prising, when we defcend to familiar examples. It raifeth not wonder in the fmalleft degree, to find: the most perfect refemblance betwixt two eggs of the fame animal. It is more rare to find such refemblance betwixt two human faces; and upon that account fuch an appearance raises fome degree of wonder. But this emotion rifes to a ftill greater height, when we find in a pebble, an agat, or any! natural production, a perfect refemblance to a tree or other organifed body. We cannot hesitate a moment, in applying these obfervations to the prefent fubject. What occafion of wonder can it be to find one found refembling another, where both are of the fame kind? It is not fo common to find a resemblance betwixt an articulate found and one not articulate; and accordingly the imitation here affords fome flight pleasure. But the pleasure fwells greatly, when we employ found to imitate things it refembles not otherwife than by the effects produced in the mind.

I have had occafion to obferve, that to complete the resemblance betwixt found and fenfe, artfuk pronunciation contributes not a little. Pronunciation therefore may be confidered as a branch of the present fubject; and with fome obfervations upon it I fhall conclude the fection.

In order to give a juft idea of pronunciation, it must be distinguished from finging. The latter is carried on by notes, requiring each of them a different aperture of the windpipe. The notes properly belonging to the former, are expreffed by different apertures of the mouth, without varying the aperture of the windpipe. This however doth not hinder pronunciation to borrow from finging, as a man sometimes is naturally led to do, in expreffing a vehement paffion.

In reading, as in finging, there is a key-note. Above this note the voice is frequently elevated, to

make

make the found correspond to the elevation of the fubject. But the mind in an elevated ftate, is difposed to action. Therefore in order to a reft, it must be brought down to the key-note. Hence the term cadence.

The only general rule that can be given for directing the pronunciation, is, To found the words in such a manner as to imitate the things they reprefent, or of which they are the fymbols. The ideas which make the greatest figure, ought to be expreffed with a peculiar emphasis. In expreffing an elevated fubject, the voice ought to be raised above its ordinary pitch; and words fignifying dejection of mind, ought to be pronounced in a low note. A fucceffion of founds gradually afcending from low to high notes, represents an ascending series of objects. An oppofite fucceffion of founds, is fitted for objects or fentiments that defcend gradually. In Dryden's ode of Alexander's feaft, the line Faln, faln, faln, faln, ought to be pronounced with a falling voice; and is pronounced in that manner, by every one of taste, without instruction. Another circumftance contributes to the resemblance betwixt fenfe and found, which is flow or quick pronunciation. For though the length or fhortness of the fyllables with relation to each other, be in profe ascertained in some measure, and in verse always; yet taking a whole line or period together, it is arbitrary to pronounce it flow or faft. Hence it is, that a period expreffing what is folemn or deliberate, ought to be pronounced flow; and ought to be pronounced quick, when it expreffes any thing brifk, lively, or impetuous.

The art of pronouncing with propriety and grace, being calculated to make the found an echo to the fenfe, fcarce admits of any other general 'rule than that above mentioned. This rule may indeed be branched out into, many particular rules

and

and obfervations; but thefe belong not properly to the prefent undertaking, because they cannot be explained in words. We have not words to fignify the different degrees of high and low, loud and foft, faft and flow; and before these differences can be made the fubject of regular instruction, notes muft be invented resembling those employ'd in music, We have reason to believe, that in Greece every tragedy was accompanied with fuch notes, in order to ascertain the pronunciation. But the mo derns hitherto have not thought of this refinement. Cicero indeed, without the help of notes, pretends to give rules for afcertaining the feveral tones of voice that are proper in expreffing the feveral paffions; and it must be acknowledged, that in this attempt he has exhaufted the whole power of language. At the fame time, every person of judgment muft fee, that these rules avail little in point of inftruction. The very words he employs, are fcarce intelligible, except to those who beforehand are acquainted with the fubject.

To vary the fcene a little, I propofe to clofe with a flight comparison betwixt finging and pronouncing. In this comparison the five following circumstances relative to articulate found, must be kept in view. ift, It is harfh or fmooth. 2d, A found or fyllable, is long or short. 3d, It is pronounced high or low. 4th. It is pronounced loud or foft. And, lastly, a number of words in fucceffion conftituting a period or member of a period, are pronounced flow or quick. Of thefe five, the firft depending on the component letters, and the fecond being afcertained by cuftom, admit not any variety in pronouncing. The three laft are arbitrary, depending on the will of the perfon who pro

*De oratore, l. 3. cap. 58.
VOL. II.

D

nounces;

Ch. XVIII. nounces; and it is chiefly in the artful management of thefe, that juft pronunciation confifts. With refpect to the first circumftance, mufic has evidently the advantage; for all its notes are agreeable to the ear, which is not always the cafe of articulate found. With refpect to the fecond, long and short fyllables variously combined, produce a great variety of feet; yet far inferior to the variety which is found in the multiplied combinations of mufical notes. With respect to high and low notes, pronunciation is ftill more inferior to finging. For it is obferved by Dionyfius of Halicarnaffus, that in pronouncing, i. e. without altering the aperture of the windpipe, the voice is confined within three notes and a half. Singing has a much greater compafs. With refpect to the two laft circumftances, pronunciation equals finging.

In this difcourfe, I have mentioned none of the beauties of language, but what arife from words taken in their proper fenfe. Those beauties that depend on the metaphorical and figurative power of words, are referved to be treated in chap. 20.

SECT. IV. VERSIFICATION.

T

HE-music of verse, though handled by every grammarian, merits more attention than has been given it. The fubject is intimately connected with human nature; and to explain it thoroughly, feveral nice and delicate feelings must be employ'd. Entering upon this fubject, it occurs as a preliminary point, By what mark is verfe diftinguished from profe? The difcuffion of this point is neceffary, were it for no other purpose but to afcertain the nature and limits of our fubject. To

* De ftructura orationis, fect. 2.

produce

produce this diftinguishing mark, is a task not perhaps fo eafy as may at firft be apprehended. Verfe of every fort, has, it is true, rules for its conftruction. It is compofed of feet, the number and variety of which are afcertained. Profe, though alfo compofed of feet, is more loofe and scarce fubjected to any rules. But many are ignorant of thefe rules: Are fuch left without means to make the diftin&tion? And even with refpect to the learned, muft they apply the rule before they can with certainty pronounce whether the compofition be profe or verfe? This will hardly be maintained; and therefore, instead of rules, the ear must be appealed to as the proper judge. But what gain we by being thus referred to another ftandard? It ftill recurs, by what mark does the ear diftinguish verfe from profe? The proper and fatisfactory anfwer is, That thefe make different impreffions, which are readily distinguishable by every one who hath an ear. This advances us one ftep in our inquiry.

T

Taking it then for granted, that verfe makes upon the ear a different impreffion from that of profe; nothing remains but to explain this difference, and to affign its caufe. To thefe ends, I muft call to my aid an observation made above in treating of the found of words, that they are more agreeable to the ear, when compofed of long and fhort fyllables, than when all the fyllables are of the fame fort. A continued found in the fame tone, makes an impreffion that comes not up to any idea we have of mufic. The fame note fucceffively renewed by intervals, is more agreeable; but still makes not a mufical impreffion. To produce this impreffion, variety is neceflary as well as number. The fucceffive founds or fyllables, must be some of them long, fome of them fhort; and if alfo high and low, the mufic is the more perfect. Now if D 2

this