Let the article be pronounced short, and it reduces the melody almost to nothing. Better fo however than a falfe quantity. In the following examples we perceive the same defect. And old impertinence [] expel by new. The great variety of modulation conspicuous in English verfe, will be found upon trial to arife chiefly from the pauses and accents; and therefore thefe circumstances are of greater importance than is commonly thought. There is a degree of intricacy in this branch of our subject, and it will require fome pains to give a distinct view of it. But we must not be difcouraged by difficulties. The pause, which paves the way to the accent, offers itself first to our examination. From a very fhort trial, the fol3 C 2 lowing lowing facts will be verified.. ift, A line admits but one capital pause. 2d, In different lines, we find this paufe after the fourth fyllable, after the fifth, after the fixth, and after the seventh. These particulars lay a folid foundation for dividing English heroic lines into four forts, diftinguished by the different places of the pause. Nor is this an idle diftinction. On the contrary, unless it be kept in view, we cannot have any just notion of the richness and variety of English verfification. Each fort or order hath a melody peculiar to itself, readily distinguishable by a good ear; and, in the fequel, I am not without hopes to make the cause of this peculiarity fufficiently evident. It must be observed, at the same time, that the paufe cannot be made indifferently at any of the places mentioned. It is the fenfe that regulates the paufe, as will be seen more fully afterward; and confequently, it is the fenfe that determines of what order every line must be. There can be but one capital musical pause in a line; and this pause ought to coincide, if poffible, with a pause in the fenfe; in order that the found may accord with the sense. What is faid must be illuftrated by examples of each fort or order. And firft of the pause after the fourth fyllable: Back through the paths || of pleasing sense I ran Again, Profufe of blifs || and pregnant with delight After the 5th So when an angel by divine command, After the 6th: Speed the foft intercourfe | from foul to foul Again, Then from his clofing eyes | thy form shall part After the 7th: And taught the doubtful battle | where to rage Again, Again, And in the fmooth description || murmur ftill Befide the capital pause now mentioned, other inferior or femipaufes will be discovered by a nice ear. Of these there are commonly two in each line; one before the capital pause, and one after it. The former is invariably placed after the first long fyl lable, whether the line begin with a long fyllable or a fhort. The other in its variety imitates the capital paufe. In fome lines it follows the 6th fyllable, in fome the 7th, and in fome the 8th. Of these femipaufes take the following examples. Ift and 8th: Led through a fad | variety of wo. Ift and 7th: Still on that breast || enamour'd | let me lie 2d and 8th: From storms a fhelter || and from heat | a fhade 2d and 6th: Let wealth | let honour | wait the wedded dame 2d and 7th : Above all pain || all paffion | and all pride Even from these few examples, it appears, that the place of the laft femipause, like that of the full paufe, is directed in a good measure by the fenfe. Its proper * place with respect to the melody is after the eighth fyllable, fo as to finish the line with an lambus diftinctly pronounced, which, by a long syllable after a short, is a preparation for reft. If this hold, the placing this femipaufe after the 6th or after the 7th fyllable, must be directed by the sense, in order to avoid a paufe in the middle of a word, or betwixt two words intimately connected; and fo far melody is justly sacrificed to sense. In difcourfing of the full pause in a Hexameter line, it is laid down as a rule, That it ought never to divide a word. Such licence deviates too far from the connection that |