My rival too! his last thoughts hung on her: 490. Having described, the best way I can, the impression that rhyme makes on the mind; I proceed to examine whether there be any subjects to which rhyme is peculiarly adapted, and for what subjects it is improper. Grand and lofty subjects, which have a powerful influence, claim precedence in this inquiry. In the chapter of Grandeur and Sublimity it is established, that a grand or sublime object inspires a warm enthusiastic emotion disdaining strict regularity and order: which emotion is very different from that inspired by the moderately enlivening music of rhyme. Supposing then an elevated subject to be expressed in rhyme, what must be the effect? The intimate union of the music with the subject produces an intimate union of their emotions; one inspired by the subject, which tends to elevate and expand the mind; and one inspired by the music, which, confining the mind within the narrow limits of regular cadence and similar sound, tends to prevent all elevation above its own pitch. Emotions so little concordant cannot in union have a happy effect. But it is scarce necessary to reason upon a case that never did, and probably never will happen, viz., an important subject clothed in rhyme, and yet supported in its utmost elevation. A happy thought or warm expression, may at times give a sudden bound upward; but it requires a genius greater than has hitherto existed, to support a poem of any length in a tone elevated much above that of the melody. Tasso and Ariosto ought not to be made exceptions, and still less Voltaire. And after all, where the poet has the dead weight of rhyme constantly to struggle with, how can we expect a uniform elevation in a high pitch; when such elevation, with all the support it can receive from language, requires the utmost effort of the human genius? 491. But now, admitting rhyme to be an unfit dress for grand and lofty images; it has one advantage, however, which is, to raise a low subject to its own degree of elevation. Addison (Spectator, No. 285) observes, "That rhyme, without any other assistance, throws the language off from prose, and very often makes an in 489. Objections to rhyme. The answer.-The music of rhyme. Example. different phrase pass unregarded; but where the verse is not built upon rhyme, there, pomp of sound, and energy of expression are indispensably necessary to support the style, and keep it from falling into the flatness of prose." This effect of rhyme is remarkable in French verse; which, being simple, and little qualified for inversion, readily sinks down to prose where not artificially supported: rhyme is therefore indispensable in French tragedy, and may be proper even in French comedy. Voltaire assigns that very reason for adhering to rhyme in these compositions. He indeed candidly owns, that, even with the support of rhyme, the tragedies of his country are little better than conversation-pieces; which seems to infer, that the French language is weak, and an improper dress for any grand subject. Voltaire was sensible of the imperfection; and yet Voltaire attempted an epic poem in that language. 492. The cheering and enlivening power of rhyme, is still more remarkable in poems of short lines, where the rhymes return upon the ear in a quick succession; for which reason rhyme is perfectly well adapted to gay, light, and airy subjects. Witness the following: For that reason, such frequent rhymes are very improper for any severe or serious passion: the dissonance between the subject and the melody is very sensibly felt. Witness the following: Now under hanging mountains, Beside the fall of fountains, Unheard, unknown, Forever, ever, ever lost; Now with furies surrounded, Despairing, confounded, He trembles, he glows, Amidst Rodopé's snows.-Pope, Ode for Music, 1. 97. Rhyme is not less unfit for anguish or deep distress, than for subjects elevated and lofty; and for that reason has been long disused in the English and Italian tragedy. In a work where the subject is serious though not elevated, rhyme has not a good effect; because the airiness of the melody agrees not with the gravity of the 491. One advantage of rhyme.-Addison's remark.-Effect of rhyme in French verse. subject the Essay on Man, which treats a subject great and important, would make a better figure in blank verse. Sportive love, mirth, gayety, humor, and ridicule, are the province of rhyme. The boundaries assigned it by nature, were extended in barbarous and illiterate ages; and in its usurpations it has long been protected by custom; but taste in the fine arts, as well as in morals, improves daily, and makes a progress towards perfection, slow indeed but uniform; and there is no reason to doubt, that rhyme, in Britain, will in time be forced to abandon its unjust conquest, and to confine itself within its natural limits. Having said what occurred upon rhyme, I close the section with a general observation, That the melody of verse so powerfully enchants the mind as to draw a veil over very gross faults and imperfections. A LIST OF THE DIFFERENT FEET, AND OF THEIR NAMES. 1. PYRRHICHIUS, consists of two short syllables, examples: Deus, given, cannot, hillock, running. 2. SPONDEUS, consists of two long syllables: omnes, possess, forewarn, mankind, sometime. 3. IAMBUS, composed of a short and a long: pios, intent, degree, appear, consent, repent, demand, report, suspect, affront, event. 4. TROCHEUS, or CHOREUS, a long and short: fervat, whereby, after, legal, measure, burden, holy, lofty. 5. TRIBRACHYS, three short: melius, property. 6. MOLOSSUS, three long: delectant. 7. ANAPESTUS, two short and a long: animos, condescend, apprehend, overheard, acquiesce, immature, overcharge, serenade, opportuné. 8. Dactylus, a long and two short: carmina, evident, excellence, estimate, wonderful, altitude, burdened, minister, tenement. 9. BACCHIUS, a short and two long: dolores. 10. HYPPOBACCHIUS, or ANTIBACCHIUS, two long and a short: pelluntur: 11. Creticus, or AMPHIMACER, a short syllable between two long: insito, after noon. 12. AMPHIBRACHYS, a long syllable between two short: honore, consider, imprudent, procedure, attended, proposed, respondent, concurrence, apprentice, respective, revenue. 13. PROCELEUSMATICUS, four short syllables: hominibus, necessary. 14. DISPONDEUS, four long syllables: infinitis. 15. DIAMBUS, composed of two Iambi: severitas. 16. DITROCHEUS, of two Trochai: permanere, procurator. 17. IONICUS, two short syllables and two long: properabant. 18. Another foot passes under the same name, composed of two long syllables and two short: calcaribus, possessory. 19. CHORIAMBUS, two short syllables between two long: nobilitas. 20. ANTISPASTUS, two long syllables between two short: Alexander. 492. Power of rhyme in poems of short lines.-Frequent rhymes, where unsuitable. Essay on Man.-Subjects that form the province of rhyme.--List of Feet. 21. PEON 1st, one long syllable and three short: temporibus, ordinary, inventory, temperament. 22. PON 2d, the second syllable long, and the other three short: rapidity, solemnity, minority, considered, imprudently, extravagant, respectfully, accordingly. 23. PEON 3d, the third syllable long and the other three short: animatus, independent, condescendence, sacerdotal, reimbursement, manufacture. 24. PEON 4th, the last syllable long and the other three short: celeritas. 25. EPITRITUS 1st, the first syllable short and the other three long: voluptates. 26. EPITRITUS 2d, the second syllable short and the other three long: pœnitentes. 27. EPITRITUS 3d, the third syllable short, and the other three long: discordias. 28. EPITRITUS 4th, the last syllable short, and the other three long: fortunatus. 29. A word of five syllables composed of a Pyrrhichius and Dactylus: ministerial. 80. A word of five syllables composed of a Trochæus and Dactylus: singularity. 31. A word of five syllables composed of a Dactylus and Trocheus: precipita tion, examination. 82. A word of five syllables, the second only long: significancy. 83. A word of six syllables composed of two Dactyles: impetuosity. 84. A word of six syllables composed of a Tribrachys and Dactylæ: pusillanimity. N. B.-Every word may be considered as a prose foot, because every word is distinguished by a pause; and every foot in verse may be considered as a verse word, composed of syllables pronounced at once without a pause. CHAPTER XIX. COMPARISONS. HAZLITT has some observations on the subject of poetry that will serve as an introduction to the present chapter.-Ed. 493. Poetry is strictly the language of the imagination; and the imagination is that faculty which represents objects, not as they are in themselves, but as they are moulded by other thoughts and feelings, into an infinite variety of shapes and combinations of power. This language is not the less true to nature because it is false in point of fact; but so much the more true and natural, if it conveys the impression which the object under the influence of passion makes on the mind. Let an object, for instance, be presented to the senses in a state of agitation or fear, and the imagination will distort or magnify the object, and convert it into the likeness of whatever is most proper to encourage the fear. "Our eyes are made the fools of the other faculties." This is the universal law of the imagination. We compare a man of gigantic stature to a tower, not that he is any thing like so large, but because the excess of his size beyond what we are accustomed to expect, or the usual size of things of the same class, produces by contrast a greater feeling of magnitude and of ponderous strength than another object of ten times the same dimensions. The intensity of the feeling makes up for the disproportion of the objects. Things are equal to the imagination which have the power of affecting the mind with an equal degree of terror, admiration, delight, or love. Poetry is only the highest eloquence of passion, the most vivid form of expression that can be given to our conception of any thing, whether pleasurable or painful, mean or dignified, delightful or distressing. It is the perfect coincidence of the image and the words with the feeling we have, and of which we cannot get rid in any other way that gives an instant "satisfaction to the thought." This is equally the origin of wit and fancy, of comedy and tragedy, of the sublime and pathetic.-Lect. i.] Comparisons, as observed above (chapter viii.), serve two purposes; when addressed to the understanding, their purpose is to instruct; when to the heart, their purpose is to please. Various means contribute to the latter: first, the suggesting some unusual resemblance or contrast; second, the setting an object in the strongest light; third, the associating an object with others, that are agreeable; fourth, the elevating an object; and fifth, the depressing it. And that comparisons may give pleasure by these various means, appears from what is said in the chapter above cited; and will be made still more evident by examples, which shall be given after premising some general observations. Objects of different senses cannot be compared together; for such objects, being entirely separated from each other, have no circumstance in common to admit either resemblance or contrast. Objects of hearing may be compared together, as also of taste, of smell, and of touch; but the chief fund of comparison are objects of sight; because, in writing or speaking, things can only be compared in idea, and the ideas of sight are more distinct and lively than those of any other sense. 494. When a nation emerging out of barbarity begins to think of the fine arts, the beauties of language cannot long lie concealed; and when discovered, they are generally, by the force of novelty, carried beyond moderation. Thus, in the early poems of every nation, we find metaphors and similes founded on slight and distant resemblances, which, losing their grace with their novelty, wear gradually out of repute; and now, by the improvement of taste, none but correct metaphors and similes are admitted into any polite composition. To illustrate this observation, a specimen shall be 493. Hazlitt's remarks on poetry.-Purposes answered by comparisons. By what means they give pleasure.-Objects that cannot be comvared together. The chief fund of com parisons. |