an elevated fubject to be expreffed in thyme, what must be the effect? The intimate union of the mufic with the subject, produces an intimate union of their emotions; one inspired by the fubject, which tends to elevate and expand the mind; and one infpired by the mufic, which, confining the mind within the narrow limits of regular cadency and fimilar found, tends to prevent all elevation above its own pitch. Emotions fo little concordant, cannot in union have a happy effect. But it is scarce neceffary to reafon upon a case, that never did, and probably never will happen, viz. an important fubject clothed in rhyme, and yet supported in its utmost elevation. A happy thought or warm expreffion, may at times give a fudden bound upward; but it requires a genius greater than has hitherto exifted, to support a poem of any length in a tone much more elevated than that of the melody. Taffo and Ariofto ought not to be made exceptions, and ftill lefs Voltaire. And after all, where the poet has the dead weight of rhyme conftantly to struggle with, how can can we expect an uniform elevation in a high pitch; when fuch elevation, with all the support it can receive from language, requires the utmost effort of the human ge nius ? But now, admitting rhyme to be an unfit drefs for grand and lofty images; it has one advantage however, which is, to raise a low fubject to its own degree of elevation. Addifon obferves, obferves, "That rhyme, without any other affiftance, throws the language "off from profe, and very often makes an indifferent phrafe pafs unregarded; but where the verfe is not built upon rhymes, there, pomp of found and energy of expreffion are indispensably neceffary, to support the style and keep it from falling "into the flatness of profe." This effect of rhyme is remarkable in the French verse, which, being fimple and natural and in a good measure unqualified for inverfion, readily finks down to profe where it is not artificially fupported. Rhyme, by roufing the mind, raises it fomewhat above the Spectator, No 285. tone tone of ordinary language: rhyme therefore is indifpenfable in the French tragedy; and may be proper even for their comedy. Voltaire* affigns this very reason for adhering to rhyme in these compofitions. He indeed candidly owns, that even with the support of rhyme, the tragedies of his country are little better than conversation-pieces. This fhows, that the French language is weak, and an improper dress for any grand fubject. Voltaire was fenfible of this imperfection; and yet Voltaire attempted an epic poem in that language. The chearing and enlivening power of rhyme, is ftill more remarkable in poems of fhort lines, where the rhymes return upon the ear in a quick fucceffion. And for that reason, rhyme is perfectly well adapted to gay, light, and airy subjects. Witness the following. O the pleafing, pleafing anguish. When we love, and when we languish! *Preface to his OEdipus, and in his difcourfe upon tragedy, prefixed to the tragedy of Brutus. Wishes Wishes rifing, Thoughts furprifing, Charms tranfporting, Fancy viewing, Joys enfuing, O the pleafing, pleafing anguish. Rofamond, at 1. fc. 2. For this reafon, fuch frequent rhymes are very improper for any fevere or serious paffion the diffonance betwixt the fubject and the modulation, is very fenfibly felt. Witness the following. Ardito ti renda, Di fdegno D'un regno E' dolce ad un' alma Che afpetta Il perder la calma Fra l'ire del cor. Metaftafio. Artaferfe, at 3. fc. 3. Rhyme Rhyme is not lefs unfit for deep distress, than for fubjects elevated and lofty; and for that reafon has been long difufed in the English and Italian tragedy. In a work, where the fubject is ferious though not elevated, it has not a good effect; because the airiness of the modulation agrees not with the gravity of the fubject. The Essay on Man, which treats a fubject great and important, would fhow much better in blank verfe. Sportive love, mirth, gaiety, humour, and ridicule, are the province of rhyme. The boundaries affigned it by nature, were extended in barbarous and illiterate ages, and in its ufurpations it has long been protected by cuftom. But tafte in the fine arts, as well as in morals, improves daily; and makes a progress, flowly indeed, but uniformly, towards perfection: and there is no reason to doubt, that rhyme in Britain will in time be forc'd to abandon its unjust conquefts, and to confine itself within its natural limits. Having thrown out what occurred upon rhyme, I close the section with a general obfervation. |