If the pronunciation of the following imaginary sentence, (constructed to show every variety of measure,) were regulated by the pendulum, the results would be such as shall be presently stated. "li If a pendulum were employed to measure the bars of this unmeaning sentence, the word "fame" being a syllable of quantity, might be prolonged, so as to occupy two swings; the remission taking place in the latter part of the word, on the sound of the m: the silent bar would consume the time of two more; "science" that of the two next; the silent bar the time of the following two; berty," that of the two next; "spiritual," that of the succeeding two; the rest 7 marked in the next bar, would consume the time of one swing, the word "are," in that bar the other; the measure of five syllables, rapidly uttered, might be crowded into the time of the next two swings; "hope" again would take the time of a single swing, and the rest 7 following it, would employ the time of the next; the word "fear," might be made by quantity to occupy the two remaining swings. In this experiment, the integral measures would be the same in duration, while their quotional parts would differ from one syllable, to five. A very conspicuous variety, as respects the ear, would be produced by the number and rapidity of the syllabic impulses of some of the measures, as compared with others. We are now prepared for a definition of syllabic Rythmus. Rythmus consists in an arrangement of syllabic measures, distinguishable by the ear, divided more or less by pauses, and of more or less obvious proportion in their periods and responses. Verse, as will be seen presently, is made of a regular succession of like measures, or of measures of so limited a variety, and so divided by pauses, into proportioned parts, as to present sensible responses at certain intervals, to the ear. Measures consisting, for the most part, of two syllables, the first accented or heavy, the second unaccented or light, make up what is called common time poetry. The rythmus in which the measure of three syllables predominates is called triple time poetry. Came to the | beach a poor exile of Erin. All poetry is based upon one of these two measures. It is true, indeed, that occasional bars are occupied otherwise than by measures of two and three syllables. Imperfect measures must occur: rests of various duration are required, and sometimes measures are composed of a different number of syllables from the standard. The magic of the poet's art consists in such a nice adjustment of these quotional parts, both as respects the syllabic impulses, and the impressive rests, as shall produce agreeable variety, without disturbing the regular mechanism of his verse: and a large portion of its harmony and smoothness lies in the management of this department of his art. The following line of Dryden is in common measure, but the agreeable flow of the numbers arises from the variety of the syllabic impulses distributed through the bars, and the peculiar adjustment of the rests. Arms and the Man I sing | 77 who? forced by .. .. Δ.: Δ. fate 7 Δ. The following lines are also in common measure, but every one feels the effect of the rapidity of the syllabic impulses crowded into the time of one of the bars of the first line. The poetry which preceded the revolution of 1688, is superior in its rythm, as well as in fire and comprehension, to that which followed, with perhaps two exceptions; the blank verse of Milton, and the finer parts of Dryden. This latter poet has much greater variety in the mechanism of his verse, than Pope and his imitators. The finest lines of Pope, are those in which he has disregarded the finger counting prosody, by which he seems to have been habitually regulated; and which substituted, the consideration of the number of syllables in a line, for that of the structure of the measures. Much of the pоetry of his time, and which followed it, is well described in the following lines of its great projenitor himself. Grove nods to grove, each alley has its brother; He might have found the promptings to a higher strain, in the spirit of some other lines of his, which truly describe the versification of some of the great masters of song who preceded him. "Where order in variety we see, And where though all things differ, all agree." Of all our poets, Shakspeare and Milton are the most distinguished for the happy mechanism of their verse. In their free use of quantity, in the variety of the syllabic impulses of their measures, and in the adjustment of their pauses, they ring every change of rythm of which the language is susceptible; undulating through each description of measure, from the long drawn time of a single syllable, to that of four, and in an order that ever charms the ear. "In notes with many a winding bout L' Allegro. The scored extracts contained in this Grammar, will display to the eye the variety of the rythm which distinguishes the verse of these great masters of the lyre: but it must be read as it is scored in order to do them "fair justice;" to show how appropriate a vehicle it is, for the glorious thoughts and images which it conveys, or rather which "voluntary move" its " harmonious numbers." The most perfect measures are those occupied by two or three syllables; and which may be called common or triple measures. The measure next in the order of pre valence, may be termed emphatic; it consists of a single syllable, so protracted in quantity, as to admit in its pronunciation, of the accented and unaccented function of the voice. The combined stately and lyrical effect of much of Milton's poetry, depends on the nice adjustment of these respective measures. The following are striking examples. Hail | holy light 7 | offspring of | heaven heaven | first first 7 7 Δ.. Δ. Δ. born. Δ. .. Milton frequently uses a measure of four syllables, which may be called the accelerated measure, from the rapidity with which the syllables must be uttered, to be crowded within the time of the musical bar. The following is an instance of great variety, with the occasional use of the quadruple measure. |