and yet nothing can be more palpable to the ear, than that a pause in the first at things, in the second at curbed, in the third at land, in the fourth at parts, and in the fifth at soul, is absolutely necessary to the harmony of these lines; and that the sixth, by admitting no pause but at understanding, and the seventh none but at imagination, border very nearly upon prose. Rule 20. At the end of every line in poetry there must be a pause proportioned to the intimate or remote connexion subsisting between the two lines. Rule 21.- In order to form a cadence in a period in rhyming verse, we must adopt the falling inflection with considerable force, in the casura of the last line but one. One science only will one genius fit, Like kings we lose the conquests gained before, In repeating these lines, we shall find it necessary to form the cadence, by giving the falling inflection with a little more force than common to the word province. Rule 22.-A simile in poetry ought always to be read in a lower tone of voice than that part of the passage which precedes it. 'Twas then great Marlborough's mighty soul was That in the shock of charging hosts unmoved, Examined all the dreadful scenes of war; Rule 23. Where there is no pause in the sense at the end of the verse, the last word must have exactly the same inflection it would have in prose. O'er their heads a crystal firmament, Where on a sapphire throne, inlaid with pure In this example, the word pure must have the falling inflection, whether we make any pause at it or not, as this is the inflection the word would have, if the sentence were pronounced prosaically. For the same reason the words retired and went, in the following example, must be pronounced with the rising inflection. At his command th' uprooted hills retired Each to his place; they heard his voice and went Rule 24.. -Sublime, grand, and magnificent description in poetry, frequently requires a lower tone of voice, and a sameness nearly approaching to a monotone, to give it variety. Hence! loathed Melancholy, Of Cerberus and blackest Midnight born, In Stygian cave forlorn, 'Mongst horrid shapes and shrieks, and sights unholy; Find out some uncouth cell, Where brooding darkness spreads his jealous wings, And the night raven sings; There under ebon shades and low-browed rocks, As ragged as thy locks, In dark Cimmerian desert ever dwell. In repeating this passage, we shall find the darkness and horror of the cell wonderfully augmented, by pronouncing the eighth line, There, under ebon shades, and low-browed rocks, in a low monotone. Rule 25.-THE INTERROGATION. An interrogation generally requires a longer stop than a period; because an answer is either returned or implied and consequently a proper interval of silence is necessary. Interrogative sentences are to be read with an elevation of the voice, as they are usually spoken in conversation. Practise the following examples. Have you seen your friend? Is he better or worse? Do you believe such a tale? What man will venture further? Who then can charge me with cowardice? Do we not all need assistance? Ought we to withhold our aid? Wherein does happiness consist? In what scene of life is it to be found? What think you of dress and equipage? Does felicity consist in amusements? Examples of Interrogations and Answers. Which now of these three, was neighbour to him that fell among thieves? He that showed mercy to him. What is your favourite pursuit? The improvement of my mind. Can you forgive me, and be still my friend? As firmly as have ever been. Why shrinks the soul Back on herself, and startles at destruction? 'Tis the Divinity that stirs within us. Where are you now? and what is your amount? Vexa. tion, disappointment, and remorse. To purchase heaven, has gold the power? In life, can love be bought with gold? Will all great Neptune's ocean wash this blood clean from my hands? No. Dost thou then love him better than thyself? No; I love him as myself. Rule 26. THE EXCLAMATION. An exclamation requires an elevation of voice, and such a pause as may seem to give room for a momentary reflection. Practise the following examples. Hear me, O Lord! for thy loving kindness is great! How doth the city sit solitary that was full of people! how is she become as a widow! She that was great among the nations, and princess among the provinces, how is she become tributary! Fathers! Senators of Rome! the arbiters of nations! to you I fly for refuge. I'll call thee, Hamlet ! King! Father! Royal Dane! oh! answer me! Eternity! thou pleasing dreadful thought! How much vanity is in the pursuits of men! Live! live! ye incomparable pair! What a noble scene is before us! How charming is the face of nature! Behold the daughter of innocence! What a look! what beauty! what sweetness! What majesty! how graceful! how commanding! Behold the effects of virtue! Leave me, oh! leave me to repose! I am stripped of all my honours! I lie prostrate on the earth! Farewell! a long farewell to all my greatness! It stands, solid and entire! but it stands alone! and it stands amidst ruins! How glorious are the works of God! How presumptuous is man! Rule 27. THE DASH. The dash requires a pause somewhat less than a period. The pause should come upon the hearer unexpected ly; and therefore there should be no preparatory inflection of the voice. Here lies the great-false marble, where? When the poor victims were bayoneted clinging round the knees of the soldiers! would my friend- but I cannot pursue the strain of interrogation! If thou art he, so much respected once- but oh! how fallen! |