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to Surrey, are merely rhythmical, to be read by cadence, and admitting of considerable variety in the number of syllables, though ten may be the more frequent. In the manuscripts of Chaucer, the line is always broken by a cæsura in the middle, which is pointed out by a virgule; and this is preserved in the early editions down to that of 1532. They come near, therefore, to the short Saxon line, differing chiefly by the alternate rhyme, which converts two verses into one. He maintains that a great many lines of Chaucer cannot be read metrically, though harmonious as verses of cadence. This rhythmical measure he proceeds to show in Hoccleve, Lydgate, Hawes, Barclay, Skelton, and even Wyatt; and thus concludes, that it was first abandoned by Surrey, in whom it very rarely occurs. This hypothesis, it should be observed, derives some additional plausibility from a passage in Gascoyne's Notes of instruction concerning the making of verse or rhyme in English,' printed in 1575. Whosoever do peruse and well consider his (Chaucer's) works, he shall find that, although his lines are not always of one selfsame number of syllables, yet being read by one that hath understanding, the longest verse, and that which hath most syllables in it, will fall (to the ear) correspondent unto that which hath fewest syllables; and likewise that which hath fewest syllables shall be found yet to consist of words that have such natural sound, as may seem equal in length to a verse which hath many more syllables of lighter accents.'

"A theory so ingeniously maintained, and with so much induction of examples, has naturally gained a good deal of credit. I cannot, however, by any means concur in the extension given to it. Pages may be read in Chaucer, and still more in Dunbar, where every line is regularly and harmoniously decasyllabic; and though the cæsura may perhaps fall rather more uniformly than it does in modern verse, it would be very easy to find exceptions, which could not acquire a rhythmical cadence by any artifice of the reader. The deviations from the normal type, or decasyllable line, were they more numerous than, after allowance for the license of pronunciation, as well as the probable corruption of the text, they appear to be, would not, I conceive, justify us in concluding that it was disregarded. These

aberrant lines are much more common in the dramatic blank verse of the seventeenth century. They are, doubtless, vestiges of the old rhythmical forms; and we may readily allow that English versification had not, in the fifteenth or even sixteenth centuries, the numerical regularity of classical or Italian metre. In the ancient ballads, Scots and English, the substitution of the anapaest for the iambic foot, is of perpetual recurrence, and gives them a remarkable elasticity and animation; but we never fail to recognize a uniformity of measure, which the use of nearly equipollent feet cannot, on the strictest metrical principles, be thought to impair."

His

Mr Guest, in his work, of which brings to the story of English verse we hope erelong to give an account, far more extensive research than had hitherto been bestowed upon it; and that special scholarship which was needed-the Anglo-Saxon language, learned in the new continental school of Rask and Grimm. examination of our subject merges in a general history of the Language, viewed as a metrical element or material; and hence his exposition, which we rapidly collect seriatim, is plainly different in respect of both order and fulness from what it would have been, had the illustration of Chaucer been his main purpose. He follows down the gradual Extinction of Syllables; and in this respect, our anciently syllabled, now mute E, takes high place. and falls first under his consideration,

This now silent or vanished Vowel occurred heretofore, with metrical power, in adopted FRENCH Substantives, as eloquenc-E, maladi-E; and in their plurals, as-maladi-Es. And in Adjectives of the same origin, as— larg-E.

It remained from several parts of the ANGLO-SAXON grammar.-From A, E, U, endings of Anglo-Saxon substantives-as nam-A, nam-E; tim-A, tim-E; mon-A, (the moon,) mon-E; sunn-E, (the sun,) sonn-E; heort-E, (the heart,) hert-E; ear-E, (the ear,) er-E; scol-u, (school,) scol-E; luf-u, lov-E; sceam-U, sham-E; lag-A, law-E; sun-u, (a son,) son-E; wud-u, (a wood,) wod-E.-(To Mr Guest's three vowels, add 0:-as bræd-o (breadth) bred-E.) - From the termination THE; as-streng-THE; YOW-TIE.

-From a few adjectives ending in E; as-getrew-E, trew-E; new-E, new-E. -From adverbs, formed by the same vowel from adjectives; as from beorht, (bright,) is made, in Anglo-Saxon, beorht-E, (brightly,) remaining with Chaucer, as bright-E.-Inflexion produces the final E. In substantives, the prevalent singular dative of the mother speech was in E. Chaucer, now and then, seems to present us with a dative; as in the second verse of the Prologue to the Canterbury Tales, from rot, (root,) rot-E. And Mr Guest thinks that he has found ONE instance of a genitive plural E from A; namely, from the earlier ath, (an oath,) genitive plural, ath-A; with Chaucer-oth, oth-E.

The German family of languages exhibits a fine and bold peculiaritya double declension of its Adjectives, depending on a condition of syntax. The Anglo-Saxon adjective, in its ordinary (or, as grammarians have called it, Indefinite) declension, makes the nominative plural for all the genders in E; and this remains as the regular plural termination of the adjective to Chaucer. Thus we have, in the more ancient language-eald; plural, eald-E; with Chaucer-old; plural, old-E, &c.

The rule of the extraordinary (or Definite) declension, is thus generally given by Mr Guest for Chaucer. "When the adjective follows the definite article, or the definite pronoun, this, that, or any one of the possessive pronouns-his, her, &c.-it takes what is called its definite form."-(Vol. i. p. 32.) From the Anglo-Saxon definite declension (running through three genders, five cases, and two numbers,) remains, to the language that arose after the Conquest, ONE final E. E. g. Indefinite-strong; definite, strong-E;indefinite-high; definite-high-E.

The Verb ends the first person singular, and the three persons plural, of the present tense, and makes imperative and infinitive, in E. The past tense generally ends in DE or EDE; (Mr Guest has forgotten TE;) sometimes in ED.

As for those two principal endings, the genitive singular in ES, which is the Anglo-Saxon termination retained, and the plural in ES, which is the Anglo-Saxon ending obscured they happen hardly to fall under Mr

Guest's particular regard; but it is easily understood that the AngloSaxon hlaford, (lord,) gen. sing. hlaford-Es, had, in Chaucer's day, become lord, lord-Es;-and that scur, (shower,) plural scur-as, of our distant progenitors had bequeathed to his verse-shour, shour-ES.

Legitimate scepticism surely ceases when it thus appears that ignorance alone has hastily understood that this vowel, extant in this or that word, with a quite alien meaning and use, (e. g. for lengthening a foregoing vowel-softening an antecedent consonant,)—or with none, and through the pure casualty of negligence or of error, might at any time be pressed irregularly into metrical service. Assuredly Chaucer never used such blind and wild license of straightening his measure; but an instructed eye sees in the Canterbury Tales-and in all his poetry of which the text is incorrupt the uniform application of an intricate and thoroughly critical rule, which fills up by scores, by hundreds, or by thousands, the timewronged verses of "the Great Founder" to true measure and true music.

To sum up in a few words our own views-First, if you take NO account of the mute E, the great majority of Chaucer's verses in the only justifiable text-Tyrwhitt's Canterbury Talesare in what we commonly call the TENsyllabled Iambic metre.

Secondly, if you take account of the metrical E, the great majority of them appear, if you choose so to call them, as ELEVEN-syllabled Iambic verses, or as the common heroic measure with a supernumerary terminal syllable.

Thirdly, if you take No account of the disputed E, a very large number of the verses, but less apparently than the majority, appear as wanting internally one or two syllables.

Fourthly, if you take account of the said troublesome E, almost universally these deficient measures become filled up to the due complement-become decasyllabic or hendecasyllabic, as the case may be.

Fifthly, if you consent to take account of this grammatical metrical E, no inconsiderable number of the verses --ten-syllabled or eleven-syllabled, by technical computation-acquire one or two supernumerary syllables dis

tributed, if one may so speak, within the verse--and to be viewed as enriching the harmony without distorting or extending the measure, after the manner of the Paradise Lost.

Finally, (for the present,) whether the verses in general fall under our usual English scheme of the one-syllabled ending, or end, as the Italian for the most part do, dissyllabically, has been disputed by those who agree in the recognition of the metrical E. To wit-shall the final E of Mr Guest's rule, ending the verse, and where it would, consequently, make a hypercatalectic eleventh syllable, still be pronounced as Tyrwhitt, although not anxiously, contends? If the grammatical rule is imperative within the verse, as much, one would think, must it be so at its termination. That Chaucer admits the doubled ending we see by numerous unequivocal instances from all moods of the verse, mirthful and solemn; these show a versification friendly to the doubled ending; and must go far to remove any scruple of admitting Tyrwhitt's conception of it as generally hendecasyllabic.

Let the position of Chaucer in the history of his art be considered, and it will be seen that those who maintain a systematic art in him have a

relief from objections greater than those who should enquire concerning perhaps any other poet. In the formation of his verse, and the lifting up of a rude language, more than Dante himself, a creator! What wonder, then, if he should sometimes make mistakes, and that some inconsistencies remain at last irreducible? If the method undertaken draws the irreducible cases into a narrower and a narrower compass, that sufficiently justifies the theory of the method against all gainsayers.

This copious, and, possibly, tedious grammatical display of this once active metrical element, was forced from us as the only proper answer to the doubt revived in our own day on the versification of Chaucer. We are too prone to believe that our forefathers were as rude as their speech, and their specch as they; but this multitude of grammatical delicacies, retained for centuries after the subjection of the native language by conquest, and systematically applied in the versification of the great old poet, shows a feeling of language, and an authentic stamp of art, that claim the most genial and sympathizing respect of a refined posterity, to their not wholly unrefined, more heroic ancestors.

INDEX TO VOL. LVII.

About a bonnet, 242.
Aden, town of, 206.

Advice to an author, on the novel and

the drama, 679.

Esthetics of dress:-A case of hats, 51
-No. II. about a bonnet, 242-No.
III. the cut of a coat and the good
of a gown, 608-No. IV. minor mat-
ters, 731.

I. concluded, The Palimpsest, 739–
Levana and our Ladies of Sorrow, 743
-The apparition of the Brocken, 747
-Finale to Part I., Savannah-la-Mar,
750.

Critics, the British—see British.
Cuba, insurrection in, 605.

Cut of a coat, the, 608.

Dance of death, from Goethe, 167.

Affliction of childhood, the, by the Eng- Dante, characteristics of, 2, 9.

lish Opium-Eater, 274.
Agriculture, Practical, 298.

Almaden, the quicksilver mines of, 186.
Anacreon's grave, from Goethe, 175.
Apparition of the Brocken, the, by the
English Opium-Eater, 747.
Ariosto, remarks on, 404.

Arnold's history of Rome, vol. iii., re-
view of, 752.

Betham's Etruria Celtica, review of, 474.
Blind girl, to a, 98.

Bonnet, about a, 242.

Book of the Farm, review of, 298.
Borodino, an ode, 30.
Bravo, character of, 601.
Breeze, the, from Goethe, 173.
British critics, North's specimens of,
No. I. Dryden, 133-No. II. Dryden
and Pope, 369-No. III. Dryden, 503
-No. IV. Dryden on Chaucer, 617-
No. V. the same, concluded, 771.
British history during the eighteenth
century, 353.

Brothers, the, from Goethe, 176.
Cairo, town of, 210.

Calm at sea, the, from Goethe, 173.
Campagna of Rome, the, 546.
Case of hats, a, 51.
Cattaro, sketches of, 34.
Cavalier's choice, from Goethe, 174.
Cennino Cennini on painting, 717.
Cervantes, remarks on, 8.
Ceylon, sketch of, 204.
Chapman's Homer, remarks on, 381.
Chaucer, Dryden on, 617, 771.
Chosen rock, the, from Goethe, 177.
Coleridge and opium-eating, 117.
Comfort in tears, from Goethe, 170.
Confessions of an English Opium-eater,
a sequel to. Introductory notice, 269
--Part I. The affliction of childhood,
274--Part I. continued, 489.-Part

Death trance, from Goethe, 177.

Delta, stanzas written after the funeral
of Sir David Milne, by, 766.
Desert, journey across the, 204.
Draining land, on, 299.

Drama and the novel, the, 679.
Dress, æsthetics of, a case of hats, 51-

No. II. about a bonnet, 242-No. III.
The cut of a coat and the good of a
gown, 608.

Dryden as a critic, 133, 369, 503-as a

translator, 511-on Chaucer, 617,771,
Dumas, M., the three guardsmen by, 59.
Egypt, sketches of, 286.

Englishwoman in Egypt, the, 286.
Etruria Celtica, review of, 474.
Etudes des Sciences Sociales, review
of, 529.

Evening, from Goethe, 173.
Exculpation, from Goethe, 179.

Fairest flower, the, from Goethe, 168.
Fasti of Ovid, translation from the, 94.
Forced sale, the, 99-Chap. II., 103—
Chap. III, 107-Chap. IV., 111.
France, state of manners, &c., in, before
the Revolution, 705.

George III., review of Walpole's me-
moirs of, 353.
German-American

romances The
Viceroy and the Aristocracy, or
Mexico in 1812-Part I., Introduc-
tion, 251-Chap. I., 257-Chap. XI.,
262 Part II., 331-Chap. XVIII,
333-Chap. XIX., 340—Chap. XX.,
345-Chap., XXIII., 349-Part III.,
561—Chap. XLI.,572—Chap. XLII.,
575.

Gillman's life of Coleridge, strictures
on, 117.

Glance at the Peninsula, 595.
Goethe--see Poems.

Good of a gown, the, 608.

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Levana and our Ladies of Sorrow, by the

English Opium-Eater, 743.

Lopez, character of, 601.

Love's Hour-Glass, from Goethe, 176.
Lucretius, remarks on, 517.
Malmesbury's Diary and Correspon-
dence, review of, 315.
Malta, 215.

Marriage unequal, from Goethe, 178.
Marston; or, Memoirs of a Statesman
-Part XV., 75-Part XVI., 461—
Part XVII., 679.

Matanzas, insurrection at, 605.
Maynooth, 647.

Merrifield, Mrs, translation of Cennino
Cennini on Painting, by, 717.
Mesmerism, 219.

Mexico in 1812-Part I., 251-Part
II., 331-Part III., 561.
Michael Angelo, 1, 15.
Midnight Watch, the-Chap. I., 424—
Chap. II., 431-Chap. III., 439-
Chap. IV., 444.

Milne, Sir David, stanzas written after
the funeral of, by Delta, 766.
Milton, critiques on, 5, 503.
Modern Political Economy, remarks on,

529.

Mohammed Ali, 215.

Montenegro, a ramble in, 33.

Muse's mirror, from Goethe, 179.
My first spec in the Biggleswades, 549.
Narvaez, character of, 599.
New love, from Goethe, 179.
North's Specimens of the British Critics,
No. I., Dryden, 133-No. II., Dryden
and Pope, 369-No. III., Dryden,
503-No. IV, Dryden on Chaucer,
617-the same, concluded, 771.
Novel and the Drama, the, 679.

O'Donnell, governor of Cuba, 605.
Opium-Eater, a sequel to the confes-
sions of the, introductory notice, 269
-Part I. The affliction of childhood,
274-Part I. continued, 489-con-
cluded; the Palimpsest, 739-Levana
and our Ladies of Sorrow, 743-the
apparition of the Brocken,747-Finale
to Part I., Savannah-la-Mar, 750.
Overland passage, the, 204.
Ovid's Fasti, translation from, 94.
Painting, Cennino Cennini on, 717.
Park, the, from Goethe, 178.
Parting precepts, by B. Simmons, 114.
Pauperism, increase of, 531.

Peel, E. Borodino, an ode by, 30.
Peninsula, a glance at the, 595.
Perfect bliss, from Goethe, 176.
Philomela, from Goethe, 177.

Phoebus and Hermes, from Goethe, 179.
Ping-Kee's view of the stage, 415.
Poems and ballads of Goethe, No. III.

The waterman, 165-the king in
Thule, 166-the dance of death, 167

-

the fairest flower, 168-sorrow
without consolation, 170-comfort in
tears, ib.-to a golden heart, 171–
welcome and departure, 172-even-
ing, 173-a calm at sea, ib.-the
breeze, ib.-the cavalier's choice,
174-retribution, 175-poems after
the manner of the antique; the hus-
bandman, ib.-Anacreon's grave, ib.
-the brothers, 176-Love's hour-
glass, ib. warning, ib.-solitude, ib.
-perfect bliss, ib.-the chosen rock,
177-the death-trance, ib.-Philo-
mela, ib.-sacred ground, ib.-the
park, 178-the teachers, ib.-mar-
riage unequal, ib.-holy family, ib.-
exculpation, 179-the muses' mirror,
ib.-Phoebus and Hermes, ib.-a new
love, ib. the wreaths, 180-the Swiss
Alp, ib.

Poetry-Borodino, an ode, by E. Peel,
30 Janus, from the Fasti of Ovid,
94-to a blind girl, 98-Vanities in
verse, by B. Simmons, 114-the
tower of London, by Thomas Ros-
coe, 158-the poems and ballads of
Goethe, No. III. 165-stanzas by
J. D., 314 stanzas written after the
funeral of Sir David Milne, by Delta,
766-stanzas to the memory of Tho-
mas Hood, by B. Simmons, 768.
Poetry, on the translation of, 507.
Political economy, remarks on modern,

529.

Pompeii, 218.

Poole's Englishwoman in Egypt, review
of, 286.

Pope, critique on, 369.

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