PART VI.
PROSODY.
[§ 520]. The word Prosody is derived from a Greek word (prosodia) signifying accent. It is used by Latin and English grammarians in a wider sense, and includes not only the doctrines of accent and quantity, but also the laws of metre and versification.
[§ 521]. Observe the accents in the following lines:—
Then fáre thee wéll, mine ówn dear lóve,
The wórld hath nów for ús
No greáter griéf, no paín abóve
The paín of párting thús.—Moore.
Here the syllables accented are the 2nd, 4th, 6th, 8th, 10th, 12th, 14th, 16th, 18th, 20th, 22nd, 24th, 26th, 28th; that is, every other syllable.—Again,
At the clóse of the dáy, when the hámlet is stíll,
And the mórtals the sweéts of forgétfulness próve,
And when nóught but the tórrent is heárd on the híll,
And there's nóught but the níghtingale's sóng in the gróve.—Beattie.
Here the syllables accented are the 3rd, 6th, 9th, 12th, 15th, 18th, 21st, 24th, 27th, 30th, 33rd, 36th, 39th, 42nd, 45th, 48th; that is, every third syllable.
[§ 522]. Metre is a general term for the recurrence
within certain intervals of syllables similarly affected. The syllables that have just been numbered are similarly affected, being similarly accented. Accent is not the only quality of a syllable, which by returning at regular intervals can constitute metre. It is the one, however, upon which English metre depends. English metre essentially consists in the regular recurrence of syllables similarly accented.
Abbot.—And whý not líve and áct with óther mén?
Manfred.—Becaúse my náture wás avérse from lífe;
And yét not crúel, fór I woúld not máke,
But fínd a désolátion:—líke the wínd,
The réd-hot breáth of thé most lóne simoóm,
Which dwélls but ín the désert, ánd sweeps o'ér
The bárren sánds which beár no shrúbs to blást,
And révels ó'er their wíld and árid wáves,
And seéketh nót so thát it ís not soúght,
But béing mét is deádly: súch hath beén
The páth of mý exístence.—Byron.
[§ 523]. Measures.—For every accented syllable in the following line, write the letter a, and for every unaccented one, the letter x, so that a may stand for an accent, x for the absence of one—
The wáy was lóng, the wínd was cóld.—Scott.
or expressed symbolically
x a x a x a x a,
where x coincides with the, a with way, &c.
[§ 524]. Determine the length of the line in question.—It is plain that this may be done in two ways. We may either measure by the syllables, and say that the line consists of eight syllables; or by the accents, and say that it consists of four accents. In this latter case we take the accented syllable with its corresponding
unaccented one, and, grouping the two together, deal with the pair at once. Now, a group of syllables thus taken together is called a measure. In the line in question the way (x a) is one measure, was long (x a) another, and so on throughout; the line itself consisting of four measures.
[§ 525]. Trisyllabic measures.—The number of measures consisting of two syllables, or dissyllabic measures, is necessarily limited to two, expressed a x and x a respectively. But beyond these there are in the English language measures of three syllables, or trisyllabic measures. The number of these is necessarily limited to three.
The first of these is exhibited in the word mérrily (a x x).
Mérrily, mérrily sháll I live nów,
Únder the blóssom that hángs on the boúgh.—Shakspeare.
The second is exhibited by the word disáble (x a x).
But vaínly thou wárrest,
For thís is alóne in
Thy pówer to decláre,
That ín the dim fórest
Thou heárd'st a low moáning,
And sáw'st a bright lády surpássingly faír.—Coleridge.
[§ 526]. The third is exhibited by the word cavaliér (x x a).
There's a beaúty for éver unfádingly bríght,
Like the lóng ruddy lápse of a súmmer-day's níght.—Moore.
When grouped together according to certain rules, measures form lines and verses; and lines and verses,
regularly arranged, constitute couplets, triplets, and stanzas, &c.
[§ 527]. The expression of measures, lines, &c., by such symbols as a x, x a, &c., is metrical notation.
[§ 528]. Rhyme.—We can have English verse without rhyme. We cannot have English verse without accent. Hence accent is an essential; rhyme an accessory to metre.
[§ 529]. Analysis of a pair of rhyming syllables.—Let the syllables told and bold be taken to pieces, and let the separate parts of each be compared. Viewed in reference to metre, they consist of three parts or elements: 1. the vowel (o); 2. the part preceding the vowel (t and b respectively); 3. the parts following the vowel (ld). Now the vowel (o) and the parts following the vowel (ld) are alike in both words (old); but the part preceding the vowel is different in the different words (told, bold). This difference between the parts preceding the vowels is essential; since, if it were not for this, the two words would be identical, or rather there would be but one word altogether. This is the case with I and eye. Sound for sound (although different in spelling) the two words are identical, and, consequently, the rhyme is faulty.
Again—compared with the words bold and told, the words teeth and breeze have two of the elements necessary to constitute a rhyme. The vowels are alike (ee), whilst the parts preceding the vowels are different (br and t); and, as far as these two matters are concerned, the rhyme is a good one, tee and bree. Notwithstanding this, there is anything rather than a rhyme; since the parts following the vowel (th and ze) instead of agreeing, differ. Breathe and beneath are in the same
predicament, because the th is not sounded alike in the two words.
Again—the words feel and mill constitute only a false and imperfect rhyme. Sound for sound, the letters f and m (the parts preceding the vowel) are different. This is as it should be. Also, sound for sound, l and ll (the parts following the vowel) are identical; and this is as it should be also: but ee and i (the vowels) are different, and this difference spoils the rhyme. None and own are in the same predicament; since one o is sounded as o in note, and the other as the u in but.
From what has gone before we get the notion of true and perfect rhymes as opposed to false and imperfect ones. For two (or more) words to rhyme to each other, it is necessary
a. That the vowel be the same in both.
b. That the parts following the vowel be the same.
c. That the parts preceding the vowel be different.
Beyond this it is necessary that the syllables, to form a full and perfect rhyme, should be accented syllables. Sky and lie form good rhymes, but sky and merrily bad ones, and merrily and silly worse. Lines like the second and fourth of the following stanza are slightly exceptionable on this score: indeed, many readers sacrifice the accent in the word mérrily to the rhyme, and pronounce it merrilý.
The wítch she héld the haír in her hánd,
The réd flame blázed hígh;
And roúnd aboút the cáldron stoút,
They dánced right mérrilý.—Kirke White.
[§ 530]. In matters of rhyme the letter h counts as nothing. High and I, hair and air, are imperfect
rhymes, because h (being no articulate sound) counts as nothing, and so the parts before the vowel i and a are not different (as they ought to be) but identical.
Whose generous children narrow'd not their hearts
With commerce, giv'n alone to arms and arts.—Byron.
[§ 531]. Words where the letters coincide, but the sounds differ, are only rhymes to the eye. Breathe and beneath are both in this predicament; so also are cease and ease (eaze).
In the fat age of pleasure, wealth, and ease,
Sprang the rank weed, and thrived with large increase.—Pope.
[§ 532]. If the sounds coincide, the difference of the letters is unimportant.
Bold in the practice of mistaken rules,
Prescribe, apply, and call their masters fools.
They talk of principles, but notions prize,
And all to one loved folly sacrifice.—Pope.
[§ 533]. Single rhymes.—An accented syllable standing by itself, and coming under the conditions given above, constitutes a single rhyme.
'Tis hard to say if greater want of skill
Appear in writing or in judging ill;
But of the two, less dangerous is the offence
To tire the patience than mislead the sense.
Some few in that, but thousands err in this;
Ten censure wrong, for one that writes amiss.—Pope.
[§ 534]. Double rhymes.—An accented syllable followed by an unaccented one, and coming under the conditions given above, constitutes a double rhyme.
The meeting points the sacred hair dissever
From her fair head for ever and for ever.—Pope.
Prove and explain a thing till all men doubt it,
And write about it, Goddess, and about it.—Pope.
[§ 535]. An accented syllable followed by two unaccented ones, and coming under the conditions given above, constitutes a treble rhyme.
Beware that its fatal ascéndancy
Do not tempt thee to mope and repine;
With a humble and hopeful depéndency
Still await the good pleasure divine.
Success in a higher beátitude,
Is the end of what's under the Pole;
A philosopher takes it with grátitude,
And believes it the best on the whole.—Byron.
[§ 536]. Metres where there is no rhyme are called blank metres.
Of man's first disobedience and the fruit
Of that forbidden tree, whose mortal taste
Brought death into the world and all our woe,
With loss of Eden, till one greater Man
Restore us, and regain the blissful seat,
Sing, Heavenly Muse!—Milton.
The quality of mercy is not strained.
It droppeth as the gentle dew from heaven
Upon the place beneath; it is twice bless'd,
It blesseth him that gives, and him that takes
'Tis mightiest of the mighty, it becomes
The throned monarch better than his crown.
His sceptre shows the force of temporal power,
The attribute of awe and majesty,
Wherein doth sit the dread and fear of kings:
But mercy is above this sceptred sway;
It is enthroned in the hearts of kings:
It is an attribute to God himself;
And earthly power doth then show likest God's,
When mercy seasons justice.—Shakspeare.
[§ 537]. The last measure in a line or verse is indifferent as to its length.—By referring to the section upon single rhymes, we shall find that the number of syllables is just double the number of accents; that is, to each accented there is one unaccented syllable, and no more. Hence, with five accents, there are to each line ten syllables. This is not the case with all verses. Some rhymes are double, and the last accented syllable has two unaccented ones to follow it. Hence, with five accents there are to each line eleven syllables. Now it is in the last measure that this supernumerary unaccented syllable appears; and it is a general rule, that, in the last measure of any verse, supernumerary unaccented syllables can be admitted without destroying the original character of the measure.
[§ 538]. See the verses in the section on double rhymes. Here the original character of the measure is x a throughout, until we get to the words disséver and for éver, and afterwards to men doúbt it, and aboút it. At the first view it seems proper to say that in these last-mentioned cases x a is converted into x a x. A different view, however, is the more correct one. Disséver and for éver, are rather x a with a syllable over. This extra syllable may be expressed by the sign plus ( + ), so that the words in point may be expressed by x a +, rather than by x a x. It is very clear that a measure whereof the last syllable is accented (that is, measures like x a, presúme, or x x a, cavalíer), can only
vary from their original character on the side of excess; that is, they can only be altered by the addition of fresh syllables. To subtract a syllable from such feet is impossible; since it is only the last syllable that is capable of being subtracted. If that last syllable, however, be the accented syllable of the measure, the whole measure is annihilated. Nothing remains but the unaccented syllable preceding; and this, as no measure can subsist without an accent, must be counted as a supernumerary part of the preceding measure.
[§ 539]. With the measures a x, a x x, x a x, the case is different. Here there is room for syllable or syllables to be subtracted.
Queén and húntress, cháste and faír,
Nów the sún is laíd to sléep,
Seated ín thy sílver chaír,
Státe in wónted spléndour keép.
Hésperús invókes thy líght,
Góddess, éxquisítely bríght.—Ben Jonson.
In all these lines the last measure is deficient in a syllable, yet the deficiency is allowable, because each measure is the last one of the line. The formula for expressing faír, sléep, chaír, &c. is not a, but rather a x followed by the minus sign (-), or a x-.
A little consideration will show that amongst the English measures, x a and x x a naturally form single, a x and x a x double, and a x x treble rhymes.
[§ 540]. The chief metres in English are of the formula x a. It is only a few that are known by fixed names. These are as follows:—
1. Gay's stanza.—Lines of three measures, x a, with alternate rhymes. The odd (i.e. the 1st and 3rd) rhymes double.
'Twas when the seas were roaring
With hollow blasts of wind,
A damsel lay deploring,
All on a rock reclined.
2. Common octosyllabics.—Four measures, x a, with rhyme, and (unless the rhymes be double) eight syllables (octo syllabæ).—Butler's Hudibras, Scott's poems, The Giaour, and other poems of Lord Byron.
3. Elegiac octosyllabics.—Same as the last, except that the rhymes are regularly alternate, and the verses arranged in stanzas.
And on her lover's arm she leant,
And round her waist she felt it fold,
And far across the hills they went,
In that new world which now is old:
Across the hills and far away,
Beyond their utmost purple rim,
And deep into the dying day
The happy princess follow'd him.—Tennyson.
4. Octosyllabic triplets.—Three rhymes in succession. Generally arranged as stanzas.
I blest them, and they wander'd on;
I spoke, but answer came there none;
The dull and bitter voice was gone.—Tennyson.
5. Blank verse.—Five measures, x a, without rhyme, Paradise Lost, Young's Night Thoughts, Cowper's Task.
6. Heroic couplets.—Five measures, x a, with pairs of rhymes. Chaucer, Denham, Dryden, Waller, Pope, Goldsmith, Cowper, Byron, Moore, Shelley, &c. This is the common metre for narrative, didactic, and descriptive poetry.
7. Heroic triplets.—Five measures, x a. Three rhymes in succession. Arranged in stanzas. This metre is sometimes interposed among heroic couplets.
8. Elegiacs.—Five measures, x a; with regularly alternate rhymes, and arranged in stanzas.
The curfew tolls the knell of parting day,
The lowing herds wind slowly o'er the lea,
The ploughman homewards plods his weary way,
And leaves the world to darkness and to me.—Gray.
9. Rhymes royal.—Seven lines of heroics, with the last two rhymes in succession, and the first five recurring at intervals.
This Troilus, in gift of curtesie,
With hauk on hond, and with a huge rout
Of knightes, rode, and did her company,
Passing all through the valley far about;
And further would have ridden out of doubt.
Full faine and woe was him to gone so sone;
But turn he must, and it was eke to doen.—Chaucer.
This metre was common with the writers of the earlier part of Queen Elizabeth's reign. It admits of varieties according to the distribution of the first five rhymes.
10. Ottava rima.—A metre with an Italian name, and borrowed from Italy, where it is used generally for narrative poetry. The Morgante Maggiore of Pulci, the Orlando Innamorato of Bojardo, the Orlando Furioso of Ariosto, the Gierusalemme Liberata of Tasso, are all written in this metre. Besides this, the two chief epics of Spain and Portugal respectively (the Auraucana and the Lusiados) are thus composed. Hence it is a form of poetry which is Continental rather than
English, and naturalized rather than indigenous. The stanza consists of eight lines of heroics, the six first rhyming alternately, the last two in succession.
Arrived there, a prodigious noise he hears,
Which suddenly along the forest spread;
Whereat from out his quiver he prepares
An arrow for his bow, and lifts his head;
And, lo! a monstrous herd of swine appears,
And onward rushes with tempestuous tread,
And to the fountain's brink precisely pours,
So that the giant's join'd by all the boars.
Morgante Maggiore (Ld. Byron's Translation.)
11. Terza rima.—Like the last, borrowed both in name and nature from the Italian, and scarcely yet naturalized in England.
The Spirit of the fervent days of old,
When words were things that came to pass, and Thought
Flash'd o'er the future, bidding men behold
Their children's children's doom already brought
Forth from the abyss of Time which is to be,
The chaos of events where lie half-wrought
Shapes that must undergo mortality:
What the great seers of Israel wore within,
That Spirit was on them and is on me:
And if, Cassandra-like, amidst the din
Of conflicts, none will hear, or hearing heed
This voice from out the wilderness, the sin
Be theirs, and my own feelings be my meed,
The only guerdon I have ever known.
12. Alexandrines.—Six measures, x a, generally (perhaps always) with rhyme. The name is said to be taken from the fact that early romances upon the deeds of Alexander of Macedon, of great popularity, were written in this metre. One of the longest poems in the
English language is in the Alexandrines, viz. Drayton's Poly-olbion, quoted above.
13. Spenserian stanza.—A stanza consisting of nine lines, the first eight heroics, the last an Alexandrine.
It hath been through all ages ever seen,
That with the prize of arms and chivalrie
The prize of beauty still hath joined been,
And that for reason's special privitie;
For either doth on other much rely.
For he meseems most fit the fair to serve
That can her best defend from villanie;
And she most fit his service doth deserve,
That fairest is, and from her faith will never swerve.—Spenser.
Childe Harold and other important poems are composed in the Spenserian stanza.
14. Service metre.—Couplets of seven measures, x a. This is the common metre of the Psalm versions. It is also called common measure, or long measure. In this metre there is always a pause after the fourth measure, and many grammarians consider that with that pause the line ends. According to this view, the service metre does not consist of two long lines with seven measures each; but of four short ones, with four and three measures each alternately. The Psalm versions are printed so as to exhibit this pause or break.
The Lord descended from above, | and bow'd the heavens most high,
And underneath his feet He cast | the darkness of the sky.
On Cherubs and on Seraphim | full royally He rode,
And on the wings of mighty winds | came flying all abroad.—Sternhold and Hopkins.
In this matter the following distinction is convenient. When the last syllable of the fourth measure (i.e. the eighth syllable in the line) in the one verse rhymes with
the corresponding syllable in the other, the long verse should be looked upon as broken up into two short ones; in other words, the couplets should be dealt with as a stanza. Where there is no rhyme except at the seventh measure, the verse should remain undivided. Thus:
Turn, gentle hermit of the glen, | and guide thy lonely way
To where yon taper cheers the vale | with hospitable ray—
constitute a single couplet of two lines, the number of rhymes being two. But,
Turn, gentle hermit of the dale,
And guide thy lonely way
To where yon taper cheers the vale
With hospitable ray—(Goldsmith)
constitute a stanza of four lines, the number of rhymes being four.
15. Ballad stanza.—Service metre broken up in the way just indicated. Goldsmith's Edwin and Angelina, &c.
16. Poulterer's measure.—Alexandrines and service metre alternately. Found in the poetry of Henry the Eighth's time.