lar instruction, notes must be invented, resembling those employed in music. We have reason to believe, that in Greece every tragedy was accompanied with such notes, in order to ascertain the pronunciation; but the moderns hitherto have not thought of this refinement. Cicero, indeed, without the help of notes, pretends to give rules for ascertaining the various tones of voice that are proper in expressing the different passions; and it must be acknowledged, that in this attempt he hath exhausted the whole power of language. At the same time, every person of discernment will perceive, that these rules avail little in point of instruction: the very words he employs are not intelligible, except to those who beforehand are acquainted with the subject.

To vary the scene a little, I propose to close with a slight comparison between singing and pronouncing. In this comparison, the five following circumstances relative to articulate sound, must be kept in view. 1st, A sound or syllable is harsh or smooth. 2d, It is long or short. 3d, It is pronounced high or low. 4th, It is pronounced loud or soft. And, lastly, A number of words in succession, constituting a period or member of a period, are pronounced slow or quick. Of these five, the first depending on the component letters, and the second being ascertained by custom, admit not any variety in pronouncing. The three last

* De Oratore, 1. iii. cap. 58.

are arbitrary, depending on the will of the person who pronounces; and it is chiefly in the artful management of these that just pronunciation consists. With respect to the first circumstance, music has evidently the advantage; for all its notes are agreeable to the ear; which is not always the case of articulate sounds. With respect to the second, long and short syllables variously combined, produce a great variety of feet; yet far inferior to the variety that is found in the multiplied combinations of musical notes. With respect to high and low notes, pronunciation is still more inferior to singing; for it is observed by Dionysius of Halicarnassus, that in pronouncing, i. e. without altering the aperture of the windpipe, the voice is confined within three notes and a half; singing has a much greater compass. With respect to the two last circumstances, pronunciation equals singing.

In this chapter, I have mentioned none of the beauties of language but what arise from words taken in their proper sense. Beauties that depend on the metaphorical and figurative power of words, are reserved to be treated, Chap. 20.

SECT. IV.-Versification.

THE music of verse, though handled by every grammarian, merits more attention than it has 'been honoured with. It is a subject intimately

* De Structura Orationis, sect. 2.

connected with human nature; and to explain it thoroughly, several nice and delicate feelings must be employed. But before entering upon it, we must see what verse is, or, in other words, by what mark it is distinguished from prose; a point not so easy as may at first be apprehended. It is true, that the construction of verse is governed by precise rules; whereas prose is more loose, and scarce subjected to any rules. But are the many who have no rules, left without means to make the distinction? and even with respect to the learned, must they apply the rule before they can with certainty pronounce whether the composition be prose or verse? This will hardly be maintained; and therefore instead of rules, the ear must be appeal. ed to as the proper judge. But by what mark does the ear distinguish verse from prose? The proper and satisfactory answer is, That these make different impressions upon every one who hath an This advances us one step in our inquiry.

ear.

Taking it then for granted, that verse and prose make upon the ear different impressions; nothing remains but to explain this difference, and to assign its cause. To this end, I call to my aid an observation made above upon the sound of words, that they are more agreeable to the ear when composed of long and short syllables, than when all the syllables are of the same sort: a continued sound in the same tone, makes not a musical impression: the same note succesively renewed by intervals, is more agreeable; but still makes not a musical impression. To produce that impression, variety is

necessary as well as number: the successive sounds or syllables, must be some of them long, some of them short; and if also high and low, the music is the more perfect. The musical impression made by a period consisting of long and short syllables arranged in a certain order, is what the Greeks call rythmus, the Latins numerus, and we melody or measure. Cicero justly observes, that in one continued sound there is no melody: "Numerus in " continuatione nullus est." But in what follows he is wide of the truth, if by numerus he means melody or musical measure: "Distinctio, et æqua"lium et sæpe variorum intervallorum percussio, "numerum conficit; quem in cadentibus guttis,

quod intervallis distinguuntur, notare possumus.' Falling drops, whether with equal or unequal intervals, are certainly not music: we are not sensible of a musical impression but in a succession of long and short notes. And this also was probably the opinion of the author cited, though his expression be a little unguarded.*

It will probably occur, that melody, if it depend on long and short syllables combined in a sentence, may be found in prose as well as in verse; con

* From this passage, however, we discover the etymology of the Latin term for musical impression. Every one being sensible that there is no music in a continued sound; the first inquiries were probably carried no farther than to discover, that to produce a musical impression a number of sounds is necessary; and musical impression obtained the name of numerus, before it was clearly ascertained, that variety is necessary as well as number.

sidering especially, that in both, particular words are accented or pronounced in a higher tone than the rest; and therefore that verse cannot be distinguished from prose by melody merely. The observation is just; and it follows, that the distinction between them, since it depends not singly on melody, must arise from the difference of the melody: which is precisely the case; though that difference cannot with any accuracy be explained in words; all that can be said is, that verse is more musical than prose, and its melody more perfect. The difference between verse and prose, resembles the difference, in music properly so called, between the song and the recitative and the resemblance is not the least complete, that these differences, like the shades of colours, approximate sometimes so nearly as scarce to be discernible; the melody of a recitative approaches sometimes to that of a song; which, on the other hand, degenerates sometimes to that of a recitative. Nothing is more distinguishable from prose, than the bulk of Virgil's Hexameters many of those composed by Horace, are very little removed from prose: Sapphic verse has a very sensible melody: that, on the other hand, of an Iambic, is extremely faint.*

* Music, properly so called, is analyzed into melody and harmony. A succession of sounds so as to be agreeable to the ear, constitutes melody: harmony arises from co-existing sounds. Verse therefore can only reach melody, and not harmony.