Cheer'd the rough road, we wish'd the rough road long.
The rough road then returning in a round
Mock'd our impatient steps, for all was fairy ground."
"We have now," says the Doctor, "lost much of the delay and much of the rapidity." Truly so!—but why? The choice of words has really altered the measure, though not the number of syllables. If we look at the second line of the first extract, we see how the frequent use of the aspirate, with a long sound after it, gives the labour of the ascent. There is nothing of this in the corresponding line, where the "r" gives a run rather than a halt to the measure. But Johnson more decidedly shows how he was mistaken when he finds fault with Pope's—
"The varying verse, the full resounding line,
The long majestic march, and energy divine."
His objection to this is, that the same sequence of syllables gives "the rapid race" and "the march of slow-paced majesty;" and he adds, "the exact prosodist will find the line of swiftness by one time longer than that of tardiness." By this it is to be presumed he alludes to the trisyllabic nature of the first foot of the first line—"varying." But it is just that which gives the rapidity. The other half of the line is not meant to give rapidity, but "resounding." The second line, by the repetition of the "a" in "march" and "majesty," gives the tramp of the march to admiration.
So much for Johnson's objections. We will now see how far the lines of Pope can guide us in the construction of verse.
Line Third indicates the necessity—which Pope himself, even, did not adequately recognise—the necessity of varying the fall of the verse on the ear. Pope did this by graduating his accents. The line should scan with an accented syllable following an unaccented one—
"And smo´oth or ro´ugh, with the´m, is ri´ght or wro´ng."