where the verse is not built upon rhymes, 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. 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: O the pleasing, pleasing anguish, When we love and when we languish ! Wishes rising, O the pleasing, pleasing anguish! Rosamond, Act I. Sc. 2. 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, 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 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; * Preface to his Oedipus, and in his discourse upon tragedy, prefixed to the tragedy of Brutus. 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 toward 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. Of this power a stronger example cannot be given than the episode of Aristæus, which closes the fourth book of the Georgics. To renew a stock of bees when the former is lost, Virgil asserts, that they may be produced in the entrails of a bullock, slain and managed in a certain manner. This leads him to say, how this strange receipt was invented; which is as follows. Aristaus having lost his bees by disease and famine, never dreams of employing the ordinary means for obtaining a new stock; but, like a froward child, complains heavily to his mother Cyrene, a water-nymph. She advises him to consult Proteus, a sea-god, not how he was to obtain a new stock, but only by what fatality he had lost his former stock; adding, that violence was necessary, because Proteus would say nothing voluntarily. Aristæus, satisfied with this advice, though it gave him no prospect of repairing his loss, proceeds to execution. Proteus is caught sleeping, bound with cords, and compelled to speak. He declares, that Aristaus was punished with the loss of his bees, for attempting the chastity of Eurydice the wife of Orpheus; she having been stung to death by a serpent in flying his embraces. Proteus, whose sullenness ought to have been converted into wrath by the rough treatment he met with, becomes on a sudden courteous and communicative. He gives the whole history of the expedition to hell which Orpheus undertook in order to recover his spouse: a very entertaining story, but without the least relation to what was in view. Aristæus, returning to his mother, is advised to deprecate by sacrifices the wrath of Orpheus, who was now dead. A bullock is sacrificed, and out of the entrails spring miraculously a swarm of bees. Does it follow, that the same may be obtained without a miracle, as is supposed in the receipt? A LIST of the different FEET, and of their NAMES. 1. PHYRRHICUS, 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. TROCHÆUS, 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, appre hend, overheard, acquiesce, immature, overcharge, serenade, opportune. 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, afternoon. 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. DIIAMBUS, composed of two Iambi: severitas. 16. DITROCHÆUS, 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. 21. PEON 1st, one long syllable and three short: temporibus, ordinary, inventory, temperament. 22. PEON 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: pænitentes. 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. 30. A word of five syllables composed of a Trochæus and Dactylus: singularity. 31. A word of five syllables, composed of a Dactylus and Trochæus: precipitation, examination. 32. A word of five syllables, the second only long: significancy. 33. A word of six syllables composed of two Dactyles: impetuosity. 34. 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. Comparisons serve to instruct and to please-They suggest some unusual contrast or resemblance-They set objects in their proper light-They associate them with other objects that are agreeable-They elevate objects-They depress them-Objects of different senses not to be compared-Things of the same kind not to be compared-Things of different kinds not to be contrasted-Abstract terms not the subject of comparison, unless personified-Two kinds of comparisons-Comparisons not proper for every occasion-Illustrated-Not disposed to pathetic flights, when cool and sedate, or when oppressed with care-Similes delightful, when the mind is elevated or animated by passion-The mind often in a tone to relish embellishing comparisons-The severe passions enemies to comparisons-A comparison faulty, though properly introduced-By being too faint-By being too low-By being too high-A comparison not to be drawn from a disagreeable object-Comparisons existing in words only, the most objectionable-A species of comparison that excites gayety. COMPARISONS, as observed above,* 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 of some unusual resemblance or contrast; second, the setting of an object in the strongest light; third, the associating of an object with others that are agreeable; fourth, the elevating of an object; and, fifth, the depressing of 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. 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. Chap. 8. * To illustrate this observation, a specimen shall be given afterward of such metaphors as I have been describing; with respect to similes, take the following specimen : Behold, thou art fair, my love: thy hair is as a flock of goats that appear from Mount Gilead: thy teeth are like a flock of sheep from the washing, every one bearing twins: thy lips are like a thread of scarlet: thy neck like the tower of David built for an armory, whereon hang a thousand shields of mighty men: thy two breasts like two young roes that are twins, which feed among the lilies: thy eyes like the fish-pools in Heshbon, by the gate of Bath-rabbim: thy nose like the tower of Lebanon, looking toward Damascus. Song of Solomon. Thou art like snow on the heath; thy hair like the mist of Cromla, when it curls on the rocks, and shines to the beam of the west: thy breasts are like two smooth rocks seen from Branno of the streams; thy arms like two white pillars in the hall of the mighty Fingal. Fingal. It has no good effect to compare things by way of simile that are of the same kind; nor to compare by contrast things of different kinds. The reason is given in the chapter quoted above; and the reason shall be illustrated by examples. The first is a comparison built upon a resemblance so obvious as to make little or no impression. This just rebuke inflam'd the Lycian crew, They join, they thicken, and th' assault renew Two stubborn swains with blows dispute their bounds; Thus obstinate to death, they fight, they fall; Nor these can keep, nor those can win the wall. Iliad, XII. 505. Another, from Milton, lies open to the same objection. Speaking of the fallen angels searching for mines of gold, A numerous brigade hasten'd: as when bands Or cast a rampart. The next shall be of things contrasted that are of different kinds. Queen. What, is my Richard both in shape and mind And wounds the earth, if nothing else, with rage Richard II. Act V. Sc. 1. This comparison has scarcely any force: a man and a lion are of different species, and therefore are proper subjects for a simile; but there is no such resemblance between them in general, as to produce any strong effect by contrasting particular attributes or circum stances. A third general observation is, that abstract terms can never be |