Page images
PDF
EPUB

ceptible. Far from it. The impreffion made by a period, whether it be verfe or profe, is occafioned chiefly by the thought, and in an inferior degree by the words; and these articles are fo intimately united with the melody, that they have each of them a ftrong influence upon the others. With refpect to the melody in particular, instances are without number, of melody, in itfelf poor and weak, paffing for rich and fpirited where it is fupported by the thought and expreffion. I am therefore intitled to infift, that this experiment be tried upon lines of equal rank. And to avoid the perplexity of various cafes, I must alfo infift, that the lines chofen for a trial be regularly accented before the paufe: for upon a matter abundantly refined in itself, I would not willingly be imbarraffed with faulty and irregular lines. These preliminaries being adjusted, I begin with fome general obfervations, that will fave repeating the fame thing over and over upon each particular cafe. And, first, an accent fucceed ed by a pause, makes fenfibly a deeper impreffion than where the voice goes on with

out

out a stop to make an impreffion requires time; and there is no time where there is no paufe. The fact is fo certain, that in running over a few lines, there is scarce an ear fo dull as not readily to distinguish from others, that particular accent which immediately precedes the full pause. In the next place, the elevation of an accenting tone, produceth in the mind a fimilar elevation, which is continued during the pause. Every circumstance is different where the pause is feparated from the accent by a short fyllable. The impreffion made by the accent is more flight when there is no stop; and the elevation of the accent is gone in a moment by the falling of the voice in pronouncing the short fyllable that follows. The paufe alfo is fenfibly affected by the pofition of the accent. In lines of the first and third order, the clofe conjunction of the accent and paufe, occafions a sudden ftop without preparation, which rouses the mind, and bestows on the melody a spirited air. When, on the other hand, the pause is separated from the accent by a fhort fyllable, which always happens in

lines

lines of the fecond and fourth order, the pause is soft and gentle. This short unac cented fyllable fucceeding one that is accented, muft of course be pronounced with a falling voice, which naturally prepares for a pause. The mind falls gently from the accented fyllable, and flides into rest as it were infenfibly. Further, the lines themselves, derive different powers from the position of the pause. A pause after the fourth fyllable divides the line into two unequal portions, of which the largest comes last. This circumstance refolving the line into an afcending series, makes an impreffion in pronouncing like that of mounting upward. And to this impreffion contributes the redoubled effort in pronouncing the largest portion, which is laft in order. The mind has a different feeling when the paufe fucceeds the fifth fyllable. The line being divided into two equal parts by this pause, thefe parts, pronounced with equal effort, are agreeable by their uniformity. A line divided by a paufe after the fixth fyllable, makes an impreffion oppofite to that first mentioned. Being divided into two unequal

[ocr errors]

qual portions, of which the shortest is laft in order, it appears like a flow defcending feries; and the second portion being pronounced with less effort than the first, the diminished effort prepares the mind for reft. And this preparation for reft is ftill more fenfibly felt where the paufe is after the feventh fyllable, as in lines of the fourth order.

No perfon can be at a lofs in applying these observations. A line of the first order is of all the most fpirited and lively. To produce this effect, feveral of the circumftances above mentioned concur. The accent, being followed instantly by a pause, makes an illuftrious figure: the elevated tone of the accent elevates the mind: the mind is fupported in its elevation by the fudden unprepared pause which roufes and animates t and the line itself, reprefenting by its unequal divifion an afcending feries, carries the mind ftill higher, making an impreffion fi milar to that of mounting upward. The fecond order has a modulation fenfibly fweet, soft, and flowing. The accent is not fo fprightly as in the former, because a

* VOL. II.

3 H

short

fhort fyllable intervenes betwixt it and the pause its elevation, by the fame means, vanisheth inftantaneoufly: the mind, by a falling voice, is gently prepared for a stop: and the pleasure of uniformity from the divifion of the line into two equal parts, is calm and fweet. The third order has a modulation not fo eafily expreffed in words, It in part resembles the first order, by the liveliness of an accent fucceeded instantly by a full paufe. But then the elevation occafioned by this circumftance, is balanced in fome degree by the remitted effort in pronouncing the fecond portion, which remitted effort has a tendency to reft. Another circumftance diftinguisheth it remarkably. Its capital accent comes late, being placed on the fixth fyllable; and this circumftance bestows on it an air of gravity and folemnity. The laft order resembles the second in the mildnefs of its accent and foftness of its paufe. It is ftill more folemn than the third, by the lateness of its capital accent. It also poffeffes in a higher degree than the third, the tendency to reft; and by that circumstance is of all the best qua

« PreviousContinue »