This seems to be the longest Trochaic line that our language admits. Obs. In all these Trochaic measures, the accent is to be placed on the odd syllables.

56. The Dactylic verse being very uncommon, we shall give only one example of one species of it:

as,

From the low pleasures of this fallen nature,

Rise we to higher, &c.

567. Anapæstic verses are divided into several species. Example 1. The shortest anapæstic verse must be a single anapæst:

But in vain,
They complain.

This measure is, however, ambiguous; for, by laying the stress of the voice on the first and third syllables, we might make it a trochaic. And therefore the first and simplest form of our genuine Anapæstic verse, is made up of two Anapæsts: as,

But his courǎge 'găn fail,

For no arts could avail.

This form admits of an additional short syllable.

Then his courage 'găn fail him,

For no arts could avail him.

Example 2. The second species consists of three Anapæsts.

Ŏ ye woods, spread your branches ǎpāce;

To your deepest recesses I fly;

I would hide with the beasts of the chase;

I would vanish from every eye.

This is a very pleasing measure, and much used, both in so emn and cheerful subjects.

Example 3. The third kind of the English Anapestic consists of four Anapæsts.

May I gōvěrn my passions with absolute sway;
And grow wiser and better as life wears away.

This measure will admit of a short syllable at the end: as,

Ŏn the warm cheek of youth, smiles and roses ǎre blending.

Obs. The preceding are the different kinds of the principal feet, in their more simple forms. They are capable of numerous variations, by the intermixture of those feet with each other; and by the admission of the secondary feet.

568. We have observed, that English verse is composed of feet formed by accent, (Illus. 2. Ārt 553.); and that when the accent falls on vowels, the feet are equivalent to those formed by quantity. (Art. 554.)

Example 1. That the student may clearly perceive this difference, we shall produce a specimen of each kind.

O'er heaps of rūĭns stālk'd the stately hind.

Obs. Here we see the accent is upon the vowel in each second syliable. (Art. 552.) In the following line, we shall find the same Iampic movement, but formed by accent on consonants, except the last syllable.

Then rústling, cráckling, cráshing, thúnder down.

Example 2. Here the time of the short accented syllables, is compensated by a short pause, at the end of each word to which they belong.

569. We now proceed to shew the manner in which poetry is varied and improved, by the admission of secondary feet into its composition.

Múrmuring, and with him fled the shades of night.

Obs. 1. The first foot here is a Dactyle; the rest are Iambics.
O'er mány ǎ frōzen, mány a fiery Alp.

2. This line contains three Amphibrachs mixed with Iambics.
Innūměrǎble before th' Almighty's throne.

3. Here, in the second foot, we find a Tribrach.

See the bold youth stráin úp the threat'ning steep.

4. In this line, the first foot is a Trochee; the second a genuine Spondee by quantity; the third a Spondee by accent.

5. In the following line, the first foot is a Pyrrhic, the second a Spondee.

That on weak wings from far pursues your flight.

Scholium. From the preceding view of English versification, we may see what a copious stock of materials it possesses. For we are not only allowed the use of all the ancient poetic feet, in our heroic measure, but we have, as before observed, duplicates of each, agreeing in movement, though differing in measure, and which make different impressions on the ear; an opulence peculiar to our language, and which may be the source of a boundless variety.

570. Another essential circumstance in the constitution of our verse, is the casural pause, which falls towards the middle of each line. Some pause of this kind, dictated by the melody, is found in the verse of most nations.

Obs. It is found, as might be shewn, in the La'in hexameter. In ' the French heroic verse, it is very sensible. That is a verse of twelve syllables, and in every line, just after the sixth syllable, there falls, regularly and indispensably, a cæsural pause, dividing the line into two equal hemistichs.

Example. Jeune et vaillant heros || dont la haute sagesse

N'est point le fruit tardif || d'une lente vieillesse,
Qui seul sans ministre || à l'example des Dieux

Soutiens tout par toi-meme || et vois tous par ses veux.t

*Movement and measure are thus distinguished. Movement expresses the progressIve order of sounds, whether from strong to weak, from long to short, or vice versa. Measure signifies the proportion of time, both in sounds and pauses. Murray. † Boileau.

Analysis. In this train all the French verses proceed; the one half of the line always answering to the other, and the same chime returning incessantly on the ear without intermission or change; which is certainly a defect in the verse, and unfits it so very much for the freedom and dignity of heroic poetry. On the other hand, it is a distinguishing advantage of our English verse, that it allows the pause to be varied through four different syllables in the line.

Scholium. The pause may fall after the 4th, the 5th, the 6th, or the 7th syllables; and according as the pause is placed after one or other of these syllables, the melody of the verse is much changed, its air and cadence are diversified. By this means, uncommon richness and variety are added to English versification.

571. When the pause falls earliest, that is, after the fourth syllable, the briskest melody is thereby formed, and the most spirited air given to the line.

Example. In the following lines of the Rape of the Lock, Mr. Pope has, with exquisite propriety, suited the construction of the verse to the subject:

On her white breast || a sparkling cross she wore,
Which Jews might kiss || and infidels adore;
Her lively looks || a sprightly mind disclose,
Quick as her eyes || and as unfixed as those,
Favours to none, || to all she smiles extends,
Oft she rejects, || but never once offends.

572. When the pause falls after the fifth syllable, dividing the line into two equal portions, the melody is sensibly altered. The verse loses that brisk and sprightly air, which it had with the former pause, and becomes more smooth, gentle, and flowing.

Example. Eternal sunshine || of the spotless mind,

Each prayer accepted || and each wish resigned.

573. When the pause proceeds to follow the sixth syllable, the tenor of the music becomes solemn and grave. The verse marches now with a more slow and measured pace, than in either of the two former cases.

Example. The wrath of Peleus's son, || the direful spring
Of all the Grecian woes, || O goddess, sing!

574. But the grave solemn cadence becomes still more sensible, when the pause falls after the seventh syllable, which is the nearest place to the end of the line that it can Occupy.

Obs. This kind of verse occurs the most seldom, but has a happy effect in diversifying the melody. It produces that slow Alexandrian air, which is finely suited to a close; and for this reason, such lines almost never occur together, but are used in finishing the couplet.

Example. And in the smooth description || murmur still.
Long loved, adored ideas! || all adieu.

Obs. These examples have been taken from verses in rhyme; because in these, our versification is subjected to the strictest law. As

blank verse is of a free kind, and is naturally read with less cadence or tone, the pauses in it, and the effect of them, are not always so sensible to the ear. It is constructed, however, entirely upon the same principles, with respect to the place of the pause.

575. Our BLANK VERSE possesses great advantages, and is indeed a noble, bold, and disencumbered species of versification. The principal defect in rhyme, is the full close which it forces upon the ear, at the end of every couplet. Blank verse is freed from this, and allows the lines to run into each other with as great liberty as the Latin hexameter permits, perhaps with greater. Hence it is particularly suited to subjects of dignity and force, which demand more free and manly numbers than rhyme.

Illus. The constraint and strict regularity of rhyme, are unfavourable to the sublime, or to the highly pathetic strain. An epic poem, or a tragedy, would be fettered and degraded by it. It is best adapted to compositions of a temperate strain, where no particular vehemence is required in the sentiments, nor great sublimity in the style; such as pastorals, elegies, epistles, satires, &c. To these it communicates that degree of elevation which is proper for them; and without any other assistance, sufficiently distinguishes the style from prose. He who should write such poems in blank verse, would render his work harsh and unpleasing. In order to support a poetical style, he would be obliged to affect a pomp of language unsuitable to the subject.

Scholia. 1. The present form of our English heroic rhyme in couplets, is a modern species of versification. The measure generally used in the days of Queen Elizabeth, King James, and King Charles I., was the stanza of eight lines, such as Spenser employs, borrowed from the Italian; a measure very constrained and artificial.

2. Waller was the first who brought couplets into vogue; and Dryden afterwards established the usage. Waller first smoothed our verse; Dryden perfected it. Pope's versification has a peculiar character. It is flowing and smooth in the highest degree; far more laboured and correct than that of any who went before him. He introduced one considerable change into heroic verse, by totally throwing aside the triplets, or three lines rhyming together, in which Dryden abounded. Dryden's versification, however, has very great merit; and, like all his productions, has much spirit, mixed with carelessness. It is not so smooth and correct as Pope's; it is, however, more varied and easy. He subjects himself less to the rule of closing the sense with a couplet; and frequently takes the liberty of making his couplets run into one another, with somewhat of the freedom of blank verse. If any one, after reading Pope's Rape of the Lock, or Eloisa to Abelard, shall not admit our rhyme, with all its varieties of pauses, to carry both elegance and sweetness of sound, his ear must be pronounced to be of a very peculiar kind.

CHAPTER III.

OF PASTORAL POETRY.

576. THE object of Pastoral Poetry is to delight the imagination with descriptions of the beauties of nature, and of human life spent in the midst of these beauties, the persons possessing health, sensibility, and innocence, and undisturbed by the anxieties and cares of business and activity.

Obs. 1. The simple recapitulation of the principal objects of which such descriptions consist, communicates pleasing and exhilarating emotions. Zephyrs whispering through the trees and woods; rivulets gliding along their mossy banks; birds chanting their lively notes; shepherds playing on their rural pipes; lambkins skipping after their dams; and the shepherdesses listening to the enchanting lays of their amorous swains.

2. The survey of pictures of innocence and happiness cannot fail to be agreeable, if the reader can be convinced of their reality. But, as he finds such descriptions continually falsified by experience, the poet artfully lays the scenes of his pastorals in remote places and ages, when, it is supposed, human life was less corrupted, and when shepherds and shepherdesses retained more refined sentiments, and more elevated rank, than persons of that character in modern times. If we wish to survey rural felicity in perfection, we must suppose ourselves transplanted into Sicily or Arcadia, where the pastoral life appeared in perfection, and where nature lavished all her stores to render the shepherd happy.

577. It is not sufficient, however, that the face of nature be lively and gay; the picture, to interest, must be animated with sentiment.

Illus. The shepherd must discover anxiety to obtain some object of importance to his happiness, or he must solace himself with the possession of it. He may signify his regret for the absence of a mistress or a friend; he may indulge in the hope to recover their society; he may sympathize with their misfortunes, or rejoice at their prosperity. But no violent feeling must be excited; no deep distress, or pungent sorrow must appear, which would produce vexation in the mind of the reader, because such a feeling would interfere with the gayety and pleasant emotions naturally prompted by this kind of composition.

578. Attention also must be bestowed to preserve the pastoral character both in sentiment and in action.

Illus. The shepherds must not appear too learned or refined in their notions; neither must they display rudeness, cruelty, or indecency in their manners or words. Good sense, sensibility, observation of the striking beauties of nature, conjoined with simplicity and innocence, are the qualifications they must chiefly display.