Note [c] referred to in page 59.. The great actions performed by the heroes of the Iliad are generally by means of extraordinary assistance from me of the powers above. A striking instance of the same thing occurs at the close of the eighth book of the Æneid, where Virgil gives a description of the battle of Actium. This, we may observe, was designed as a di rect piece of flattery to Augustus. By what means then does he obtain this victory, and with it the empire of the word? Is it by some splendid and unparalleled display of wisdom and valour? No: It is Apollo, who bends his bow from on high. Omnis co terrore Egyptus et Indi, Omnis Arabs, omnes vertere terga Sabei.. . ON CERTAIN EFFECTS OF RHYME IN POETICAL COMPOSITION. RHYME is a practice which has at once been very generally adopted by the poets, and condemned by the critics, of modern times. By its enemies it has been loaded with every kind of abuse, and but feebly defended even by its warmest advocates. It is not meant to enter here into any discussion of its general merits. I shall confine myself to one charge which has been generally considered as wholly unanswerable. Rhyme is supposed to be altogether unmeaning, and to afford no pleasure but that which arises from the mere jingle of similar endings. Upon closer examination, however, we shall perhaps find, that this charge is unfounded; and that rhyme possesses, in fact, a great variety of expression. Lord Kaimes, so far as I know, was the first writer who took notice of the expression of rhyme. After treating, at some length, on this subject, he concludes its natural ef fect to be that of giving to the verse a mo derate degree of liveliness and gaiety. Mr. Stewart, on the other hand, has observed, that it sometimes tends to produce a melaneholy impression. These remarks, however opposite, appear to me to be both wellfounded, and applicable to different circumstances, according to the following general law. Rhymes which follow eachother in quick succession, inspire cheerfulness and gaiety: a great interval between then, on the contrary, tends to produce a sedate, serious, and even melancholy impression. The degree in which these effects are pro:luced, is in proportion to the greatness or smallness of the interval.' Elements of Criticism, Vol. II. p. 169–176. Philosophy of the Human Mind, Note, p. 301. 4to edit. . 1. My first exaraple shall be one employ ed by Lord Kaimes. Oh! the pleasing, pleasing anguish, When we love, and when we languish: Charms transporting, Joys ensuing. Oh! the pleasing, pleasing anguish. Here the two lines at the beginning being short, and having their rhymes contiguous, tend rather to produce an enlivening effect. The very short lines succeeding, produce it in the utmost possible degree. But the last, of which the rhyme is connected with others that are very remote, causes a sudden transition to a quite opposite tone of sentiment. 2. The curfew tolls the knell of parting day, Here the two rhymes, way, me, immediately following each other, and both connect ed with others at a considerable distance, produce, at the close, a deep impression of solemnity, which renders this stanza admirably fitted for elegiac composition. 3. In epic poetry the chief requisite is dignity, which occupies a middle place between gaiety and melancholy. The couplet used in English heroic verse, is observed by Lord Kaimes, to partake too much of the former quality Notwithstanding the length of the line, the rhymes appear still to come too close to each other. This appears particularly where sublimity is aimed at; where, by the frequency of the rhymes, the passage is split into a multitude of little divisions, which prevent any grand effect from being produced. Thus : This seals thy suit, and this fulfils thy vows- And all Olympus to the centre shook. |