Imatges de pàgina
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very reason for adhering to rhyme in these compositions. He indeed candidly owns, that, even with the support of rhyme, the tragedies of his country are little better than conversation-pieces; which seems to infer, that the French language is weak, and an improper dress for any grand subject. Voltaire was sensible of the imperfection; and yet Voltaire attempted an epic poem in that language.

The cheering and enlivening power of rhyme, is still more remarkable in poems of short lines, where the rhymes return upon the ear in a quick succession; for which reason rhyme is perfectly well adapted to gay, light, and airy subjects. Witness the following:

O the pleasing, pleasing anguish,
When we love and when we languish!
Wishes rising,

Thoughts surprising,
Pleasure courting,

Charms transporting,

Fancy viewing,

Joys ensuing,

O the pleasing, pleasing anguish!

Rosamond, Act I. Sc. 2.

For that reason, such frequent rhymes are very improper for any severe or serious passion: the dissonance between the subject and the melody is very sensibly felt. Witness the following:

Ardito ti renda,
T'accenda
Di sdegno
D'un figlio
Il periglio

D'un regno
L'amor.

E'dolce ad un'alma

Che aspetta
Vendetta

Il perder la calma

Fra l'ire del cor.

Metastasio. Artaserse, Act III. Sc. 3.

Again:

Now under hanging mountains,
Beside the fall of fountains,
Or where Hebrus wanders,
Rolling in meanders,
All alone,

Unheard, unknown,
He makes his moan,
And calls her ghost,
For ever, ever, ever lost;
Now with furies surrounded,
Despairing, confounded,
He trembles, he glows,
Amidst Rodope's snows.

Pope, Ode for Music, l. 97. Rhyme is not less unfit for anguish or deep distress, than for subjects elevated and lofty; and for that reason has been long disused in the English and Italian tragedy. In a work where the subject is serious though not elevated, rhyme has not a good effect; because the airiness of the melody agrees not with the gravity of the subject: the Essay on Man, which treats a subject great and important, would make a better figure in blank verse. Sportive love, mirth, gaiety, humour, and ridicule, are the province of rhyme. The boundaries assigned it by nature, were extended in barbarous and illiterate ages; and in its usurpations it has long been protected by custom but taste in the fine arts, as well as in morals, improves daily; and makes a progress toward perfection, slow indeed but uniform; and there is no reason to doubt, that rhyme, in Britain, will in time be forced to abandon its unjust conquest, and to confine itself within its natural limits.

Having said what occurred upon rhyme, I close the section with a general observation, That the melody of verse so powerfully enchants the mind, as to draw a veil over very gross faults and im

perfections. Of this power a stronger example cannot be given than the episode of Aristaus, which closes the fourth book of the Georgics. To renew a stock of bees when the former is lost, Virgil asserts, that they may be produced in the entrails of a bullock, slain and managed in a certain manner. This leads him to say, how this strange recipe was invented; which is as follows. Aristaus having lost his bees by disease and famine, never dreams of employing the ordinary means for obtaining a new stock; but, like a froward child, complains heavily to his mother Cyrene, a water-nymph. She advises him to consult Proteus, a sea-god, not how he was to obtain a new stock, but only by what fatality he had lost his former stock; adding, that violence was necessary, because Proteus would say nothing voluntarily. Aristæus, satisfied with this advice, though it gave him no prospect of repairing his loss, proceeds to execution. Proteus is caught sleeping, bound with cords, and compel led to speak. He declares, that Aristæus was punished with the loss of his bees, for attempting the chastity of Eurydice the wife of Orpheus; she having been stung to death by à serpent in flying bis embraces. Proteus, whose sullenness ought to have been converted into wrath by the rough treatment he met with, becomes on a sudden courteous and communicative. He gives the whole history of the expedition to hell which Orpheus undertook in order to recover his spouse: a very entertaining story, but without the least relation to what was in view. Aristæus, returning to his mother, is advised to deprecate by sacrifices the wrath of Orpheus, who was now dead. A bullock is sacrificed, and out of the entrails spring miraculously a swarm of bees. Does it follow, that the same may be obtained without a miracle as is supposed in the recipe.

A LIST of the different FEET, and of their NAMES.

1. PYRRHICHIUS, consists of two short syllables. Examples: Deus, given, cannot, hillock, run

ning.

2. SPONDEUS, consists of two long syllables: omnes, possess, forewarn, mankind, sometime.

3. IAMBUS, composed of a short and a long: pios, intent, degree, appear, consent, repent, demand, report, suspect, affront, event.

4. TROCHAEUS, or CHOREUS, a long and short: fervat, whereby, after, legal, measure, burden, holy, lofty.

5. TRIBRACHYS, three short: melius, property.

6. MOLOSSUS, three long: delectant.

7. ANAPAESTUS, two short and a long: animos, condescend, apprehend, overheard, acquiesce, immature, overcharge, serenade, opportune.

8. DACTYLUS, a long and two short: carmina, evident, excellence, estimate, wonderful, altitude, burdened, minister, tenement.

9. BACCHIUS, a short and two long: dolores.

10. HYPPOBACCHIUS, or ANTIBACCHIUS, two long and a short: pelluntur.

11. CRETICUS, or AMPHIMACER, a short syllable between two long: insito, afternoon.

12. AMPHIBRACHYS, a long syllable between two short: honore, consider, imprudent, procedure, attended, proposed, respondent, concurrence, apprentice, respective, revenue.

13. PROCELEUSMATICUS, four short syllables: hominibus, necessary.

14. DISPONDEUs, four long syllables: infinitis.

15. DIIAMBUS, composed of two Iambi: severi,

tas.

16. DITROCHAEUS, of two Trochai: permanere, procurator.

17. IONICUS, two short syllables and two long: properabant.

18. Another foot passes under the same name, composed of two long syllables and two short: calcaribus, possessory.

19. CHORIAMBUS, two short syllables between two long: nobilitas.

20. ANTISPASTUS, two long syllables between two short: Alexander.

21. PAEON 1st, one long syllable and three short : temporibus, ordinary, inventory, tempera

ment.

22. PAEON 2d, the second syllable long, and the other three short: rapidity, solemnity, minority, considered, imprudently, extravagant, respectfully, accordingly.

VOL. II.

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