These feet must be confined to regulate the arrangement, for they serve no other purpose. They are withal so artificial and complex, that I am tempted to substitute in their stead other rules more simple and of more easy application; for example, the following. 1st, The line must always commence with a long syllable, and close with two long preceded by two short. 2d, More than two short can never be found together, nor fewer than two. And, 3d, Two long syllables which have been preceded by two short, cannot also be followed by two short. These few rules fulfil all the conditions of a Hexameter line, with relation to order or arrangement. To these again a single the end of the fifth long syllable, reckoning, as above, two short for one long; and when we measure this line by Dactyles and Spondees, the pause now mentioned divides always a Dactyle, or a Spondee, without once falling in after either of these feet. Hence it is evident, that if a line be pronounced as it is scanned, by Dactyles and Spondees, the pause must utterly be neglected; which destroys the melody, because this pause is essential to the melody of an Hexameter verse. If, on the other hand, the melody be preserved by making that pause, the pronouncing by Dactyles or Spondees must be abandoned. What has led grammarians into the use of Dactyles and Spondees, seems not beyond the reach of conjecture. To produce melody, the Dactyle and the Spondee, which close every Hexameter line, must be distinctly expressed in the pronunciation. This discovery, joined with another, that the foregoing part of the verse could be measured by the same feet, probably led grammarians to adopt these artificial measures, and perhaps rashly to conclude, that the pronunciation is directed by these feet as the composition is: The Dactyle and the Spondee at the close, serve indeed to regulate the pronunciation as well as the rule may be substituted, for which I have a still greater relish, as it regulates more affirmatively the construction of every part. That I may put this rule into words with perspicuity, I take a hint from the twelve long syllables that compose an Hexameter line, to divide it into twelve equal parts or portions, being each of them one long syllable or two short. A portion being thus defined, I proceed to the rule. The 1st, 3d, 5th, 7th, 9th, 11th, and 12th portions, must each of them be one long syllable; the 10th must always be two short syllables; the 2d, 4th, 6th, and 8th, may either be one long or two short. Or to express the thing still more curtly, The 2d, 4th, 6th, and 8th portions composition; but in the foregoing part of the line, they regulate the composition only, not the pronunciation. If we must have feet in verse to regulate the pronunciation, and consequently the melody, these feet must be determined by the pauses. All the syllables interjected between two pauses ought to be deemed one musical foot; because, to preserve the melody, they must all be pronounced together, without any stop. And therefore, whatever number there are of pauses in a Hexameter line, the parts into which it is divided by these pauses, make just so many musical feet. Connexion obliges me here to anticipate, and to observe, that the same doctrine is applicable to English heroic verse. Considering its composition merely, it is of two kinds; one composed of five Iambi; and one of a Trochæus followed by four Iambi: but these feet afford no rule for pronouncing; the musical feet being obviously those parts of the line that are interjected between two pauses. To bring out the melody, these feet must be expressed in the pronunciation; or, which comes to the same, the pronunciation must be directed by the pauses, without regard to the Iambus or Trochæus. may be one long syllable or two short; the 10th must be two short syllables; all the rest must consist each of one long syllable. This fulfils all the conditions of an Hexameter line, and comprehends all the combinations of Dactyles and Spondees that this line admits. Next in order comes the pause. At the end of every Hexameter line, every one must be sensible of a complete close or full pause; the cause of which follows. The two long syllables preceded by two short, which always close an Hexameter line, are a fine preparation for a pause: for long syllables, or syllables pronounced slow, resembling a slow and languid motion, tending to rest, naturally incline the mind to rest, or to pause; and to this inclination the two preceding short syllables contribute, which by contrast make the slow pronunciation of the final syllables the more conspicuous. Beside this complete close or full pause at the end, others are also requisite for the sake of melody; of which I discover two clearly, and perhaps there may be more. The longest and most remarkable, succeeds the 5th portion; the other, which, being shorter and more faint, may be called the semipause, succeeds the 8th portion. So striking is the pause first mentioned, as to be distinguished even by the rudest ear: the monkish rhymes are evidently built upon it; in which, by an invariable rule, the final word always chimes with that which immediately precedes the said pause : De planctu cudo || metrum cum carmine nudo The difference of time in the pause and semipause, occasions another difference no less remarkable, that it is lawful to divide a word by a semipause, but never by a pause, the bad effect of which is sensibly felt in the following examples: Effusus labor, atque inmitis rupta Tyranni Again: Observans nido im||plumes detraxit; at illa Again: Loricam quam Demoleo detraxerat ipse The dividing a word by a semipause has not the same bad effect: Jamque pedem referens || casus evaserat omnes. Again: Qualis populea morens Philomela sub umbra Again: Ludere que vellem calamo permisit agresti Lines, however, where words are left entire, without being divided even by a semipause, run by that means much the more sweetly: Nec gemere aërea | cessabit | turtur ab ulmo. Again : Quadrupedante putrem || sonitu quatit | ungula campum. Again: Eurydicen toto || referebant | flumine ripæ. The reason of these observations will be evident upon the slightest reflection. Between things so intimately connected in reading aloud, as are sense and sound, every degree of discord is unpleasant: and for that reason, it is a matter of importance, to make the musical pauses coincide as much as possible with those of sense; which is requisite, more especially with respect to the pause, a deviation from the rule being less remarkable in a semipause. Considering the matter as to melody solely, it is indifferent whether the pauses be at the end of words or in the middle; but when we carry the sense along, it is disagreeable to find a word split into two by a pause, as if there were really two words: and though the disagreeableness here be connected with the sense only, it is by an easy transition of perceptions transferred to the sound; by which means, we conceive a line to be harsh and grating to the ear, when in reality it is only so to the understanding.* * To the rule that fixes the pause after the fifth portion, there is one exception, and no more: If the syllable succeeding the fifth portion be short, the pause is sometimes postponed to it. Pupillis quos dura | premit custodia matrum * See Chap. 2. Part 1. Sect. 5. |