"Rich in Italy's works and the masterly labours of Belgium."
And no less does the ear repudiate all other violent elisions. I find several in the other translation of the Iliad referred to in your notice of N. N. T.'s. And I am sure Mr Shadwell will excuse my pointing out one or two of them, and will accept in a friendly spirit criticisms which arise from a fellow feeling with him in the love of English hexameters. These occur in his First Iliad.
"Wheth'r it's for vow not duly perform'd or for altar neglected."
"Hand on his sword half drawn from its sheath, on a sudd'n from Olympus."
"Fail to regard in his envy the daught'r of the sea-dwelling ancient."
Such crushing of words is intolerable. Our hexameters, to be generally acceptable, must flow on smoothly, with the natural pronunciation of the words; at least this is necessary till the national ear is more familiar with the movement than it is at present.
I believe I have still some remarks upon hexameters in store, if your patience and your pages suffice for them: but for the present I wish to say a word or two on another subject closely connected with this; I mean pentameters. The alternate hexameter and pentameter are, for most purposes, a more agreeable measure than the hexameter by itself. The constant double ending is tiresome, as constant double rhymes would be. Southey says, in his angry way, speaking of his hexameters—"the double ending may be censured as double rhymes used to be; but that objection belongs to the duncery." This is a very absurd mode of disposing of one objection, mentioned by him among many others equally formal and minute, which others he pretends to discuss calmly and patiently. The objection is of real weight. Though you might tolerate a double ending here and there in an epic, I am sure, Mr Editor, you would stop your critical ears at the incessant jingle of an epic in which every couplet had a double rhyme. On the other hand, an alternation of double and single endings is felt as an agreeable form of rhythm and rhyme. We have some good examples of it in English; the Germans have more: and the French manifest the same feeling in their peremptory rule for the alternation of masculine and feminine rhymes. And there is another feature which recommends the pentameter combined with the hexameter. This combination carries into effect, on a large scale, a principle which prevails, I believe, in all the finer forms of verse. The principle which I mean is this;—that the metrical structure of the verse must be distinct and pure at the end of each verse, though liberties and substitutions may be allowed at the beginning. Thus, as you know, Mr Editor, the iambics of the Greek tragedians admit certain feet in the early part of the line which they do not allow in the later portions. And in the same manner the hexameter, a dactylic measure, must have the last two feet regular, while the four preceding feet may each be either trissyllabic or dissyllabic. Now, this principle of pure rhythm at the end of each strain, is peculiarly impressed upon the hexameter-pentameter distich. The end of the pentameter, rigorously consisting of two dactyls and a syllable, closes the couplet in such a manner that the metrical structure is never ambiguous; while the remainder of the couplet has liberty and variety, still kept in order by the end of the hexameter; and the double ending of the strain is avoided. I do not know whether you, Mr Editor, will agree with me in this speculation as to the source of the beauty which belongs to the hexameter-pentameter measure: but there can be no doubt that it has always had a great charm wherever dactylic measures have been cultivated. Schiller and Göethe have delighted in it no less than Tyrtæus and Ovid: and I should conceive that this measure might find favour in English ears, even more fully than the mere hexameter.
But, in order that there may be any hope of this, it is very requisite that the course of the verse should be natural and unforced. This is more requisite even than in the hexameter; for, in the pentameter, the verse, if it be at variance with the natural accent, subverts it more completely, and makes the utterance more absurd. But it does not appear to be very difficult to attain to this point. In the model distich quoted by Coleridge—
"In the hexameter rises the fountain's silvery column,
In the pentameter still falling in melody back;"
the pentameter is a better verse than the hexameter. Surry's pentameters often flow well, in spite of his false scheme of accentuation.