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A heat which glows in every word that's writ;
'Tis something of divine, and more than wit ;
Itself unseen, yet all things by it shown,

Describing all men, but describ'd by none.
A poetical genius is the gift of nature, and cannot be
ccquired; nor can the want of it be supplied by art or in-
duitry: but where such a genius is found, it may be asliited
by proper rules and directions; and such we shall endea-
vour to lay down.

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Of the Structure of English Verse ; and of RHYME :
N order to make verses, you must understand that fylla-

bles are diftinguished into long and short, and this length or shortness is called their quantity. Of two, three, and sometimes more syllables, the antients formed their poetical feet, giving each of them a different name. Thus a foot consisting of two long fyllables, was called a spondee; of a Thort one follow?d by a long one, an iambic ; of a long cne followed by two short ones, a dactyle, &c. and of thele. feet they composed various kinds of verses.

But there is very little variety of feet in the English poetry, the iamlic being, as it were, the sole regent of our verse, especially of our ieroics, which consist of five short and five long syllables intermixed alternately, though this order is Coretimes beautifully varied by our best poets, as an ex. celicno writer obferves :

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Two fyllables our English feet compose,
Bat quantities distinguish them from prose.
By long and short, in various stations plac'd,
Our English verse harmoniously is gracd:
With short and long heroic feet we raise,
Put these to vary is the poet's praise ;
For the same founds perpetually disguft :

Dryden to this variety was just.
After all, the quantity of the syllables in ours, and other
modern languages, is not well fixed ;. nor need we be very

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solicitous about it in the composition of verses. The number of syllables, the pause, and the seat of the accents and emphasis, are the chief things to be considered in the Englih versification.

Accent is a particular stress or force of the voice, laid upon any fyllable in speaking, as upon fi in finite, upon in in infinite; and emphasis is that stress or force of the voice which is laid on some particular word or words in a sentence to express the true meaning of the author.

In English verle, it is the accent that denominates a syllable long, rather than the nature of the vowel, diphthong, &c. though accent and quantity are, in reality, two different things.

It is not enough that verses have their just number of fyllables; for the words must be so disposed, as that the accent and the pause may fall in such places, as to render them harmonious and pleasing to the ear.

This pause is a small rest or fiop which is made in pronouncing the longer forts of verses, dividing them into two parts, each of which is called an bemiftich, or half-verse: but this division is not always equal, that is, one of the hemistichs does not always contain the same number of syllables as the other. This inequality proceeds from the seat of the accent, that is strongest in the firit hemislich ; for the pause is to be made at the end of the word where such accent happens, or at the end of the word following; as will presently be shewn.

Metre, or measure, which is such an harmonicus disposition of a certain number of syllables as above meationed, is all that is absolutely necesary to conftitute Englijn verse ; but rhyme is generally added to make it more delightful.

Now rhyme is a likeness of found between the last fyl12ble or fyllables of one verse, and the lait fyllable or fyllables of another.-When only one syllable at the end of one line rhymes to one syliable at the end of another, it is called fingle rhyme, as made, trade ; confess, distress : but when the two last syllables are alike in sound, as drinking, thinking ; able, table; it is called double rhyme. Wc have also some instances of treble rhyrne, where the three lait syllables.chime together ; as charity, parily, &c. But this is seldom or never admitted in serious subjects, and in such the double rhyme is to be used but sparingly.

You are further to observe, that the conionants which 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 exa&ly the same, and good rhyme confifts rather in a likeness than a fameness of found. From hence it follows, that a word cannot rhyme to itself, nor even words that differ both in signification and orthography, if they have the same found ; as beir, air; prey, pray ; blew, blue, &e. Such rhymes indeed, and others equally bad, as nation and affection, vila lainy 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. rends upon their likeness of sound, not of orthography; for laugh and quaf, though differently written, rhyme very well together; but plough and cough, though their termi. nations are alike, rhyme not at all.

That sort of verse which has no rhyme is called blank verse ; some specimens of which will be given hereafter. We have verses of several measures containing seldom less than four, nor more than fourteen fyllables ; in speaking of: which I shall begin with those that are mostly in use.


CH A P. III: :
Of the several forts of English Verses.
HE verses chiefly used in our poetry, are those of

ten, eight, and seven fyllables ; especially the first, which are used in heroic poems, tragedies, elegies, paftorals, and many other subjects, but generally those that are grave and ferious.

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

From vulgar bóunds with bráve disorder párt,
And Inátch a gráce beyond the reach of árt.

But (as we have intimated already) this order may be frequently dispensed with, without deitroying the harmony of the verse ; nay, it adds a peculiar beauty to the poetry, to indulge such a variety now and then, especially in the first and second syllables of the line, of which the following is an instance, where the accent is on the first fyl. lable, and not on the second.

Nów to the main the burning sún descénds. The pause to be in verses of this kind (as I have before observed) is determined by the seat of the most prevailing accent in the first half-verse, which ought to be either on the second, fourth, or fixth syllable ; 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

First Cafe.
As busy--as intentive emnicts are.
Despíse it and more noble thoughts pursue.

Second Case.
Belinda smíl'd-and all the world was gay.
So fresh the wound is--and the grief fo vaft.

Third Cafe.
Some have at first for wíts--then poets pass d.

And since he could not save her with her dy'd. The pause is sometimes to be allowed of in other places of a verse; but then the verses are not quite so agreeable to the ear, as is evident from the following instance :

Bright Hesper twinkles from afár--away

My kids---for you have had a feast to-day. Here is nothing disagreeable in the structure of these verses but the pause, which in the first of them (you see) is after the eighth fyllable, and in the latter after the second; whereas so unequal a division cannot produce any true harmony.

It must be confessed, that the prevailing accent is ļ

times not easily distinguished, as when two or three in the fame verse seem equally strong; in which case the sense and construction of the words must be your guide. And after all, a person who has a tolerable ear for poetry, will have litele occasion for rules concerning the faujė or the accents, but will naturally fo dispose his words as to create a certain harmony, without labour to the tongue, or violence to the sense.

Next to' verses of ten syllables, those of eight are most frequent in our poetry, whereof we have many entire poems. In these verses, as in the former, the accents generally fall on every second syllable, but not without exception, as you will see in the following example:

A fów'r of soft and fléscy ráin
Falls, to new-clothe the earth agáin ;
Behold the mountains tóps around,
As if with fúr of érmin crówn'd.

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'The verses next to be considered, are those of seven fylJables, which are called anacreontic, from Anacreon, a Greek poet, who wrote in verse of that measure.

The accents in this kind of verse, fall on the first, third, fifth, and seventh fyllables, as in the following lines :

Glitt'ring stones and golden things,
Wealth and honours that have wings,
Ever fútt'ring to be gone,
Wé can never call our own.

As for verses of wine and elever syllables, they are not worth our notice, being very seldom used, except those which are of double rhyme, and properly belong to the verses of eight and ten syllables.

There is a kind of verse of twelve syllables, having the accent on every third, which is only made use of in subjects of mirth and pleasantry, as are those of eleven fyllables, which run with much the same cadence. But there is another sort of twelve syllables, which are now and then introduced amongit our heroics, being sometimes the last of a couplet, or two verses, as in the following instance. The ling’ring foul th’unwelcome doom receives, And, murm’ring with disdain,--the beauteous body leaves.

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