Imágenes de páginas
PDF
EPUB

an alteration of the common accent for the sake of harmony, than with a preservation of this accent with harshness and discord; for, in some cases, by preserving the common accent, we not only reduce the lines to prose, but to very harsh and disagreeable prose. Thus we cannot hesitate a moment at placing the accent on the first syllable of expert, in the following line of Pope, though contrary to its prosaic pronunciation:

Then fell Scamandrius, expert in the chase.

But it will be demanded, is the ear the only rule when we are to pronounce one way and when another? It may be answered; this is the best rule for those who have good ears; but like most of the rules given on this subject, it amounts to no rule at all. To offer something like a rule therefore, where there is none, will not be unacceptable to those at least who have not ears sufficiently delicate to direct themselves, and those who have will not be displeased to find a reason given for such a choice of accent as they approve.

And first, let us try the different effects which these disjointed and inharmoniously accented words have on the ear (for unquestionably they are not all equally disagreeable), and that perhaps may lead us to something like a rule for directing us when we are to comply with the poetical accent, and when not.

In the first place, let us bring together words of two syllables, with the accent on the first, which the poet has transferred to the last.

Who now triumphs in th'excess of joy-
In their triplé degree, regions to which
Which of us who beholds the bright surface.
Of thrones and mighty seraphim prostráte.

P. L. i. 123.

Ibid. xi. 140.

Ibid. vi. 472.

Ibid. 841.

Male he created thee: but thy consórt, P. L. vii. 529.

Not to incur; but soon his clear aspect.

Beyond all past example and future.

Ibid. 336.

Ibid. 840.

Ibid. i. 159.

Ibid. 207.

Ibid. 312.

To do ought good never will be our task.
Moors by his side under the lee, while night-
Abject and loss lay these cov'ring the flood.
Gods, yet confess'd later than Heav'n and earth. Ibid. 509.
These other two equáll'd with me in fate.

Ibid. iii. 33.

Ibid. 357.

Ibid. 409.

And flow'rs aloft shading the fount of life.
Second to thee offer'd himself to die.
Which, tasted, works knowledge of good and evil. Ib. vii. 548.
To whom with healing words, Adám replied.
Grateful to Heav'n; over his head behold.

Ibid. ix. 290.
Ibid. 864.

Preserving the poetical accent on many of these words would be merely turning them into ridicule, and therefore, every reader who has the least delicacy of feeling will certainly preserve the common accent of these words on the first syllable, and let the metre of the line shift for itself.

In the next place, let us adduce such words of two syllables as have a contrary transposition of accent, that is, such as have the common accent on the last syllable, which the poet removes to the first.

Ibid. 735. Ibid. ii. 132.

Next Chemos, th'obscene dread of Moab's sons. P.L. i. 123.
And sat as princes, whom the supreme king.
Encamp their legions, or with obscure wing.
Our supreme foe in time may much relent.
Of mankind in one root, and Earth with Hell.
In cónfin'd march, forlorn, th'advent'rous bands. Ibid. 615.
Forth rush'd the lévant and the ponent winds. Ibid. x. 704.

Ibid. 210. Ibid. i. 313.

In placing the accent on the first syllable instead of the second on these words, as the poet has done, we find no such harshness to the ear as in the former examples, and I think we may there

fore conclude that something like a rule is discovered respecting words of two syllables.

The management of the misaccented words of. three syllables, is not perhaps so easy. After trying every possible way to reconcile the accent and the metre, I have not been able to conceive a better method than that of compromising the demands of each. Perhaps the least offensive method to the ear of preserving the accent, and not entirely violating the quantity, would be to place an accent on the syllable immediately preceding that on which the poet has misplaced it, without dropping that which is so misplaced; by this means the word will be heard with the true accent, which will in some measure abate the impropriety of the false one: and thus, by the succession of two accents, we shall only seem to be enforcing the sense, while we are really hiding the fault of the measure. Thus the word blasphemous may be accented both on the first and second syllable.

O argument blasphemous, false, and proud! P. L. v. 809. Refrain'd his tongue blásphèmous; but anon—Ibid. vi. 360. Here the ear feels no great impropriety, especially as this word is still accented by many speakers (though of the lower order) on the second syllable. But the words odorous, infinite, and voluble, accented by Milton on the second syllable, must be nicely managed in order to prevent a cacophony.

Spirits odorous breathes; flow'rs, and their fruit-
P. L. v. 482.

Hoarse murmur echo'd to his words applause
Through the infinite host.

-Whether the prime orb,

Incredible how swift, had thither roll'd

Diurnal; or this less voluble earth,

Ibid. 874.

By shorter flights to th' east, had left him there. Ibid.

The same rule seems to hold good where the poet has placed the accent on the first and last syllable of a word which ought to have it on the middle syllable.

With glory attributed to the high
Creator?

and as is due

P. L. viii. 12.

Ibid. 155.

Only to shine, yet scarce to contribute
Each orb a glimpse of light.

Shoots invisible virtue, e'en to the deep. Ibid. iii. 586.

If any thing can render the pronunciation of this very unpoetic line tolerable, it must be placing the accent on the first and third syllable of invisible.

After all the attention, that can possibly be paid to many of these rugged lines, rugged they will still remain; and when the reader has done his best to make them as smooth as possible, the author is justly chargeable with the want of poetic harmony. Dr. Watts, who to learning and judgment united a poetical ear, directs us, in his rules for reading verse, so to favour the rhyme as to pronounce the word liberty either as libertee or libertie, just as it rhymes with the end of the former line. Thus,

[ocr errors]

"Were I but once from bondage free,
"I'd never sell my liberty.

Here," he says, "I must pronounce the word liberty, as if it were written with a double ee, "libertee, to rhyme with the word free. But if "the verse ran thus,

"My soul ascends above the sky,

"And triumphs in her liberty.

"The word liberty must be sounded as ending "in i, that sky may have a juster rhyme to it." But as this compliance with the rhyme is now

justly exploded, such verses as these ought never to appear in any modern poetry. The ear of a foreigner (which, as Mr. Addison observes, is perhaps the best judge in this case) is shocked beyond measure at such verses; and natives only bear them because they are accustomed to them. How strangely do two lines that rhyme appear in blank verse where we do not expect them? and can such lines, as have no agreement in sound, appear less strange when a rhyme is expected ? Certainly not. But as judicious readers of the present day would rather the verse should appear strange by not rhyming, than strange by altering the accent or sound of a word, so, in a choice of evils, the less seems to be that of preserving as much as possible the proper accent in blank verse, and making the poet answerable for the rest: but, as we have observed above, if there are cases in which the poet may be favoured without departing too widely from general usage, it is incumbent on the reader to pronounce his author to the best advantage, not only by heightening his beauties, but, as much as possible, by hiding his faults.

I am indebted to the Rev. Mr. Robertson, in his elegant Essay on the Nature of English Verse, for many of the examples I have made use of, as well as for many judicious observations on them; and have much to regret, that a gentleman of his real learning and good taste did not carry his observations farther.

RULE III. How the Vowels e and o are to be pronounced, when apostrophised.

THE vowel e, which, in poetry, is so often cat off by an apostrophe in the word the, and in un

« AnteriorContinuar »