found in any part of the line, nor fewer than two if any. And, 3d, Two long fyllables which have been preceded by two short, cannot also be followed by two short. These few rules fulfil all the conditions of a Hexameter line, with relation to order or arrangement. To these again a fingle rule may be fubftituted, for which I have a ftill greater relish, as it regulates more affirmatively the conftruction of every part. That I may put this rule into words with the

If we must have feet in verfe to regulate the pronunciation, and confequently the melody, these feet must be determined by the pauses. The whole fyllables interjected betwixt two pauses ought to be deemed one mufical foot; because, to preferve the melody, they must all be pronounced together, without any stop. And therefore, whatever number there are of paufes in a Hexameter line, the parts into which it is divided by these pauses, make juft fo many musical feet.

Connection obliges me here to anticipate, by observing, that the fame doctrine is applicable to English heroic verfe. Confidering its compofition merely, it is of two kinds. One is composed of five lambi; and one of a Trochæus followed by four Iambi. But thefe feet afford no rule for pronouncing. The musical feet are obviously thofe parts of the line that are interjected betwixt two paufes. To bring out the melody, these feet must be expreffed in the pronunciation; or, which comes to the fame, the pronunciation must be directed by the paufes without regard to the Trochæus.

greater

greater facility, I take a hint from the twelve long fyllables that compofe an Hexaameter line, to divide it into twelve equal parts or portions, being each of them one long fyllable or two fhort. This prelimi nary being established, the rule is shortly what follows. The 1ft, 3d, 5th, 7th, 9th, 11th, and 12th portions, muft each of them be one long fyllable; the 10th must always be two fhort fyllables; the 2d, 4th, 6th, and 8th, may indifferently be one long or two short. Or to express the thing still more curtly, The 2d, 4th, 6th, and 8th portions may be one long fyl lable or two short; the 10th must be two short fyllables; all the rest must consist of one long fyllable. This fulfils all the conditions of an Hexameter line, and comprehends all the combinations of Dactyles and Spondees that this line admits.

Next in order comes the paufe. At the end of every Hexameter line, no ear but must be fenfible of a complete close or full pause. ́ ́ This effect is produced by the fol

lowing means. Every line invariably is fi nished with two long fyllables preceded by two short; a fine preparation for a full close. Syllables pronounced flow, refemble a flow and languid motion tending to rest. The mind put in the fame tone by the pronunciation, is naturally difpofed to a pause. And to this difpofition the two preceding fhort fyllables contribute; for these, by contrast, make the flow pronunciation of the final fyllables the more confpicuous. Befide this complete close or full pause at the end, others are also requifite for the fake of melody. I discover two clearly, and perhaps there may be more. The longest and most remarkable, fucceeds the 5th portion, according to the foregoing measure. The other, which being more faint, may be called the femipaufe, fucceeds the 8th portion. So ftriking is the pause first mentioned, as to be distinguished even by the rudeft ear. The monkish rhymes are evidently built upon it. In thefe, it is an invariable rule, to make the final word chime with that which immediately precedes the

pause:

VOL. II.

3 A

De

De planetu cudo | mitrum cum carmine nudo. Mingere cum bumbis | res eft foluberrima lumbis.

The difference of time in the pause and femipaufe, occafions another difference not less remarkable. The pause ought reguIarly to be at the end of a word; but it is lawful to divide a word by a femipause. The bad effect of dividing a word by the paufe, is fenfibly felt in the following examples.

Effufus labor, atque inmitis rupta Tyranni

Again,

Obfervans nido im plumes detraxit; at illa

Again,

Loricam quam Dellmoleo detraxerat ipfe

The dividing a word by a femipaufe has not the fame bad effect:

Jamque pedem referens || cafus elvaferat omnes.

Again,

Qualis populea | morens Philomela fub umbra

Again,

Ludere quæ vellem || calamo per misit agresti.

Lines, however, where words are left entire to be pronounced as they ought to be, without being divided even by a femipause, run by that means much the more fweetly.

Nec gemere aërea | ceffabit turtur ab ulmo.

Again,

Quadrupedante putrem || fonitu quatit | ungula cam

pum.

Again,

Eurydicen toto referebant | flumine ripæ.

The reason of these observations, will be evident upon the flighteft reflection. Betwixt things fo intimately connected as fenfe. and found in pronunciation, to find difcordance is unpleasant to the ear; and for that reason, it is a matter of importance, to make the musical pauses coincide as much as poffible with those of the fenfe. This is requifite, more especially, with respect 3 A 2

to