Part 16

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.

With regard to the second article, it is unnecessary to mention a second time, that the quantities employ’d in verse are but two, the one double of the other; that every syllable is reducible to one or other of these standards; and that a syllable of the larger quantity is termed _long_, and of the lesser quantity _short_. It belongs more to the present article, to examine what peculiarities there may be in the English language as to long and short syllables. In every language, there are syllables that may be pronounced long or short at pleasure; but the English above all abounds in syllables of that kind. In words of three or more syllables, the quantity for the most part is invariable. The exceptions are more frequent in dissyllables; but as to monosyllables, they may without many exceptions be pronounced either long or short. Nor is the ear hurt by this liberty; being accustomed to the variation of quantity in the same word. This shows that the melody of English verse must depend less upon quantity, than upon other circumstances. In that particular it differs widely from Latin verse. There, every syllable having but one sound, strikes the ear constantly with its accustomed impression; and a reader must be delighted to find a number of such syllables, disposed so artfully as to raise a lively sense of melody. Syllables variable in quantity cannot possess this power. Custom may render familiar, both a long and short pronunciation of the same word; but the mind constantly wavering betwixt the two sounds, cannot be so much affected with a syllable of this kind as with one which bears always the same sound. What I have further to say upon quantity, will come in more properly under the following head, of arrangement.

And with respect to arrangement, which may be brought within a narrow compass, the English heroic line is commonly Iambic, the first syllable short, the second long, and so on alternately through the whole line. One exception there is, pretty frequent. Many lines commence with a Trochæus, _viz._ a long and a short syllable. But this affects not the order of the following syllables. These go on alternately as usual, one short and one long. The following couplet affords an example of each kind:

Sōme ĭn thĕ fīelds ŏf pūrĕst ǣthĕr plāy, Ănd bāsk ănd whītĕn īn thĕ blāze ŏf dāy.

It is unhappy in the construction of English verse, that it excludes the bulk of polysyllables, though the most sounding words in our language; for upon examination it will be found, that very few of them are composed of such alternation of long and short syllables as to correspond to either of the arrangements mentioned. English verse accordingly is almost totally reduced to dissyllables and monosyllables. _Magnanimity_ is a sounding word totally excluded. _Impetuosity_ is still a finer word by the resemblance of the sound and sense; and yet a negative is put upon it, as well as upon numberless words of the same kind. Polysyllables composed of syllables long and short alternately, make a good figure in verse; for example, _observance_, _opponent_, _ostensive_, _pindaric_, _productive_, _prolific_, and such others of three syllables. _Imitation_, _imperfection_, _misdemeanour_, _mitigation_, _moderation_, _observator_, _ornamental_, _regulator_, and others similar of four syllables, beginning with two short syllables, the third long, and the fourth short, may find a place in a line commencing with a Trochæus. I know not if there be any of five syllables. One I know of six, _viz._ _misinterpretation_. But words so composed are not frequent in our language.

One would not imagine without trial, how uncouth false quantity appears in verse; not less than a provincial tone or idiom. The article _the_ is one of the few monosyllables that is invariably short. See how harsh it makes a line where it must be pronounced long:

Thĭs nȳmph, tŏ thē dĕstrūctiŏn ōf mănkīnd,

Again:

Th’ ădvēnt’rŏus bārŏn thē brĭght lōcks ădmīr’d.

Let the article be pronounced short, and it reduces the melody almost to nothing. Better so however than a false quantity. In the following examples we perceive the same defect.

And old impertinence || expel by new.

With varying vanities || from ev’ry part.

Love in these labyrinths || his slaves detains.

New stratagems || the radiant lock to gain.

Her eyes half-languishing || half-drown’d in tears.

Roar’d for the handkerchief || that caus’d his pain.

Passions like elements || though born to fight.