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Sic musa jam veterascenti
1. W. 5. An Epitaph on the Reverend Mr. Matthew Clarke.
“ MATTHÆUS CLARKE,
nec ipse minus venerandus :
a prima ætate innutritus :
“ In officio pastorali
6 fidelis & vigilans :
“ moderatus & pacificus:
“ inter præstantissimos :
16 hæc audies.
Ætat suæ 62.
In English thus.
Sacred to memory.
of his venerable father,
nor less venerable bimself: Train'd up from his youngest years
in sacred and human learning : Very skilful in the languages :
In the gift of preaching excellent, laborious and successful :
In the pastoral office
faithful and vigilant:
moderate always and pacific:
he had few equals :
Thy wand'ring feet shall rest
His name pronounc'd and blest.
Aged sixty-two years,
Much beloved and mucb lamented. 6. An Epitaph on the Reverend Mr. Edward Brodhurst.
“ Hoc marmore commemoratur
“ Veritatis liberè studiosus,
“ Et pietate nulli secundus,
6 Concionator eximius,
“Moribus facilis, vitâ beneficus,
" Mille virtutibus instructus
“ Sed non usque celabuntur:
“ Qualis & quantus fuit
Agro Derbiensi natus est, A. D. 1691,
Animam ad superos avolantem
“ Euge, fidelis serve.”
An impartial enquirer after trath,
A preacher that excelled
Over the flock committed to his charge:
A pattern of charity in all its branches :
Go, reader, expect the day,
How deserving a person
He was born in Derbyshire, 1691.
The cburch on earth bemoans,
" Well done, good and faithful servant."
7. The following Epitaph on Sir Isaac Newton, was composed by
my worthy Friend, Mr. Jolin Eames, with a few Decorations added at his Request.
“ Hic sepaltus est
" Qui nec inter atheos Dei cultum,
" Qua juvante
Perplexos vagantis lunæ circuitus
" Strictis cancellis solus coercuit.
16 Terricolis notas fecit:
“ Temporisque metas
6 Certis astrorum periodis alligavit, fixitque:
“ Qualis in semitas
“ Pallidumque eorum jubar
“ Variegate simplicem,
“ Primus & penitus exploravit.
" Scientiæ bumanæ limites,
“Proprio marte promovit,
“ Monuit & indigitavit.
Vale, coelestis anima,
Ac inges desiderium,
LXXII.-The Cadence of Verse. IN writings of every kind, an author should be solicitous so to compose bis work, that the ear may be able to take in all the ideas, as well as the eye, and to convey his complete sense to the mind with ease and pleasure. Since every sentence has some words in it which are more emphatical than the rest, and upon which the meaning, the beauty, the force, and the pleasure of the sentence depend, the writer should take great care that the hearer may have a distinguishing perception of all these, as well as the pepson who reads. All the parts of a sentence from one end to the other, are not to be pronounced with the same tone of voice; such a constant uniformity would not only be heavy and tiresome, but the hearer would never be impressed with the true sense of the period, unless the voice of the reader were changed agreeably, as the sense of words require. This is properly called cadence.
A good cadence in verse, is much the same thing as the proper and graceful sound of a period in prose. This arises partly from the harshness or softness of the words, and the happy disposition of them, in a sort of harmony with the ideas which are represented, partly from the long and short accents which belong to the syllables well miogled, and partly also from the length aod shortness of the sentences, and a proper situation of the pauses or stops, as well as froin putting the emphatical words in their due places. All this might be made evident in a variety of instances, by shewing how obscure or how Janguid the sense sometimes would be found, if the proper cadences be not observed by the writer or reader; how ungraceful, how on musical, and even offensive would some scutences appear in
prose, or some lines in verse, if harsh-sounding words were put when the softer are required, if syllables of a short accent were placed in the room of long, if the emphatical words or pauses were disposed in improper places ? The most skilful and melodious reader, with bis utmost labour and art of pronunciation, can never entertain a judicious auditory agreeably, if the writer has not done his part in this respect. And though these matters are of far less importance in poesy, than the propriety, grandeur, beauty, and force of the ideas, and the elegant disposition of them, get the late Duke of B. in his famous Essay on Poetry, supposes them to be of some necessity to make good verse.
“ Number and rhyme, and that harmonious sound
“ Are necessary, tho’ but vulgar arts.” This theme would furnish sufficient matter for many pages; but upon occasion of a question put to me a few days ago opon this subject, I shall here take notice only of those vicious cadences in verse, which arise from long or short syllables iH-placed, or from colons, commas and periods ill-disposed, as far as my amusements in poesy have given me any knowledge of this kind.
It has been an old and just observation, that English verse generally (consists of iambic feet : An iambic foot has tvo syllables, whereof the first is short, and the latter long. An English verse of the heroic kind, consists of five such feet; so that in reading it, the accent is usually laid upon the second, fourth, sixth, eighth, and tenth syllables.
Mr. Dryden, who was counted the best versifier of the last age, is generally very true to this iambic measure, and observes it perhaps with too constant a regularity. So in his Virgil be describes two serpents in ten lines, with scarce one foot of any other kind, or the alteration of a single syllable.
“ Two serpents rank'd abreast, the seas divide,
“ And lick'd their hissing jaws, that spatter'd flame." Though all these ten lines glide on so smoothly, and seem to caress the ear, yet perhaps this is too long an uniformity to be truly grateful, unless we excuse it by supposing the poet io ini. tate the smouthpess of the serpents, swift, easy and uniforın ino. tion over the sea and land, without the least stop or interruption.
In the lines of heroic measure, there are some parts of the line which will adinit a spondee, that is, a foot made of two long