"And Thomson, though best in his indolent fits,
Either slept himself weary, or blasted his wits."—Id.
Here, if we reckon the feet in question to be anapests, we have dissyllables with both parts short. But some, accenting "ago" on the latter syllable, and "Either" on the former, will call "ago now" a bacchy, and "Either slept" an amphimac: because they make them such by their manner of reading.—G. B.
[484] "Edgar A. Poe, the author, died at Baltimore on Sunday" [the 7th].—Daily Evening Traveller, Boston Oct. 9, 1849. This was eight or ten months after the writing of these observations.—G. B.
[485] "Versification is the art of arranging words into lines of correspondent length, so as to produce harmony by the regular alternation of syllables differing in quantity"—Brown's Institutes of E. Gram., p. 235.
[486] This appears to be an error; for, according to Dilworth, and other arithmeticians, "a unit is a number;" and so is it expounded by Johnson, Walker, Webster, and Worcester. See, in the Introduction, a note at the foot of p. 117. Mulligan, however, contends still, that one is no number; and that, "to talk of the singular number is absurd—a contradiction in terms;"—because, "in common discourse," a "number" is "always a plurality, except"—when it is "number one!"—See Grammatical Structure of the E. Language, §33. Some prosodists have taught the absurdity, that two feet are necessary to constitute a metre, and have accordingly applied the terms, monometer, dimeter, trimeter, tetrameter, pentameter, and hexameter,—or so many of them as they could so misapply,—in a sense very different from the usual acceptation. The proper principle is, that, "One foot constitutes a metre."—Dr. P. Wilson's Greek Prosody, p. 53. And verses are to be denominated Monometer, Dimeter, Trimeter, &c., according to "THE NUMBER OF FEET."—See ib. p. 6. But Worcester's Universal and Critical Dictionary has the following not very consistent explanations: "MONOMETER, n. One metre. Beck. DIMETER, n. A poetic measure of four feet; a series of two meters. Beck. TRIMETER, a. Consisting of three poetical measures, forming an iambic of six feet. Tyrwhitt. TETRAMETER, n. A Latin or Greek verse consisting of four feet; a series of four metres. TETRAMETER, a. Having four metrical feet. Tyrwhitt. PENTAMETER, n. A Greek or Latin verse of five feet; a series of five metres. PENTAMETER, a. Having five metrical feet. Warton. HEXAMETER, n. A verse or line of poetry, having six feet, either dactyls or spondees; the heroic, and most important, verse among the Greeks and Romans;—a rhythmical series of six metres. HEXAMETER, a. Having six metrical feet. Dr. Warton." According to these definitions, Dimeter has as many feet as Tetrameter; and Trimeter has as many as Hexameter!
[487] It is common, at any rate, for prosodists to speak of "the movement of the voice," as do Sheridan, Murray, Humphrey, and Everett; but Kames, in treating of the Beauty of Language from Resemblance, says "There is no resemblance of sound to motion, nor of sound to sentiment."—Elements of Criticism, Vol. ii, p. 63. This usage, however, is admitted by the critic, had cited to show how, "causes that have no resemblance may produce resembling effects."—Ib. 64. "By a number of syllables in succession, an emotion is sometimes raised extremely similar to that raised by successive motion: which may be evident even to those who are defective in taste, from the following fact, that the term movement in all languages is equally applied to both."—Ib. ii. 66.
[488] "From what has been said of accent and quantity in our own language, we may conclude them to be essentially distinct and perfectly separable: nor is it to be doubted that they were equally separable in the learned languages."—Walkers's Observations on Gr. and Lat. Accent and Quantity, §20; Key, p. 326. In the speculative essay here cited, Walker meant by accent the rising or the falling inflection,—an upward or a downward slide of the voice: and by quantity, nothing but the open or close sound of some vowel; as of "the a in scatter" and in "skater," the initial syllables of which words be supposed to differ in quantity as much as any two syllables can!—Ib., §24; Key, p. 331. With these views of the things, it is perhaps the less to be wondered at, that Walker, who appears to have been a candid and courteous writer, charges "that excellent scholar Mr. Forster—with a total ignorance of the accent and quantity of his own language," (Ib., Note on §8; Key, p. 317;) and, in regard to accent, ancient or modern, elsewhere confesses his own ignorance, and that of every body else, to be as "total." See marginal note on Obs. 4th below.
[489] (1.) "We shall now take a view of sounds when united into syllables. Here a beautiful variation of quantity presents itself as the next object of our attention. The knowledge of long and short syllables, is the most excellent and most neglected quality in the whole art of pronunciation.
The disputes of our modern writers on this subject, have arisen chiefly from an absurd notion that has long prevailed; viz. that there is no difference between the accent and the quantity, in the English language; that the accented syllables are always long, and the unaccented always short.
An absurdity so glaring, does not need refutation. Pronounce any one line from Milton, and the ear will determine whether or not the accent and quantity always coincide. Very seldom they do."—HERRIES: Bicknell's Gram., Part ii, p. 108.