prose, a certain tone is assumed,
which may be called _the key-note_; and in this tone the bulk of the
words are sounded. Sometimes to humour the sense and sometimes the
melody, a particular syllable is sounded in a higher tone; and this is
termed _accenting a syllable_, or gracing it with an accent. Opposed to
the accent, is the cadence, which I have not mentioned as one of the
requisites of verse, because it is entirely regulated by the sense, and
hath no peculiar relation to verse. The cadence is a falling of the
voice below the key-note at the close of every period; and so little is
it essential to verse, that in correct reading the final syllable of
every line is accented, that syllable only excepted which closes the
period, where the sense requires a cadence. The reader may be satisfied
of this by experiments; and for that purpose I recommend to him the
_Rape of the Lock_, which, in point of versification, is the most
complete performance in the English language. Let him consult in
particular a period canto 2. beginning at line 47. and closed line 52.
with the word _gay_, which only of the whole final syllables is
pronounced with a cadence. He may also examine another period in the 5th
canto, which runs from line 45. to line 52.
Though the five requisites above mentioned, enter the composition of
every species of verse, they are however governed by different rules,
peculiar to each species. Upon quantity only, one general observation
may be premised, because it is applicable to every species of verse.
Syllables, with respect to the time taken in pronouncing, are
distinguished into long and short; two short syllables, with respect to
time, being precisely equal to one long. These two lengths are essential
to verse of all kinds; and to no verse, so far as I know, is a greater
variety of time necessary in pronouncing syllables. The voice indeed is
frequently made to rest longer than commonly, upon a word that bears an
important signification. But this is done to humour the sense, and is
not necessary for the modulation. A thing not more necessary 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 entering upon particulars; and
Latin or Greek Hexameter, which are the same, coming first in order, I
shall exhaust what I have to say upon this species of verse, under the
four following heads; of number, arrangement, pause, and accent; for as
to quantity, so far as concerns the present point, what is observed
above may suffice.
Hexameter lines are, with respect to time, all of the same length. A
line may consist of seventeen syllables; and when regular and not
Spondaic, it never has fewer than thirteen. Hence it is plain, that
where the syllables are many, the plurality must be short; where few,
the plurality must be long. And upon the whole, the number of syllables
in every line with respect to the time taken in pronouncing, are
equivalent to twelve long syllables, or twenty-four short.
With regard to arrangement, this line is susceptible of much variety.
The succession of long and short syllables, may be greatly varied
without injuring the melody. It is subjected however to laws, that
confine its variety within certain limits. For trying the arrangement,
and for determining whether it be perfect or faulty, 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. But this is far from being the case. It will
appear by and by, that the rules of pronunciation are very different.
And indeed were one to pronounce according to these feet, the melody of
a Hexameter line would be destroy’d, or at best be much inferior to what
it is when properly pronounced[99]. These feet then must be confined to
their sole province of regulating the arrangement, for they serve no
other purpose. They are withal so artificial and complex, that,
neglecting them altogether, I am tempted to substitute in their room,
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 in any part of the line, nor fewer than two if any. 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 a 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 the greater facility, 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. This preliminary being established,
the rule is shortly what follows. 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
indifferently 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 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, no
ear but must be sensible of a complete close or full pause. This effect
is produced by the following means. Every line invariably is finished
with two long syllables preceded by two short; a fine preparation for a
full close. Syllables pronounced slow, resemble a slow and languid
motion tending to rest. The mind put in the same tone by the
pronunciation, is naturally disposed to a pause. And to this disposition
the two preceding short syllables contribute; for these, 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. I discover two clearly, and perhaps
there may be more. The longest and most remarkable, succeeds the 5th
portion, according to the foregoing measure. The other, which being more
faint, may be called _the semipause_, 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
these, it is an invariable rule, to make the final word chime with that
which immediately precedes the pause:
De planctu endo || mitrum cum carmine nudo
Mingere cum bumbis || res est soluberrima lumbis.
The difference of time in the pause and semipause, occasions another
difference not less remarkable. The pause ought regularly to be at the
end of a word; but it is lawful to divide a word by a semipause. The bad
effect of dividing a word by the pause, is sensibly felt in the
following examples.
Effusus labor, at||que inmitis rupta Tyranni
Again,
Observans nido im||plumes detraxit; at illa
Again,
Loricam quam De||moleo detraxerat ipse
The dividing a word by a semipause has not the same bad effect:
Jamque pedem referens || casus e|vaserat omnes.
Again,
Qualis populea || mœrens Philo|mela sub umbra
Again,
Ludere quæ vellem || calamo per|misit agresti.
Lines, however, where words are left entire to be pronounced as they
ought to be, without being divided even by a semipause, 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 ripæ.
The reason of these observations, will be evident upon the slightest
reflection. Betwixt things so intimately connected as sense and sound in
pronunciation, to find discordance is unpleasant to the ear; and for
that reason, it is a matter of importance, to make the musical pauses
coincide as much as possible with those of the sense. This is requisite,
more especially, with respect to the pause. A deviation from the rule
is less remarkable in a semipause, which makes but a slight impression.
Considering the matter as to modulation solely, it is indifferent
whether the pauses be at the end of words or in the middle. But when we
carry the sense along, nothing is more disagreeable than to find a word
split into two parts, neither of which separately have any meaning. This
bad effect, though it regard the sense only, is by an easy transition of
ideas transferred to the sound, with which the sense is intimately
connected; and by this means, we conceive a line to be harsh and grating
to the ear, which in reality is only so to the understanding[100].
To the rule which places the pause after the 5th portion, there is one
exception, and no more. If the syllable succeeding the 5th portion be
short, the pause is sometimes postponed to it:
Pupillis quos dura || premit custodia matrum
Again,
In terris oppressa || gravi sub religione
Again,
Et quorum pars magna || fui; quis talia fando
This contributes to diversify the melody; and where the words are smooth
and liquid, is not ungraceful; as in the following examples.
Formosam resonare || doces Amaryllida sylvas
Again,
Agricolas, quibus ipsa || procul discordibus armis
If this pause, postponed as aforesaid to the short syllable, happen also
to divide a word, the melody by these circumstances is totally
annihilated: witness the following line of Ennius, which is plain prose.
Romæ mœnia terru||it impiger | Hannibal armis
Hitherto the arrangement of the long and short syllables of an Hexameter
line and its different pauses, have been considered with respect to
melody. But to have a just notion of Hexameter verse, these particulars
must also be considered with respect to sense. There is not perhaps in
any other sort of verse, such a latitude in the long and short
syllables. This circumstance contributes greatly to that richness of
modulation which is remarkable in Hexameter verse; and which makes
Aristotle pronounce, that an epic poem in any other sort would not
succeed[101]. One defect however must not be dissembled. The same means
that contribute to the richness of the melody, render it less fit than
several other sorts for a narrative poem. With regard to the melody, as
above observed, there cannot be a more artful contrivance than to close
an Hexameter line with two long syllables preceded by two short. But
unhappily this construction proves a great imbarrassment to the sense;
as will be evident from what follows. As in general there ought to be a
strict concordance betwixt every thought and the words in which it is
dressed, so in particular, every close in the sense, complete and
incomplete, ought to be accompanied with a similar close in the sound.
In the composition of prose, there is sufficient latitude for applying
this rule in the strictest manner. But the same strictness in verse,
would occasion insuperable difficulties. Some share of the concordance
betwixt thought and expression, may be justly sacrificed to the melody
of verse; and therefore during the course of a line, we freely excuse
the want of coincidence of the musical pause with that of the sense. But
the close of an Hexameter line is too conspicuous to admit a total
neglect of this coincidence. And hence it follows, that there ought to
be always some pause in the sense at the end of every Hexameter line,
were it but such a pause as is marked with a comma. It follows also, for
the same reason, that there ought never to be a full close in the sense
but at the end of a line, because there the modulation is closed. An
Hexameter line, to preserve its melody, cannot well permit any greater
relaxation; and yet in a narrative poem, it is extremely difficult to
keep up to the rule even with these indulgences. Virgil, the greatest
poet for versification that ever existed, is forc’d often to end a line
without any close in the sense, and as often to close the sense during
the running of a line: though a close in the melody during the movement
of the thought, or a close in the thought during the movement of the
melody, cannot fail to be disagreeable.
* * * * *
The accent, to which we proceed, is not less essential than the other
circumstances above handled. By a good ear it will be discerned, that in
every line there is one syllable distinguishable from the rest by a
strong accent. This syllable making the 7th portion, is invariably long;
and in point of time occupies a place nearly at an equal distance from
the pause which succeeds the 5th portion, and the semipause, which
succeeds the 8th:
Nec bene promeritis || capitûr nec | tangitur ira
Again,
Non sibi sed toto || genitûm se | credere mundo
Again,
Qualis spelunca || subitô com|mota columba
In these examples, the accent is laid upon the last syllable of a word.
And that this is a favourable circumstance for the melody, will appear
from the following consideration. In reading, there must be some pause
after every word, to separate it from what follows; and this pause,
however short, supports the accent. Hence it is, that a line thus
accented, has a more spirited air, than where the accent is placed on
any other syllable. Compare the foregoing lines with the following.
Alba neque Assyrio || fucâtur | lana veneno
Again,
Panditur interea || domus ômnipo|tentis Olympi
Again,
Olli sedato || respôndit | corde Latinus
In lines where the pause comes after the short syllable succeeding the
5th portion, the accent is displaced and rendered less sensible. It
seems to be split into two, and to be laid partly on the 5th portion,
and partly on the 7th, its usual place; as in
Nuda genu, nodôque || sinûs col|lecta fluentes
Again,
Formosam resonâre || docês Amar|yllida sylvas
Beside this capital accent, slighter accents are laid upon other
portions; particularly upon the 4th, unless where it consists of two
short syllables; upon the 9th, which is always a long syllable; and upon
the 11th, where the line concludes with a monosyllable. Such conclusion,
by the by, lessens the melody, and for that reason is not to be indulged
unless where it is expressive of the sense. The following lines are
marked with all the accents.
Ludere quæ vêllem calamô permîsit agresti
Again,
Et duræ quêrcus sudâbunt rôscida mella
Again,
Parturiunt môntes, nascêtur rîdiculûs mus
Inquiring into the melody of Hexameter verse, we soon discover, that
order or arrangement doth not constitute the whole of it. Comparing
different lines, equally regular as to the succession of long and short
syllables, the melody is found in very different degrees of perfection.
Nor does the difference arise from any particular combination of
Dactyles and Spondees, or of long and short syllables. On the contrary,
we find lines where Dactyles prevail and lines where Spondees prevail,
equally melodious. Of the former take the following instance:
Æneadum genetrix hominum divumque voluptas.
Of the latter:
Molli paulatim flavescet campus arista.
What can be more different as to melody than the two following lines,
which, however, as to the succession of long and short syllables, are
constructed precisely in the same manner?
Spond. Dact. Spond. Spond. Dact. Spond.
Ad talos stola dimissa et circumdata palla. _Hor._
Spond. Dact. Spond. Spond. Dact. Spond.
Placatumque nitet diffuso lumine cœlum. _Lucret._
In the former, the pause falls in the middle of a word, which is a great
blemish, and the accent is disturbed by a harsh elision of the vowel _a_
upon the particle _et_. In the latter the pauses and the accent are all
of them distinct and full: there is no elision: and the words are more
liquid and sounding. In these particulars consists the beauty of an
Hexameter line with respect to melody; and by neglecting these, many
lines in the Satires and Epistles of Horace are less agreeable than
plain prose; for they are neither the one nor the other in perfection.
To make these lines sound, they must be pronounced without relation to
the sense. It must not be regarded, that words are divided by pauses,
nor that harsh elisions are multiplied. To add to the account, prosaic
low sounding words are introduced; and which is still worse, accents are
laid on them. Of such faulty lines take the following instances.
Candida rectaque sit, munda hactenus sit neque longa.
Jupiter exclamat simul atque audirit; at in se
Custodes, lectica, ciniflones, parasitæ
Optimus est modulator, ut Alfenus Vafer omni
Nunc illud tantum quæram, meritone tibi sit.
Next in order comes English heroic verse, which shall be examined under
the whole five heads, of number, quantity, arrangement, pause, and
accent. This verse sometimes employs rhymes and sometimes not, which
distinguishes it into two kinds; one named _metre_, and one _blank
verse_. In the former, the lines are connected two and two by similarity
of sound in the final syllables; and such connected lines are termed
_couplets_. Similarity of sound being avoided in the latter, banishes
couplets. These two sorts must be handled separately, because there are
many peculiarities in each. The first article with respect to rhyme or
metre, shall be discussed in a few words. Every line consists of ten
syllables, five short and five long. There are but two exceptions, both
of them rare. A couplet can bear to be drawn out, by adding a short
syllable at the end of each of the two lines:
There hero’s wits are kept in pond’rous vases,
And beau’s in snuff-boxes and tweezer-cases.
The piece, you think, is incorrect? Why, take it;
I’m all submission; what you’d have it, make it.
This licence is sufferable in a single couplet; but if frequent would
soon become disgustful.
The other exception concerns the second line of a couplet, which is
sometimes stretched out to twelve syllables, termed an _Alexandrine
line_.
A needless Alexandrine ends the song,
That, like a wounded snake, drags its slow length along.
It doth extremely well when employ’d to close a period with a certain
pomp and solemnity suitable to the subject.