l. 597.
When this fault is at the end of the line that closes a couplet, it leaves not the least trace of melody:
But of this frame the bearings, and the ties,
The strong connections, nice dependencies
In a line expressive of what is humble or dejected, it improves the resemblance betwixt the sound and sense, to exclude the capital accent. This, to my taste, is a beauty in the following lines.
In thêse deep sôlitudes || and aŵful cells
The pôor inhâbitant || behôlds in vain
To conclude this article, the accents are not, like the syllables, confined to a certain number. Some lines have no fewer than five, and there are lines that admit not above one. This variety, as we have seen, depends entirely on the different powers of the component words. Particles, even where they are long by position, cannot be accented; and polysyllables, whatever space they occupy, admit but one accent. Polysyllables have another defect, that they generally exclude the full pause. I have shown above, that few polysyllables can find place in the construction of English verse. Here are reasons for excluding them, could they find place.
I am now prepared to fulfil a promise concerning the four sorts of lines that enter into English heroic verse. That these have, each of them, a peculiar melody distinguishable by a good ear, I ventured to suggest, and promised to account for: and though this subject is extremely delicate, I am not without hopes of making good my engagement. First, however, like a wary general, I take all advantages the ground will permit. I do not aver, that this peculiarity of modulation is in every instance perceptible. Far from it. The impression made by a period, whether it be verse or prose, is occasioned chiefly by the thought, and in an inferior degree by the words; and these articles are so intimately united with the melody, that they have each of them a strong influence upon the others. With respect to the melody in particular, instances are without number, of melody, in itself poor and weak, passing for rich and spirited where it is supported by the thought and expression. I am therefore intitled to insist, that this experiment be tried upon lines of equal rank. And to avoid the perplexity of various cases, I must also insist, that the lines chosen for a trial be regularly accented before the pause: for upon a matter abundantly refined in itself, I would not willingly be imbarrassed with faulty and irregular lines. These preliminaries being adjusted, I begin with some general observations, that will save repeating the same thing over and over upon each particular case. And, first, an accent succeeded by a pause, makes sensibly a deeper impression than where the voice goes on without a stop: to make an impression requires time; and there is no time where there is no pause. The fact is so certain, that in running over a few lines, there is scarce an ear so dull as not readily to distinguish from others, that particular accent which immediately precedes the full pause. In the next place, the elevation of an accenting tone, produceth in the mind a similar elevation, which is continued during the pause. Every circumstance is different where the pause is separated from the accent by a short syllable. The impression made by the accent is more slight when there is no stop; and the elevation of the accent is gone in a moment by the falling of the voice in pronouncing the short syllable that follows. The pause also is sensibly affected by the position of the accent. In lines of the first and third order, the close conjunction of the accent and pause, occasions a sudden stop without preparation, which rouses the mind, and bestows on the melody a spirited air. When, on the other hand, the pause is separated from the accent by a short syllable, which always happens in lines of the second and fourth order, the pause is soft and gentle. This short unaccented syllable succeeding one that is accented, must of course be pronounced with a falling voice, which naturally prepares for a pause. The mind falls gently from the accented syllable, and slides into rest as it were insensibly. Further, the lines themselves, derive different powers from the position of the pause. A pause after the fourth syllable divides the line into two unequal portions, of which the largest comes last. This circumstance resolving the line into an ascending series, makes an impression in pronouncing like that of mounting upward. And to this impression contributes the redoubled effort in pronouncing the largest portion, which is last in order. The mind has a different feeling when the pause succeeds the fifth syllable. The line being divided into two equal parts by this pause, these parts, pronounced with equal effort, are agreeable by their uniformity. A line divided by a pause after the sixth syllable, makes an impression opposite to that first mentioned. Being divided into two unequal portions, of which the shortest is last in order, it appears like a slow descending series; and the second portion being pronounced with less effort than the first, the diminished effort prepares the mind for rest. And this preparation for rest is still more sensibly felt where the pause is after the seventh syllable, as in lines of the fourth order.
No person can be at a loss in applying these observations. A line of the first order is of all the most spirited and lively. To produce this effect, several of the circumstances above mentioned concur. The accent, being followed instantly by a pause, makes an illustrious figure: the elevated tone of the accent elevates the mind: the mind is supported in its elevation by the sudden unprepared pause which rouses and animates: and the line itself, representing by its unequal division an ascending series, carries the mind still higher, making an impression similar to that of mounting upward. The second order has a modulation sensibly sweet, soft, and flowing. The accent is not so sprightly as in the former, because a short syllable intervenes betwixt it and the pause: its elevation, by the same means, vanisheth instantaneously: the mind, by a falling voice, is gently prepared for a stop: and the pleasure of uniformity from the division of the line into two equal parts, is calm and sweet. The third order has a modulation not so easily expressed in words. It in part resembles the first order, by the liveliness of an accent succeeded instantly by a full pause. But then the elevation occasioned by this circumstance, is balanced in some degree by the remitted effort in pronouncing the second portion, which remitted effort has a tendency to rest. Another circumstance distinguisheth it remarkably. Its capital accent comes late, being placed on the sixth syllable; and this circumstance bestows on it an air of gravity and solemnity. The last order resembles the second in the mildness of its accent and softness of its pause. It is still more solemn than the third, by the lateness of its capital accent. It also possesses in a higher degree than the third, the tendency to rest; and by that circumstance is of all the best qualified for closing a period in the completest manner.
But these are not all the distinguishing characters of the different orders. Each order also, by means of its final accent and pause, makes a peculiar impression; so peculiar as to produce a melody clearly distinguishable from that of the others. This peculiarity is occasioned by the division which the capital pause makes in a line. By an unequal division in the first order, the mind has an impression of ascending; and is left at the close in the highest elevation, which is display’d on the concluding syllable. By this means, a strong emphasis is naturally laid upon the concluding syllable, whether by raising the voice to a sharper tone, or by expressing the word in a fuller tone. This order accordingly is of all the least proper for concluding a period, where a cadence is proper, and not an accent. In the second order, the final accent makes not so capital a figure. There is nothing singular in its being marked by a pause, for this is common to all the orders; and this order, being destitute of the impression of ascent, cannot rival the first order in the elevation of its accent, nor consequently in the dignity of its pause; for these always have a mutual influence. This order, however, with respect to its close, maintains a superiority over the third and fourth orders. In these the close is more humble, being brought down by the impression of descent, and by the remitted effort in pronouncing; considerably in the third order, and still more considerably in the last. According to this description, the concluding accents and pauses of the four orders being reduced to a scale, will form a descending series probably in an arithmetical progression.