different kinds of poetry then mixed together, but all that we now call letters, or composition of any kind, was then blended in one mass. Obs. 1. When the progress of society brought on a separation of the different arts and professions of civil life, it led also by degrees to a separation of the different literary provinces from each other. 2. The art of writing was in process of time invented; (Chap. V. Book 1.) records of past transactions began to be kept; men, occupied. with the subjects of poliey and useful arts, wished now to be instructed and informed, as well as moved. They reasoned and reflected upon the affairs of life; and were interested by what was real, not fabulous, in past transactions. 3. The historian, therefore, now laid aside the buskins of poetry; he wrote in prose, and attempted to give a faithful and judicious relation of former events. The philosopher addressed himself chiefly to the understanding. The orator studied to persuade by reasoning, and retained more or less of the ancient passionate and glowing style, according as it was conducive to his purpose. (Art. 41. and 42.) Corol. Poetry hence became a separate art, calculated chiefly to please, and confined generally to such subjects as related to the imagination and passions. Even its earliest companion, music, was in a great measure divided from it. CHAPTER II. VERSIFICATION. 552. NATIONS, whose language and pronunciation were of a musical kind, rested their versification chiefly upon the quantities, that is, the length or shortness of their syllables. Others, who did not make the quantities of their syllables be so distinctly perceived in pronouncing them, rested the melody of their verse upon the number of syllables which it contained, upon the proper disposition of accents and pauses in reciting it, and frequently upon that return of corresponding sounds, which we call rhyme. Illus. 1. The former was the case with the Greeks and Romans; the latter is the case with us, and with most modern nations. 2. Among the Greeks and Romans, every syllable, or, at least, by far the greatest number of syllables, was known to have a fixed and determined quantity; and their manner of pronouncing rendered this so sensible to the ear, that a long syllable was counted precisely equal in time to two short ones. 3. Upon this principle, the number of syllables contained in their hexameter verse, was allowed to vary. It may extend to 17; it can contain, when regular, no fewer than 13; but the musical time was, notwithstanding, precisely the same in every hexameter verse, and was always equal to that of 12 long syllables. 4. In order to ascertain the regular time of every verse, and the proper mixture and succession of long and short syllables which ought to compose it, what the grammarians call metrical feet, dactyles, spondees, iambuses, &c. were invented. By these measures was tried the accuracy of composition in every line, and whether it was so constructed as to complete its proper melody. 5. It was requisite, for instance, that the hexameter verse should have the quantity of its syllables so disposed, that it could be scanned or measured by six metrical feet, which might be either dactyles or spondees (as the musical time of both of these is the same,) with this restriction only, that the fifth foot was regularly to be a dactyle, and the last a spondee. Obs. The genius of our language corresponds not, in this respect, to the Greek or Latin; yet, in the sequel, it is shewn, that English poetry has its feet, though differently formed from the ancient. We rest the melody of our verse upon the number of syllables which it contains, &c. (Art. 552.) Feet and Pauses are the constituent Parts of Verse. We shall consider these separately. OF POETICAL FEET. 553. A certain number of connected syllables forms a foot. These syllables, thus connected, are called feet, because it is by their aid that the voice, as it were, steps along through the verse, in a measured pace; and it is necessary that the syllables which mark this regular movement of the voice, should, in some manner, be distinguished from the others. Illus. 1. This distinction, we have shewn, (Illus. 1. Art. 552.) was made among the ancient Romans, by dividing their syllables into long and short, and ascertaining their quantity, by an exact proportion of time in sounding them; the long being to the short, as two to one; and the long syllables, being thus the more important, marked the movement. 2. In English, syllables are divided into accented and unaccented; (Illus. 1. Art. 552.); and the accented syllables, being as strongly distinguished from the unaccented, by the peculiar stress of the voice upon them, are equally capable of marking the movement, and pointing out the regular paces of the voice, as the long syllables were by their quantity, among the Romans. 554. English feet, formed by an accent on vowels, are exactly of the same nature as the ancient feet, and have the same just quantity in their syllables. So that, in this respect, we have all that the ancients had, and something which they had not. We have in fact duplicates of each foot, yet with such a difference, as to fit them for different purposes, to be applied at our pleasure. Obs. From its nature, every foot has powers peculiar to itself; and it is upon the knowledge and right application of these powers, that the pleasure and effect of numbers chiefly depend. 555. All the feet used in poetry consist either of two, or of three syllables; and are reducible to eight kinds; namely, four of two syllables, and four of three, as follows: 556. A Trochee has the first syllable accented, and the last unaccented: as, "Hateful,' péttish." 557. An Iambus has the first syllable unaccented, and the last accented: as, "Betray, consist." 558. A Spondee has both the words or syllables accented: as, "The pale mōōn." 559. A Pyrrhic has both the words or syllables unaccent ed: as, "On the tall tree." 560. A Dactyle has the first syllable accented, and the two latter unaccented: as, "Labourĕr, possible." 561. An Amphibrach has the first and last syllables unaccented, and the middle one accented: as, "Delightful, doméstic." 562. An Anapæst has the two first syllables unaccented, and the last accented: as, "Contrăvēne, acquiésce." 563. A Tribrach has all its syllables unaccented: as, "Núměrǎblě, cónquerable." Scholium. Some of these feet may be denominated principal feet, as pieces of poetry may be wholly, or chiefly formed of any of them. Such are the Iambus, Trochee, Dactyle, and Anapest. The others may be termed secondary feet; because their chief use is to diversify the numbers, and to improve the verse. We shall first explain the Nature of the principal Feet. 564. Iambic verses may be divided into several species, according to the number of feet or syllables of which they are composed. Example 1. The shortest form of the English Iambic consists of an Iambus, with an additional short syllable: as, Obs. We have no poem of this measure, but it may be met with in stanzas. The Iambus, with this addition, coincides with the Amphibrach. (Art. 561.) Example 2. The second form of our Iambic, is also too short to be continued through any great number of lines. It consists of two Iambuses. What place is here! What scenes appear! No longer glows. It sometimes takes, or it may take, an additional short syllable: as, Upon ǎ mountǎin, Example 3. The third form consists of three Iambuses. In places far or near, Or famous or obscure, Where wholesome is the air, Or where the most impure. It sometimes admits of an additional short syllable: as, Our hearts no longer languish. Example 4. The fourth form is made up of four Iambuses. And may ǎt läst my weary age, Find out the peaceful hermitage. Example 5. The fifth species of English Iambic, consists of five Iambuses. How lōv'd, how valŭ'd once, ǎvāils thee not, To whom related, or by whom begot: A heap of dust alone remains of thee; Bě wise to-day, 'tīs mādness tō děfer; Obs. This is called the heroic measure. In its simplest form it consists of five Iambuses; but by the admission of other feet, as Trochees, Dactyles, Anapæsts, &c. it is capable of many varieties. Indeed, most of the English common measures may be varied in the same way, as well as by the different position of their pauses. Example 6. The sixth form of our Iambic, is commonly called the Alexandrine measure. It consists of six Iambuses. For thōu ǎrt būt of dust: bě humble and be wise. The Alexandrine is sometimes introduced into heroic rhyme; and when used sparingly, and with judgment, occasions an agreeable variety. The seas shall waste, the skies in smoke decay, Example 7. The seventh and last form of our Iambic measure, is made up of seven Iambuses. The Lord descended frōm ǎbōve, ănd bōw'd thě heavens high. This was anciently written in one line; but it is now broken into two; the first containing four feet and the second three. When all thy mercies, O my God! In wonder, love, and praise. Scholium. In all these measures, the accents are to be placed on even syllables; and every line, considered by itself, is, in general, more melodious, as this rule is more strictly observed. 565. Trochaic verse is of several kinds. Example 1. The shortest Trochaic verse in our language, consists of one Trochee and a long syllable. Tumult cease, Sink to peace. Obs. This measure is defective in dignity, and can seldom be used on serious occasions. Example 2. The second English form of the Trochaic consists of two feet; and is likewise so brief, that it is rarely used for any very serious purpose. On the mountǎin It sometimes contains two feet or trochees, with an additional long syllable: as, In the days of ōld Fables plainly told. Example 3. The third species consists of three trochees: as, When our hearts ǎre mourning: or of three trochees, with an additional long syllable: as, Restless mõrtǎls tōil for nōught: Bliss in vain from earth is sought; Bliss, a native of the sky, Never wanders. Mortals, try; There you cannot seek in vain; For to seek her is to gain. Example 4. The fourth Trochaic species consists of four trochees: as, Round us roars the tempest louder. This form may take an additional long syllable, as follows: Idlě after dinner in his chair, Sat a farmer, ruddy, fat, and fair. But this measure is very uncommon. Example 5. The fifth Trochaic species is likewise uncommon. composed of five trochees. It is Example 6. The sixth form of the English Trochaic consists of siz trochees: as, On ǎ mountain, stretch'd beneath a hōary willow, |