melody diftinguishable by a good ear, I ventured to fuggeft, and promised to account for: and though this fubject is extremely delicate, I am not without hopes of making good my engagement. First, however, like a wary general, I take all advantages the ground will permit. I do not aver, that this peculiarity of modulation is in every instance perceptible. 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 thefe articles are so intimately united with the melody, that they have each of them a ftrong influence upon the others. With respect to the melody in particular, inftances are without number, of melody, in itself poor and weak, paffing for rich and spirited where it is fup-ported 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 also infift, that the lines chofen for a trial be regularly accented before the paufe for upon a matter abundantly refined in itfelf, I would not willingly be embarraffed with faulty and irregular lines. Thefe preliminaries being adjusted, I begin with fome general obfervations, that will fave repeating the fame thing over and over upon each particular cafe. And, firft, an accent fucceeded by a pause, makes fenfibly a deeper impreffion than where the voice goes on without a ftop: to make an impreffion requires time; and there is no time where there is no pause. The fact is fo certain, that in running over a few lines, there is fcarce an ear fo dull as not readily to distinguish from others, that particular accent which immediately precedes the full paufe. In the next place, the elevation of an accenting tone, produceth in the mind a fimilar elevation, which is continued during the paufe. Every circumftance is different where the paufe is feparated from the accent by a fhort 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 pause alfo is fenfibly affected by the position of the accent. In lines of the first and third order, the close conjunction of the accent and paufe, occafions a fudden stop without preparation, which roufes the mind, and bestows on the melody a fpirited air. When, on the other hand, the pause is separated from the accent by a short fyllable, which always happens in lines of the fecond and fourth order, the paufe is foft and gentle. This fhort unaccented fyllable fucceeding one that is accented, muft of courfe be pronounced with a falling voice, which naturally prepares for a paufe. The mind falls gently from the accented fyllable, and flides into reft as it were infenfibly. Further, the lines themselves, derive different powers from the pofition of the pause. A paufe after the fourth fyl lable divides the line into two unequal portions, of which the largest comes laft. This circumftance refolving the line into an ascending feries, 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, these parts, pronounced with equal effort, are agreeable by their uniformity. A line divided by a pause after the fixth fyllable, makes an impreffion oppofite to that first mentioned Being divided into two unequal portions, of which the shorteft is laft in order, it appears like a flow defcending fe ries; and the fecond portion being pronounced with lefs effort than the first, the diminished effort prepares the mind for reft. And this preparation for rest is still more fenfibly felt where the paufe is after the seventh syllable, as in lines of the fourth order. No perfon can be at a lofs in applying these obfervations. A line of the first order is of all the moft fpirited and lively. To produce this effect, feveral of the circumftances abovementioned 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: and the line itself, reprefenting by its unequal divifion an afcending feries, carries the mind still higher, making an impreffion fi,milar to that of mounting upward. The fecond order has a modulation fenfibly sweet, foft, and flowing. The accent is not fo fprightly as in the former, because a fhort fyllable intervenes betwixt it and the paufe: its elevation, by the fame means, vanifheth inftantaneoufly: the mind, by a falling voice, is gently prepared for a stop: and the pleafure 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 firft order, by the liveliness of an accent fucceeded instantly by a full pause. But then the elevation occafioned by this circumitance, is balanced in fome degree by the remitted effort in pronouncing the fecond portion, which remitted effort has a tendency to reft. Another circumstance diftinguifheth it remarkably. Its capital accent comes late, being placed on the fixth fyllable; and this circumftance beftows on it an air of gravity and folemnity. The laft order resembles the the second in the mildness of its accent and softness of its paufe. It is ftill more folemn than the third, by the lateness of its capital accent. It alfo poffeffes in a higher degree than the third, the tendency to reft; and by that circumftance is of all the best qualified for closing a period in the completeft manner. In But these are not all the distinguishing characters of the different orders. Each order alfo, by means of its final accent and pause, makes a peculiar impreffion; fo peculiar as to produce a melody clearly diftinguishable from that of the others. This peculiarity is occafioned by the divifion which the capital pause makes in a line. By an unequal divifion in the firft order, the mind has an impreffion of afcending, and is left at the close in the higheft elevation, which is difplay'd on the concluding fyllable. By this means, a ftrong emphasis is naturally laid upon the concluding fyllable, whether by raifing the voice to a fharper tone, or by expreffing the word in a fuller tone. This order accordingly is of all the least proper for concluding a period, where a cadence is proper, and not an accent. the fecond order, the final accent makes not fo capital a figure. There is nothing fingular in its being marked by a paufe, for this is common to all the orders; and this order, being deftitute of the impreffion of afcent, cannot rival the first order in the elevation of its accent, nor confequently in the dignity of its paufe; for thefe always have a mutual influence. This order, however, with refpect to its clofe, maintains a fuperiority over the third and fourth orders. In thefe the clofe is more humble, being brought down by the impreffion of defcent, and by the remitted effort in pronouncing; confiderably in the third order, and ftill more confiderably in the laft. According to this defcription, the concluding accents and paufes of the four orders being reduced to a fcale, will form a defcending feries probably in an arithmetical progreffion. After what is faid, will it be thought refining too much to fuggeft, that the different orders are qualified for different purposes, and that a poet of genius will be naturally led to make a choice accordingly? I cannot think this altogether chimerical. It appears to me, that the firft order is proper for a fentiment that is bold, lively, or impetuous; that the third order is proper for fubjects grave, folemn, or lofty; the second for what is tender, delicate, or melancholy, and in general for all the sympathetic emotions; and the laft for fubjects of the fame kind, when tempered with any degree of folemnity. I do not contend, that any one order is fitted for no other task, than that affigned it. At that rate, no fort of modulation would be left for accompanying ordinary thoughts, that have nothing peculiar in them. I only venture to fuggeft, and I do it with diffidence, that one order is peculiarly adapted to certain fubjects, and better qualified than the others for expreffing fuch fubjects. The best way to judge is by experiment; and to avoid the imputation of a partial fearch, I fhall confine my inftances to a fingle poem, beginning with the first order. IN On her white breaft, a sparkling cross she wore, |