knows more of the appreciable time of syllables than it can at present boast, we may be justified in considering the denial of the susceptibility of a temporal rythmus to modern languages, as a mere assumption.

I am aware that the number of monosyllables and dissyllables in our language, exceeds that of the Greek; and this may possibly render the former less fit than the latter, for the construction of certain systems of measure. On this ground it has been asserted that English words could not be arranged in an agreeable dactylic succession. This may be the case, but we have too little slight in the management of quantity, to justify a positive opinion on this point; and the trials which have been made, are not quite decisive. Habit is a forestalled and obstinate judge over existing institutions, and often pronounces unwisely upon their better substitutes. It is very certain that an anapæstic measure, founded on a mixture of accent and quantity, and nearly identical in effect with the ancient full dactylic line, is well suited to the syllabic and verbal condition of our language; and that a very agreeable rythmus is produced by it.* Admitting the above objection, it will not overrule the design to establish the forms of Iambic and Trochaic measure, now in use, on the basis of quantity alone.

Although English versification is avowedly founded on the accentual rythmus, entire lines are occasionally found, so satisfactorily fulfilling all the conditions of the temporal measure, that they might be judged by the revived poetical ear of a Greek. But such lines are always preceded and followed by others, founded on the mingled functions of both quantity and accent. A rythmus composed altogether of accent, if such a

* Let us subjoin a word here, for our delusions and prejudices. The dactylic foot, and the anapastic, fall with a similar impression on the car. The ancients used the former for themes of the highest dignity; and school boys are taught that it richly and gravely fulfils its purpose. We use the anapastic foot for doggrel and burlesque, and believe too, that there is something in its light skip peculiarly adapted to the familiar gayety of its modern poetic use. Let a deaf worshipper of antiquity and an English prosodist, settle this matter between them: for, to serve a purpose, even the opposite ends of contradiction can be made to meet. I will only say, in the words by which the Yezedi of Persia, who worship the devil, briefly explained their faith, and pertinaciously defended it against a Christian missionary-" Thus it is."

thing could exist in speech, would be agreeable, though less so than one composed entirely of quantity. A versification made up of both these functions, might give no offence to a person uninformed of the nature of quantity; for, since syllables which are constructed on the basis of quantity, may exhibit likewise the effect of accentual stress, the system might pass for one of entire accent. He who is skilled in the art of measuring the time of syllables, will, over this compounded rythmus, be shocked by the irregular and unexpected variation of its dissimilar impressions. An ear of delicate prosodial organization, which yet makes no analysis of its perceptions, often experiences this rythmic violence from English verse, but is ignorant of its cause. He whom nature has made a poet, by refinement of ear and by copiousness of words, instinctively avoids, in composition, much of the evil of these conflicting systems. But writers who have only a poor unfurnished ambition, who know nothing of sound, and who promiscuously mingle in their lines, the weight and the measure of syllables, commit distressing offence against those who, from some necessity, may have patience to go through their works. One of the charms of a good reader of verse, consists in his changing our metrical accents into conspicuous quantities, by protracting the voice on all those syllables which have a stress in the measure, and will bear prolongation.

From all that has been said on the comparative natures of quantity and accent, and from the slow progress of modern nations in distinguishing the relations of the former, it would seem, that, of these two metrical impressions, accent is more easily recognised. Nor is it unwarrantable to infer, from the greater facility in arranging the accentual measure, that the first rythmic essays of all nations were made in this mode of versification; and that the Greeks themselves passed through this rattling amusement of poetical childhood. We owe no obligation to authority or fact, in opposition to this assumption; and I could as soon be persuaded that the first instrumental music of Otaheite was not the clattering of shells, as that the earliest songs of Greece were measured by the nice relationships of time. Our language is not indeed young in duration, but it is still in its infancy on this point: and many of those who have worked with good wishes, but ineffectual

calculation of its extent will therefore always form one of the duties of judgment, in decreeing reward. Let him who could patiently devote a life to laying up store of 'goodly thoughts' for Paradise Lost, unravel the idler's fable about the inspiration of the immortal works of man. Let them, who to the soul of genius have joined the strong body of laborious care, say, in what consists the true life and the embalming of fame : let them touch the sleeve of early and voluminous authorship, and whisper one of the useful secrets for accomplishing more to instruct and please, and less to perish.

SECTION X.

Of the Expression of Melody.

A comprehensive account of melody, would properly represent it as produced by a variation in the time, pauses, and pitch of the voice; since the well appointed uses and disposition of these accidents, make up the agreeable impression of speech. In two previous sections I have discussed separately the subjects of time and pitch. I propose to consider here, how far merely the progressive steps of melody are instrumental in the work of expression.

The various successions of radical pitch were, on a former occasion, traced to their ultimate forms, and designated by the definite terms of their phrases. I have now to show that some of these phrases may be employed as the appropriate signs of certain sentiments. The design of this section does not embrace the consideration of the triad of the cadence which properly expresses no more than a feeling of repose: and it has been already shown in its proper place, that a varied succession of all the phrases, produces the plain and unobtrusive effect of the Diatonic melody.

The Monotone and the Alternate phrase, are the only modes of melodial progression which attract the ear by a peculiarity of character, and thereby fulfil any remarkable purpose of expression.

A predominance of the monotone in melody, is suited to feelings of dignity, grief, tenderness, solemnity, and serious admonition.

The phrase of alternation is expressive of the more active sentiments of anger, joy and facetiousness, and to the earnest strife of argument. It is, however, to be taken into view, that the current melody must not consist altogether of either of these phrases. This would produce a disagreeable uniformity. The monotone should be occasionally broken by the rising or falling ditone; and the alternation as frequently varied by a limited monotone.

An illustration of the dignified expression of the monotone may be given, on that magnificent picture of Satan's imperial presence in Pandemonium, at the opening of the Second Book of Paradise Lost.

High on a throne of roy-al state, which far