Thefe two forts of verfe ftand indeed pretty much in oppofition: in Hexameter, great variety of arrangement, none in the paufes nor accents: in English rhyme, great variety in the pauses and accents, very little in the arrangement. In blank verse are united, in a good measure, the feveral properties of Latin Hexameter and English rhyme; and it poffefes befide many fignal properties of its own. It is not confined, like Hexameter, by a full close at the end of every line; nor, like rhyme, by a full clofe at the end of every couplet. Its form of construction, which admits the lines to run into each other, gives it a ftill greater majefty than arifes from the length of a Hexameter line. By the fame means, it admits inverfion even beyond the Latin or Greek Hexameter; for thefe fuffer fome confinement by the regular clofes at the end of every line. In its mufic it is illuftrious above all the melody of Hexameter verfe, is circumfcribed to a line; and of English rhyme, to a couplet the melody of blank verfe is under no confinement, but enjoys the utmoft privilege that the melody of verfe is fufceptible of, which is, to run hand in hand with the fenfe. In a word, blank verfe is fuperior to Hexameter in many articles; and inferior to it in none, fave in the latitude of arrangement, and in the use of long words. In French Heroic verfe, there are found, on the contrary, all the defects of Latin Hexame ter and English rhyme, without the beauties of either fubjected to the bondage of rhyme, and to the full clofe at the end of every couplet, it is further peculiarly difguftful by the uniformity of its paufes and accents; the line invariably is divided by the paufe into two equal parts, and the accent is invariably placed before the pause; Jeune et vaillant herôs || dont la haute fageffe 1 Here every circumstance contributes to a most tedious uniformity: a conftant return of the fame pause and of the fame accent, as well as an equal divifion of every line; which fatigue the ear without intermiffion or change. I cannot fet this matter in a better light, than by presenting to the reader a French tranflation of the following paffage of Milton: Two of far nobler fhape, erect and tall, Werc Were the pauses of the sense and found in this paffage, but a little better afforted, nothing in verfe could be more melodious. In general, the great defect of Milton's verfification, in other refpects admirable, is the want of coincidence be tween the paufes, of the fenfe and found. The tranflation is in the following words: Ce lieux délicieux, ce paradis charmant, Qu'adoucit la prudence, et cet air de droiture Ces deux objets divins n'ont pas les mêmes traits, L'autre pour la douceur, la grace, et la tendreffe; Here the fenfe is fairly tranflated, the words arę of equal power, and yet how inferior the melody! Many attempts have been made to introduce Hexameter verfe into the living languages, but without fucccefs. The English language, I am inclined L. 4 inclined to believe, is not fuceptible of this melody and my reafons are thefe. First, the polyfyllables in Latin and Greek are finely diverfified by long and fhort fyllables, a circumstance that qualifies them for the melody of Hexameter verfe ours are extremely ill qualified for that service, because they fuperabound in fhort fyllables. Secondly, the bulk of our monofyllables are arbitrary with regard to length, which is an unlucky circumstance in Hexameter: for though custom, as obferved above, may render familiar a long or fhort pronunciation of the fame word, yet the mind wavering between the two founds, cannot be fo much affected with either, as with a word that hath always the fame found; and for that reason, arbitrary founds are ill fitted for a melody which is chiefly fupported by quantity: in Latin and Greek Hexameter, invariable founds direct and afcertain the melody: English Hexameter would be deftitute of melody, unlefs by artful pronunciation; because of neceffity the bulk of its founds must be arbitrary. The pronunciation is eafy in a fimple movement of alternate long and short fyllables; but would be perplexing and unpleasant in the diverfified movement of Hexameter verfe. Rhyme makes fo great a figure in modern poetry, as to deferve a folemn trial, I have for that reafon referved it to be examined with deliberation; in order to difcover, if I can, its peculiar beauties, beauties, and the degree of merit it is intitled to. The first view of this fubject leads naturally to the following reflection: "That rhyme ha❤ ving no relation to fentiment, nor any effect 66 upon the ear other than a mere jingle, ought "to be banished all compofitions of any dig "nity, as affording but a trifling and childish "pleasure." It will also be obferved, "That a "jingle of words hath in fome measure a ludi "crous effect; witness the double rhymes of "Hudibras, which contribute no fmall fhare to "its drollery; that in a serious work this ludi"crous effect would be equally remarkable, were "it not obfcured by the prevailing gravity of the "fubject; that having however a conftant ten"dency to give a ludicrous air to the composi tion, more than ordinary fire is requifite to "fupport the dignity of the fentiments against "fuch an undermining antagonist *." These arguments are fpecious, and have undoubtedly fome weight. Yet, on the other hand, it ought to be confidered, that rhyme, in modern tongues, has become univerfal among men as well as children: and that it cannot have fuch a currency without fome foundation in human nature. In fact, it has been fuccessfully employ'd by poets of genius, in their ferious and grave compositions, as well as in those which are Vollius, de poematum cantu, p. 25 fays, "Nihil æque gra• ❝ vitati orationis officit, quam in fono ludere fyllabarum.” more |