by quantity. In Latin and Greek Hexameter, invariable founds direct and ascertain the melody: English Hexameter would be deftitute of melody, unless by artful pronunciation; becaufe of neceffity the bulk of its founds must be arbitrary. The pronunciation is eafy in a simple movement of alternate fhort and long fyllables; but would be perplexing and unpleasant in the diverfified movement of Hexameter verse.

Rhyme makes fo great a figure in modern poetry, as to deferve a folemn trial. I have for that reafon referved it to be examined with fome deliberation; in order to discover, if poffible, its peculiar beauties, and the degree of merit it is intitled to. The first view of this fubject leads naturally to the following reflection, "That rhyme having no relation to sentiment, nor any "effect upon the ear other than a mere

jingle, ought to be banished all com"pofitions of any dignity, as affording but "a trifling and childish pleasure." It will alfo be obferved, "That a jingle of words

"hath

"hath in fome measure a ludicrous effect; "witness the celebrated poem of Hudibras, "the double rhymes of which contribute "no small share to its drollery; that this "effect would be equally remarkable in a "ferious work, were it not obfcured by the "nature of the subject; that having how"ever a constant tendency to give a ludi"crous air to the composition, it requires "more than ordinary fire to fupport the dig→ "nity of the sentiments against such an undermining anotagonist *."

These arguments are fpecious, and have undoubtedly fome weight. Yet, on the o ther hand, it ought to be confidered, that rhyme, in later times, has become univerfal among men as well as children; and that to give it a currency, it must have fome foundation in human nature. In fact, it has been fuccessfully employ'd by poets of genius, in their ferious and grave compofitions, as well as in those which are more light and airy. Here, in weighing autho

*Voffius, de poematum cantu, p. 26. fays, "Nihil æque "gravitati orationis officit, quam in fono ludere fyllabarum.

rity against argument, the balance feems to hang pretty even; and therefore, to come at any thing decifive, we must pierce a little deeper.

Mufic has great power over the foul; and may be fuccefsfully employ'd to inflame or footh our paffions, if not actually to raise them. A fingle found, however fweet, is not mufic; but a fingle found repeated after proper intervals, may have an effect upon the mind, by roufing the attention and keeping the hearer awake. A variety of fimilar founds, fucceeding each other after regular intervals, must have a ftill stronger effect. This is applicable to rhyme, which confifts in the connection that two verfe-lines have by closing with two words fimilar in found. And confidering deliberately the effect that this may have; we find, that it rouses the attention, and produceth an emotion moderately gay without dignity or elevation. Like the murmurings of a brook gliding through pebbles, it calms the mind when perturbed, and gently raises it when funk. These effects are scarce perceived when the whole VOL. II. 3 L

poem

poem is in rhyme; but are extremely remarkable by contrast, in the couplets which close the several acts of our later tragedies. The tone of the mind is fenfibly varied by them, from anguish, diftrefs, or melancholy, to fome degree of ease and alacrity. For the truth of this obfervation, I appeal to the speech of Jane Shore in the fourth act, when her doom was pronounced by Glo'fter; to the speech of Lady Jane Gray at the end of the first act; and to that of Califta, in the Fair Penitent, when she leaves the stage, about the middle of the third act. The speech of Alicia, at the clofe of the fourth act of Jane Shore, puts the matter beyond doubt. In a scene of deep distress, the rhymes which finish the act, produce a certain gaiety and chearfulness, far from according with the tone of the paffion.

Alicia. For ever? Oh! For ever!

Oh! who can bear to be a wretch for ever!
My rival too! his last thoughts hung on her:
And, as he parted, left a blessing for her.
Shall she be blefs'd, and I be curs'd, for ever!
No; fince her fatal beauty was the cause

Of

Of all my fuff'rings, let her fhare my pains;
Let her, like me, of ev'ry joy forlorn,
Devote the hour when fuch a wretch was born:
Like me to deferts and to darkness run,
Abhor the day and curfe the golden fun;
Caft ev'ry good and ev'ry hope behind;
Deteft the works of nature, loathe mankind:
Like me with cries distracted fill the air,
Tear her poor bofom, and her frantic hair,
And prove the torments of the last despair.

Having defcribed, the best way I can, the impreffion that rhyme makes on the mind; I proceed to examine whether rhyme be proper for any fubject, and to what fubjects in particular it is best suited. Great and elevated subjects, which have a powerful influence, claim juftly the precedence in this inquiry. In the chapter of grandeur and fublimity, it is established, that a grand or fublime object, inspires a warm enthusiastic emotion difdaining strict regularity and order. This obfervation is applicable to the prefent point. The moderately-enlivening mufic of rhyme, gives a tone to the mind very different from that of grandeur and fublimity. Suppofing then 3 L 2

an