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This is the time in which those friendships that give happiness or consolation, relief or security, are generally formed. A wise and good man is never so amiable as in his unbended and familiar intervals. Heroick generosity, or philosophical discoveries, may compel veneration and respect, but love always im. plies some kind of natural or voluntary equality, and is only to be excited by that levity and cheerfulness which disencumber all minds from awe and soli. tude, invite the modest to freedom, and exalt the timorous to confidence. This easy gaiety is certain to please, whatever be the character of him that exerts it; if our superiors descend from their elevation, we love them for leffening the distance at which we are placed below them; and inferiors, from whom we can receive no lasting advantage, will always keep our affections while their sprightliness and mirth contribute to our pleasure.

Every man finds himself differently affected by the fight of fortresses of war, and palaces of pleasure ; we look on the height and strength of the bulwarks with a kind of gloomy satisfaction, for we cannot think of defence without admitting images of danger; but we range delighted and jocund through the gay apartments of the palace, because nothing is impressed by them on the mind but joy and festivity. Such is the difference between great and amiable characters; with protectors we are safe, with companions we are happy.

NUMB. 90. SATURDAY, January 26, 1751.

VIRG.

In tenui labor.
What toil in slender things !

IT is very difficult to write on the minuter parts of

literature without failing either to please or instruct. Too much nicety of detail disgusts the greatest part of readers, and to throw a multitude of particulars under general heads, and lay down rules of extensive comprehension, is to common understandings of little use. They who undertake these subjects are therefore always in danger, as one or other inconvenience arises to their imagination, of frighting us with rugged science, or amusing us with empty found.

In criticising the work of Milton, there is, indeed, opportunity to intersperse passages that can hardly fail to relieve the languors of attention ; and since, in examining the variety and choice of the pauses with which he has diversified his numbers, it will be ned cessary to exhibit the lines in which they are to be found, perhaps the remarks may be well compensated by the examples, and the irksomeness of grammatical disquisitions somewhat alleviated.

Milton formed his scheme of versification by the poets of Greece and Rome, whom he propofed to himself for his models, fo far as the difference of his language from theirs would permit the imitation. There are indeed many inconveniencies inseparable from our heroick measure compared with that of Homer and Virgil; inconveniencies, which it is no reproach to Milton not to have overcome, because they are in their own nature insuperable; but against which he has struggled with so much art and diligence, that he may at least be said to have deserved fuccefs.

The hexameter of the ancients may be considered as consisting of fifteen fyllables, so melodiously difposed, that, as every one knows who has examined the poetical authors, very pleasing and fonorous lyrick measures are formed from the fragments of the heroick. It is, indeed, scarce possible to break them in such a manner but that invenias etiam disjeéti menbra poëta, fome harmony will still remain, and the due proportions of found will always be discovered. This measure therefore allowed great variety of pauses, and great liberties of connecting one verse with another, because wherever the line was interrupted, either part singly was musical. But the ancients seem to have confined this privilege to hexameters; for in their other measures, though longer than the English heroick, those who wrote after the refinements of versification, venture so feldom to change their pauses, that

every
variation

may posed rather a compliance with necefsity than the choice of judgment.

Milton was constrained within the narrow limits of a measure not very harmonious in the utmost perfec. tion; the single parts, therefore, into which it was to be sometimes broken by pauses, were in danger of losing the very form of verse. This has, perhaps, notwithstanding all his care, sometimes happened.

As

be supo As harmony is the end of poetical measures, no part of a verse ought to be fo separated from the rest as not to remain still more harmonious than prose, or to shew, by the disposition of the tones, that it is part of a verse. This rule in the old hexameter might be easily observed, but in English will very frequently be in danger of violation ; for the order and regularity of accents cannot well be perceived in a succession of fewer than three fyllables, which will confine the English poet to only five pauses ; it being supposed, that when he connects one line with another, he should never make a full pause at less distance than that of three syllables from the beginning or end of a verse.

That this rule should be universally and indispenfably established, perhaps cannot be granted ; something may be allowed to variety, and something to the adaptation of the numbers to the subject; but it will be found generally necessary, and the car will seldom fail to suffer by its neglect.

Thus when a single syllable is cut off from the rest, it must either be united to the line with which the sense connects it, or be sounded alone. If it be united to the other line, it corrupts its harmony; if disjoined, it must stand alone, and with regard to musick be superfluous ; for there is no harmony in a single found, because it has no proportion to an.

other.

Hypocrites aufterely talk,
Defaming as impure what God declares
Pure; and commands to fome, leaves free to all.

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When two fyllables likewise are abscinded from the rest, they evidently want some associate sounds to make them harmonious.

Eyes

-more wakeful than to drouze,
Charm'd with Arcadian pipe, the past’ral reed
Of Hermes, or his opiate rod. Meanwhile
To re-falute the world with sacred light
Leucothea wak'd.

He ended, and the Son gave signal hirh
To the bright minifter that watch'd: he blew
His trumpet.

First in the east his glorious lamp was seen,
Regent of day; and all th'horizon round
Invested with bright rays, jocund to run
His longitude through heav'n's high road; the gray
Dawn, and the Pleiades, before him danc'd,
Shedding sweet influence.

The fame defect is perceived in the following line, where the pause is at the second syllable from the beginning.

The race

Of that wild rout that tore the Thracian bard
In Rhodope, where woods and rocks had ears
To rapture, 'till the savage clamour drown'd
Both harp and voice; nor could the muse defend
Her son. So fail not thou, who thee implores,

When the pause falls upon the third syllable or the seventh, the harmony is better preserved ; but as the third and seventh are weak fyllables, the period

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