[217] Asiat. Research., t. ii., p. 13.
[218] Voyez Anquetil Duperron, Zend-Avesta, t. iii., p. 527 et suiv. Voyez aussi un ouvrage allemand de Wahl, sur l’état de la Perse: Pragmatische-Geografische und Statische Schilderung … etc. Leipzig, 1795, t. i., p. 198 à 204.
[219] Voyez plusieurs de leurs chansons rapportées par Laborde, Essai sur la Musique, t. ii., p. 398.
[220] Laborde, ibid., t. i., p. 425.
[221] I will give, later on, a strophe from Voluspa, a Scandinavian ode of eumolpique style, very beautiful, and of which I will, perhaps, one day make an entire translation.
[222] It was said long ago that a great number of rhymed verses were found in the Bible, and Voltaire even has cited a ridiculous example in his Dictionnaire philosophique (art. Rime): but it seems to me that before concerning oneself so much as one still does, whether the Hebraic text of the Sepher is in prose or in verse, whether or not one finds there rhymed verses after the manner of the Arabs, or measured after the manner of the Greeks, it would be well to observe whether one understands this text. The language of Moses has been lost entirely for more than two thousand four hundred years, and unless it be restored with an aptitude, force, and constancy which is nowadays unusual, I doubt whether it will be known exactly what the legislator of the Hebrews has said regarding the principles of the Universe, the origin of the earth, and the birth and vicissitudes of the beings who people it. These subjects are, however, worth the pains if one would reflect upon them; I cannot prevent myself from thinking that it would be more fitting to be occupied with the meaning of the words, than their arrangements by long and short syllables, by regular or alternate rhymes, which is of no importance whatever.
[223] Vossius, De Poematum cantu et viribus rhythmi; cité par J. J. Rousseau, Dictionnaire de Musique, art. Rythme.
[224] Nearly all of the Italian words terminate with one of four vowels, a, e, i, o, without accent: it is very rare that the vowels are accentuated, as the vowel ù. When this occurs as in cità, perchè, dì, farò, etc., then, only, is the final masculine. Now here is what one of their best rhythmic poets, named Tolomèo, gives as an hexameter verse:
Questa, per affeto, tenerissima lettera mando
A te …