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A heat which glows in every word that's writ; ’Tis / mething of divine, and more than wit ; | Itself unfeen, yet all things by it shown, : Describing all men, but defcrib’d by none. ' '; A poetical genius is the gift of nature, and cannot be acquired; nor can the want of it be supplied by art or in- | dustry : but where fuch a genius is found, it may be affiited by proper rules and directions ; and fuch we shall endea- | vour to lay down. :

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|- bles are distinguished into long and /bort, and this length or fhortness is called their quantity. Of two, three, and · fometimes more fyllables, the antients formed their poetical feet, giving each of them a different name. Thus a foot confifting of two long fyllables, was called a spondee; ef a fhort one follow'd by a long one, an iambic ; of a long one followed by two short ones, a daćŻyle, &c. and of ) these feet they composed various kinds of verfes. i But there is very little variety of feet in the Englist poetry, the iamilie being, as it were, the fole regent of our verse, " especially of our Żeroics, which confift of five short and five

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After all, the quantity of the fyllables in ours, and other |modern languages, is not well fixed ; nor need we be very



folicitous about it in the composition of verfes. The num-
ber of fyllables, the pause, and the fat of the accents and
emphasti, are the chief things to be confidered in the Engli/%
Accent is a particular stress or force of the voice, laid
upon any fyllable in speaking, as upon f in finite, upon
in in infinite; and emphasis is that stress or force of the voice
which is laid on fome particular word or words in a fentence
to express the true meaning of the author.
In English verse, it is thę accent that denominates a fyl-
lable long, rather than the nature of the vowel, diphthong,
&c, though accent and quantity are, in reality, two differ-
ent things, -
It is not enough that verses have their just number of
fyllables; for the words must be fo disposed, as that the
accent and the paye may fall in fuch places, as to render
them harmonious and pleasing to the ear.
This pause is a fmall rest or stop which is made in pro-
nouncing the longer forts of verses, dividing them into two
parts, each of which is called an beinistich, or half-verse :
but this division is not always equal, that is, one of the he-
mistichs does not always contain the fame number of fylla-
bles as the other. This inequality proceeds from the feat

of the accent, that is strongest in the first hemistich ; for

the pause is to be made at the end of the word where fuch
accent happens, or at the end of the word following ; as
will presently be shewn.
Metre, or measure, which is fuch an harmonicus dispo-
fition of a certain number of fyllables as above mentioned,
is all that is absolutely nec ffary to constitute EnglẠ verse ;
but rhyme is generally added to make it more delightful.
Now rhyme is a likeness of found between the last fylla-
ble or fyllables of one verse, and the latt fyllable or fyl-
lables of another.–When only one fyllable at the end
of one line rhymes to one fyllable at the end of another,
it is called single rhyme, as made, trade ; confeß, distres :
but when the two last fyllables are alike in found, as drink-
ing, thinking ; able, table ; , it is called double rhyme. We
have also fome instances of treble rhyme, where the three
lait fyllables chime together ; as charity, parity, &c. But
this is feldom or never admitted in ferious subjećts, and in
fuch the double rhyme is to be used but sparingly. - *
You are further to observe, that the conionants which

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precede the vowels where the rhyme begins, must be different in each verse ; so that light and delight, vice and advice, move and remove, must not be made to rhyme together; for though the fignification of the words are different enough, the rhyming fyllables are exaétly the fame,

and gcod rhyme confists rather in a likeneß than a fameneß.

of found. From hence it follows, that a word cannot

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cation and orthography, if they have the fame found ; as beir, air ; prey, pray; blew, blue, &c. Such rhymes indeed, and others equally bad, as nation and affection, villainy and gentry, follow and willow, where the likeness is not sufficient, were allowed of in the days of Chaucer,

Spencer, and the rest of our antient poets, but are by no means to be admitted in our modern compositions. It may be farther observed, that the rhyming of words de

pends upon their likeness of found, not of orthography; for
laugh and quaff, though differently written, rhyme very
well together; but plough and cough, though their termi-
nations are alike, rhyme not at all.
That fort of verse which has no rhyme is called blank
verse ; fome fpecimens of which will be given hereafter.
We have verses of feveral measures containing feldom less
than four, nor more than fourteen fyllables ; in fpeaking of
which I shall begin with those that are mostly in ứfe.

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rals, and many other subjects, but generally those that aré

grave and ferious. -
In this fort the words are commonly fo disposed, that
the accent may fall on every second, fourth, fixth, eighth,
and tenth fyllable ; as in the two following lines.

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But (as we have intimated already) this order may be frequently dispensed with, without destroying the harmony of the verse; nay, it adds a peculiar beauty to the poetry, to indulge fuch a variety now and then, especially in the first and fecond fyllables of the line, of which the following is an instance, where the accent is on the first fyl

| lable, and not on the fecond.

Nów to the máin the búrning fún defcénds.

The pause to be in verses of this kind (as I have before observed) is determined by the feat of the most prevailing accent in the first half-verse, which ought to be either on the second, fourth, or fixth fyllable ; and the pause must immediately follow the word where this accent happens, or the word after it.

In the following lines you have instances of each of the cases mentioned, where the ruling accent only is marked, and the pause denoted by a dash

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The pause is fometimes to be allowed of in other places of a verse ; but then the verses are not quite fo agreeable to the ear, as is evident from the following instance :

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Here is nothing disagreeable in the strućture of these verfes
but the pause, which in the first of them (you fee) is after
the eighth fyllable, and in the latter after the /econa ;
Whereas fo unequal a divifion cannot produce any true
It must be confessed, that the prevailing accent is fome-

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times not easily distinguished, as when two or three in the
fame verse feem equally ftrong; in which cafe the fenfe
and construćtion of the words must be your guide. And
after all, a person who has a tolerable ear for poetry, will
have little occafion for rules concerning the pausė or
the accents, but will naturally fo difpofe his words as to
create a certain harmony, without labour to the tongue, or
violence to the fenfe.
Next to verses of ten fyllables, thofe of eight are most
frequent in our poetry, whereof we have many entire
poems. In these verfes, as in the former, the accents ge-
nerally fall on every fecond fyllable, but not without ex-
ception, as you will fee in the following example :

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The verses next to be confidered, are those of /g.ven fylJables, which are called anacreontic, from Anacreon, a Greek poet, who wrote in verfe of that measure.

The accents in this kind of verfe, fall on the first, third, fifth, and /eventh fyllables, as in the following lines :

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As for verses of nine and eleven fyllables, they are not worth our notice, being very feldom used, except those which are of double rhyme, and properly belong to the verfes of eight and ten fyllables.

There is a kind of verse of twelve fyllables, having the accent on every third, which is only made ufe of in fubjećts of mirth and pleasantry, as are thofe of eleven fyllables, which run with much the fame cadence. But there is another fort of twelve fyllables, which are now and then introduced amongst our heroics, being fometimes the last of a couplet, or two verfes, as in the following instance.

The ling'ring foul th' unwelcome doom receives,
And, murm'ring with difdain,–the beauteous body leaves.

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