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820.56
Mason, sin
7
.
A N
M4
E S S A
Y
ON THE
POWER and HARMONY
OF
PROSAIC NUMBERS:
Being a SEQUEL to one on the
POWER of NUMBERS
1
And the
PRINCIPLES of HARMONY
IN
POETIC COMPOSITIONS.
LONDON:
Printed by JAMES WAUGH, for M. COOPER, at the
Globe in Pater-noſter Row. MDCCXLIX.
Engl.
Hobile
9.9.27
15471
820.56
114
01-8-27 huis
PRE FACE.
TE
T
HE following Efſay is chiefly
intended for the Benefit of
thoſe, whoſe Province calls
them to employ much of their
Time and Study in Compofi-
tion; and to engage their Attention to one
Branch of that Art, which though culti-
vated with great Aſliduity and Exactneſs
by the Antients, is but little known to
many, and much neglected by moſt of the
Moderns.
a
What I mean, is a critical Regard to the
Structure of their Periods; or ſuch a Çare
in the Choice and Diſpoſition of their Words
as will give them that agreeable Flow which
the
A 2
[ iv ]
the Antients called Rhythmus : The Har-
mony of which every good Ear perceives,
but the Principles from whence it flows,
the Rules on which it depends, and the
Way to acquire it, very few have any Know-
ledge of or Concern about.
And it is really ſomewhat ſurpriſing that
our modern Rhetoricians ſhould lay ſo lit-
tle Streſs upon a Thing which the antient
Orators conſidered as ſo important. The
true Reaſon of which I believe is this, it
is generally looked upon as one of thoſe
Minuteneffes of Stile which are below the
Notice of an elevated Genius, or at leaſt
would be too dull and dry a Study to be
reliſhed by Perſons of a refined Taſte; and
ſo the whole Buſineſs is left to the Ear,
by which the Writer is led, and the Rea-
der judges, at Random. But to this Caſe
is applicable that well known and juſt Ob-
ſervation, Ea parva non ducenda funt,
fine quibus magna confiftere non poſſunt.
Thoſe Things are not to be counted little or
unneceffary, without which great Things can
never be attained. Otherwiſe the Elements
of all Languages and the Rudiments of all
Sciences may be counted low and trifling.
820s6
It
M4
[ u ]
a
a
It is the Connection which theſe Things
have with greater, that gives them their
Importance, and a Claim to our Attention.
Which is all the Apology I ſhall make for
any Thing which may be thought minute
ør dry in the following Effay.
But however dull or difficult ſuch a
Study may appear to the Reader at firſt,
I am well ſatisfied, that as ſoon as he comes
to make a little Progreſs in it, he will be
fully convinced that the Pleaſure and Im-
portance of it are more than equal to all
the Pains he took to attain it. And of this
let one who is very well verſed in this Sub-
ject be Judge.------“ Many Writers (fais
he) both in Verſe and Proſe, have been
very exact in their Choice of Words, e-
« legant and adapted to the Subject ; but
“ being deſtitute of a juſt Ear, run into
“ diſſonant and jarring Meaſures, by which
" they loſe their Labout and ſpoil the
ç« whole. Their Productions are unplea-
si fant and nauſeous to the Reader. Others,
“ though ſo unlucky as to chuſe mean and
vulgar Words, yet by arranging them in a
“ melodious Manner, have given a ſurpri-
“ ſing Beauty to their Diction.
The
« Truth
[ vi 1
a
« Truth is, the Poſition of Words ſeems
« to bear the ſame Proportion to the Choice
« of them, as the Words themſelves have
" to the Sentiments. As the fineſt Senti-
« ment is cold and languid when not clo-
" thed with the Ornament of beautiful
Language, ſo the Invention of the moſt
pure and elegant Expreſſions will have
« ſmall Effect unleſs you add an harmo-
" nious Compoſition (a).”
" It would be too dull a Piece of Cri-
“ ticiſm (as the fame Author obſerves) for
« the Generality of Readers to conſider
" the Nature, Formation and Sound of the
“ different Vowels, their Junction with
“ Conſonants, and the Formation of Syl-
o lables; the due Length and Shortneſs
“ of theſe, and what Pronunciation is pro-
per to them; and to define their Num-
“ bers would appear Scholaſtic, and down-
« right Pedantry to a Modern, who loves
« his Eaſe too much to be fettered by ſuch
" Rules. . But this is certain that he who
" is wholly unexperienced in a Theory of
« this Kind, and never took the Trouble
“s to reflect on it, cannot poſſibly be Maf-
ter
(a) See Geddes on the Compoſition of the Antients, p. 3.
[ vii 1
a
« ter of a beautiful Stile: he writes at rani-
« dom, is guided by no Rule in his Com-
« poſition, and knows nothing of the juſt
• Meaſures and Cadency of Language (6).”
--And again, “ What ever renders a Pe-
“ riod ſweet and pleaſant, makes it alſo
“ graceful; a good Ear is the Gift of Na-
“ ture; it may
be much improved but not
« acquired by Art. Who ever is poſſeſſed
« of it, will ſcarcely need dry critical Pre-
" cepts to enable him to judge of a true
“ Rhythmus, and Melody of Compoſition:
“ Juſt Numbers, accurate Proportions, a
muſical Symphony, magnificent Figures,
s and that Decorum which is the Reſult
is of all theſe, are Uniſon to the human
« Mind; we are ſo framed by Nature that
« their Charm is irreſiſtable (c).”
In this then the Ear is a better Judge
than Guide; it will much eaſier determine
what a true Rhythmus is (d), than teach
us how to attain it. But as Tully fome-
where
(6) Id. p. 18, 26.
(c) Id. p. 10, Ir.
(d) Et tamen omnium longitudinum at brevitatum in ſonis,
ficut acutarum graviumque vocum, Judicium ipſa natura in
auribus noftris collocavit. Aures enim, vel animus aurium
Nuntio, naturalem quandam in ſe continet vocum omnium
Menfionem. Cic. Orator §. 51, 53.
[
viii ]
a
where tells us that the Laws of Verſe were
originally invented, by reflecting upon and
attending to that Order and Polition of
Words and Quantities which were moſt
pleaſing to the Ear, ſo all the Rules for at-
taining a true Rhythm in Proſe Compoſiti-
ons have the ſame Original. And by con-
fidering what it is that the Ear moſt ap-
proves, Laws are invented and Rules con-
trived for acquiring ſuch a Stile in writing,
which at once conveys Pleaſure to the Ear
and Improvement to the Mind; by which
we are to judge of all Compoſition in
general, whether of Verſe or Proſe.
And here let it be obſerved, that as the
Ear confirms thoſe Rules which lead us to
a perfect Rhythm, fo the Rules will be
fome Help to the Ear in judging of it.
I ſhall only add, that the following
Piece pretends to nothing more than its
Title expreſſes, viz. an Elay on the Sub-
ject. To have gone deeper into it would
not have conſiſted with a proper Applicati-
on to another Kind of Studies, to which
the Providence of God more immediately
If it be a Means of exciting
others
calls me.
[ix )
others to purſue it further, or may be help-
ful to any young Lovers of Learning, and
eſpecially the Students and Candidates for
the facred Miniſtry, to facilitate their Com-
poſitions, and give an eaſy Grace and Dig-
nity to their Language, I apprehend it
may be of ſome Service to Mankind; which
is all the End I aim at.
(99
b
THE
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BULE SCRUISES 4
Τ Η Ε
CON TEN TS.
1
CH A P. I.
The high
HE bigh Eſteem the Antients had for nume-
rous Compoſition. The general Neglect of it
among the Moderns. The Reaſons of that Neg-
lect. And the Weakneſs of thoſe Reaſons.
Page 1,-9.
CH A P. II.
The Nature and Quality of fimple Numbers or
Feet ſeparately conſidered.
p. 9,17
CH A P.
[ xi ]
CH A P. III.
The different Difpofition or Combination of tbe. Num-
bers, is that which conſtitutes the Difference be-
tween a ſmooth and a rough Stile. p. 17-21.
i
CH A P. IV.
The Manner of reducing Proſaic Numbers, or of
examining the Feet of which any Period is com-
poſed.
p. 21,-27.
CH A P. V.
Concerning the most proper Feet to cloſe a Sentence.
p. 27,33
CHAP. VI.
Of Poetic Proſe.
P. 33,--38.
CHA P. VII.
of Proſaic Poetry.
P. 38,-48.
CH A P. VIII.
The Compoſtion of ſome of our beſt Engliſh Wri-
ters conſidered with Regard to their Numbers.
P. 48,-61.
CH A P.
[xii ]
C HA P. IX.
Rules proper to be obſerved in order to acquire a
numerous Stile.
p. 61,--72.
$
С НА Р. Х.
The Advantage of a numerous Compoſition.
p. 72–76.
Α Ν
li
mak
2 ***************
*****
***** o ***********************leyte
208TS
AN
E S S A Y
Α Υ
ON THE
Power of Numbers, &c.
CH A P. I.
INTRODUCTION:
The high Eſteem the Antients had for numea
rous Compoſition. The general Negle&t
of it among the Moderns. The Reaſons
of that Negle£t. And the Weakneſs of
thoſe Reaſons.
Z UMEROUS Compoſition was held
in great Eſteem among the beſt an-
N
tient Writers, eſpecially about the
Time of Cicero.
Iſocrates, who is univerſally admir-
ed for his Numbers, obſerving the Effect which they
had upon the Mind in Verſe, is ſaid to be the firſt
B
that
Jup
( 2 )
that introduced them into Proſe; which he proba-
;
bly effected by reducing them to Rules, and by ob-
ſerving thoſe Rules in his Proſaic Compoſitions.
But Cicero attributes the Invention of them part-
ly to Thraſymachus, who was before Iſocrates, aud
partly to Gorgias, who was his Cotemporary but
Senior ; who were both exceſſively fond of this Or-
nament of Stile, as Men generally are of their own
Diſcoveries; and fais, that Iſocrates only improved
upon their Thoughts, moderated the Numbers of
which they were ſo laviſh, and reduced that Kind
of Writing to its proper Standard (a).
The Invention of this Art then is an Honour
for certain due to the Greeks; “ and it does not ap-
pear to have been obſerved by the Romans till near
" the Time of Tully. And even then it was by no
“ Means univerſally received: the antient and leſs
“ numerous Manner of Compoſition had ſtill many
“ Admirers, who were ſuch Enthuſiaſts to Antiquity
as to adopt their very Defects (6).”
However it ſoon made its Way among them; and
Cicero obſerves, That in his Time Proſe had its mea-
ſured Cadence as well as Verſe (c); and the eſſential
Difference between them was no longer that which
is contained in the old Definition of foluta et ſtricta
Oratio, or that the one was confined to Meaſures
and the other left at Liberty, but that the Meaſures
in Proſe were more looſe and various than thoſe in
Verſe.
Nor
(a) Cic. Orat. Ed. Lond. Tom. 1. p. 165. b.
(6) Fitzoſborn's Letters. Let. 24,
Ic Nam etiam Poetæ Qucftionem attulerunt, Quidnam effet illud quo
ipfi differunt ab Oratoribus ; Numero videbantur antca maximè et ver.
Ju: nunc apud Oratores jam ipfe numerus increbuit. Cia, in Oratore.
[ 3 ]
.
Nor did that great Orator himſelf think this Art
beneath his Notice. He wrote upon it, and very
happily ſerved himſelf of it.
By the Power of
Numbers united with that of Reaſon, he confound-
ed the audacious Cataline, and Gilenced the eloquent
,
Hortenfus. His perſwaſive Art would have loſt its
Force without the Help of the Rhythmus, and all De-
moſthenes's Thunder have failed him, had it not been
hurled in Numbers (d)
Longinus who writ two Treatiſes on Harmonious
Compoſition, which are now loſt, makes it a Branch
of the Sublime ; and fais,“ it hath not only a na-
“ tural Tendency to perſwade and pleaſe, but to
« inſpire us, in a wonderful Degree with a generous
“ Ardor and Paſſion (e);” attributing the same Ef-
fect to it as to Mufic: and illuſrates its Efficacy by
a well choſen Inſtance out of Demofthenes's Oration
de Corona. And how much this very Art which
he recommends contributed to make his Writings an
Example of that Sublime they deſcribe, every one
of good Taſte and Judgment will eaſily ſee.
This Subject hath been handled with great Nicety
and Refinement by Demetrius Phalareus, Dionyſus
of Halicarnaſſus, and Quintilian ; eſpecially the two
laſt (the former of which lived about fifty, and the
latter about an hundred and fifty Years after Cicero)
have made many curious Obſervations upon it ; ſome
of which I ſhall hereaftei make Uſe of. And the
Engliſh Reader would be really ſurprized to ſee with
what Exactneſs they lay down Rules concerning
B 2
Times,
(d). Quaſi verò Trallianus fuerit 'Demofthenes : cujus non tam vibra-
rent fulmina illa, niſi numeris contorta ferrentur. Cic. Orat. ad finem.
(e) ου μόνον έσι πειθες και σουής ή Αρμονία φυσικών ανθρώποις ενέρ-
γημα, αλλά και μετ' έλωθερίας και πάθος θαυμαςόν τι όργανον. Longin,
de Sublim. Sect. 38. 39
. 3
OVIIS
[ 4 ]
Times, Feet, and Meaſures, in Proſe as well as
Verſe ; and how nicely they examine and anatomiſe
Sentences, Words, Syllables, and even Letters, to
,
find out the moſt ſoft and pleaſing Sounds to im-
prove the Harmony of the Compoſition.
It muſt be acknowledged indeed that after the
Diſſolution of the Roman Republick, this Art be-
gan to be perverted by being too much admired.
Men grew exceſſively fond of the numerous Stile,
and readily ſacrificed the Strength and Energy of
their Diſcourſe to the Harmony and Cadence of their
Language. Pliny the younger often complains of
this contemptible Affectation. And Quintillian ſpeaks
of certain Proſe-Writers in his Time, who boaſted
that their Compoſitions were ſo ſtrictly Numerous,
that their Hearers might even beat Time to their
Meaſures. And it ſhould ſeem that even in Tully's
Time this Matter was carryed to Exceſs; ſince even
then the Orators dealt ſo much in Numbers, that it
was made a Queſtion, wherein they differed from
the Poets.
But this was a manifeſt Abuſe of the Art ; which
in itſelf is ſo far from being Effeminate that it not
only adds Grace but Strength to the Powers of Per-
ſwalion: otherwiſe it had never been ſo much ſtudied,
recommended and practiſed by all the great Orators
among the Antients.
However it muſt be owned that if the Antients
carried this Matter to an Extreme one Way, the
Moderns haye run into as great another. If they too
much admired this Art,' theſe to much neglect it.
Harmony in Proſe Compoſitions ſeems now to be
little underſtood; and the Principles from whence
it
[ [5
a
;
5 ]
it flows ſtill leſs. Many modern Writers, and thoſe
of no inconſiderable Name, are ſo very incurious in
this Point, that provided there be Grammar and
Thought they ſeem concerned for nothing elſe. As
if a graceful Stile did not ſhew a fine Thought to as
much Advantage as a decent Dreſs does a fine Gen-
tleman. Intrinfick Excellence will not excuſe a neg-
ligent Slovenlineſs in either. Hence it is (as Diony-
fius ( f) obſerves) that we ſee the Language of one
Writer low and creeping, of another mutilated and
broken, of another ſhamefully coarſe and deformed
which is owing not altogether to an ill Choice of
Words (as ſome are apt to think) but oftentimes
to a mere Neglect of Numbers; and which perhaps
might be intirely rectifyed with Regard to ſome par-
ticular Periods, only by the Omiſſion or Tranſpofi-
tion of a ſingle Word.
I would not however in what I ſay be thought
to prefer the Beauty of Elocution to that of Senti-
ment; which laſt is as much preferable to the firſt,
as a Jewel is to the Caſket that contains it. But
why may not a precious Stone be well poliſhed
and well fet? And who is not ſenſible of its fupe-
rior Luſtre when it is fo?
Several Writers have taken Notice of this Defect
in our modern Compoſitions. Dr. Pemberton ſpeak.
ing of the Numbers in the Greek and Latin Ton.
" that theſe Meaſures were of ſuch Effi-
cacy in thoſe Languages, that the adjuſting their
" Periods to ſome agreeable Rhythmus or Move-
ment, by an apt Succeſſion of long and ſhort
Syllables,
(1) Οίς δε μη εγένετο πρόνοια τεβε μέρες, οι μεν ταπεινάς, οι δε
κατακεκλασμένας, οι δε άλλην τινα αισχύνην ή άμορφίαν έχέσας εξή-
veyxay TÙs 7/pepós. 'Dionyf. Halicarn, de Strut. Orat. Sexl. xviii.
gues fais,
66
[ 6 ]
6
a
3
Syllables, was conſidered in Oratory as an Art of
“ great Importance towards the Perfection of Elo-
quence. In our Language this ſeems to be ſcarce
« thought of; though perhaps, what we common-
ly call Smoothneſs of Style is in Part owing to
" ſomething Analagous ; namely ſuch a Arrange-
“ ment of the Words whereby the Syllables follow
one another with a free and eaſy Cadence (8)."
Another Author, who for his numerous Stile is
one of the firſt among the Moderns, and, I think,
ſecond to few of the Antients, juſtly obſerves," that
among the principal Defects of our Engliſh Ora-
« tors, their general Diſregard of Harmony has, I
" think, been the leaſt obſerved. It would be In-
juſtice indeed to deny that we have ſome Perform-
ances of this Kind among us tolerably Muſical
« but it muſt be acknowledged at the ſame Time,
" that it is more the Effect of Accident than De-
st fign; and rather a Proof of the Power of our
« Language than the Art of our Orarors.” One
probable Reaſon which he aſſigns for this Neglect
is, “ that poſſibly that Strength of Underſtanding
" and Solidity of Reaſon, which is ſo eminently
our national Characteriſtick may add ſomething
" to the Difficulty of reconciling us to a Study of
" this Kind; as at firſt Glance it may feem to lead
an Orator from his grand and principal Aim, and
tempt him to make a Sacrifice of Senſe to Sound.”
-To Reply to which he adds" that Tully
In
" and Quintillian, thoſe great Maſters of numerous
Compoſition, have laid it down as a fixt and in-
". variable Rule, that it muſt never appear the Ef-
« fect of Labour in the Orator; that it is the high-
3
" eſt
(3) Obſervations on Poetry, Sect. 12.
[7]
.
ner.
C6
c eſt Offence againſt the Art to weaken the Ex-
« preſſion in Order to give a more muſical Tone
“ to the Cadence ; that the tuneful Flow of the
“ Periods muſt always ſeem caſual ; in ſhort, that
,
no unmeaning Words are to be thrown in merely
“ to fill up the requiſite Meaſure, but that they
" muſt ſtill riſe in Senſe as they improve in Sound (b).”
Which Rule is here very happily exemplifyed in
the
very Words that deſcribe it.
Others have imagined that our Language is not
capable of being refined and beautifyed in this Man-
“ The free Language we ſpeak (fais an inge-
nious Author) will not endure ſuch refined Regula-
tions, for Fear of Incumbrance and Reſtraint.
Harmony indeed it is capable
of to a high Degree,
yet
ſuch as flows not from Precept, but the Ge-
“ nius and Judgment of Compoſers. A good Ear
" is worth a thouſand Rules; ſince with it the
" Periods will be rounded and ſweetened, and the
“ Stile exalted, ſo that Judges ſhall commend and
" teach others to admire ; and without it, all En-
" deavours to gain Attention ſhall be Vain and In-
" effectual, unleſs where the Grandeur of the
" Senſe will atone for rough and unharmonious Ex-
s preſſion (i).”
But in what Senſe our Language is capable of
Harmony to a high Degree,
Degree, and yet will not en-
dure thoſe Regulations that are neceſſary to it; or
how it can flow from the Judgment of the Com-
poſers without ſome Rule to direct that Judgment
(for Judgment implys ſome Rule to judge by) 1%
do
(B) Fitzoſbourn's Letters. Letter 24.
Smith's Notes and obſervations on Longinus. p. 183.
[8]
do not very clearly conceive. Å good Ear
worth a thouſand Rules. 'Tis true; ſo it is in
Muſic. But an Acquaintance with the muſical
Notes and Chords, and the Rules and Principles of
Harmony is notwithſtanding neceſſary to make a
good Muſician. If we are to have no Rules, what
muſt they do that have no Ear? And the beſt
Ear may ſometimes receive very proper Correction
from Precept.
In ſhort, this learned Author muſt mean, either
that the Rules relating to numerous Compoſition
ſo accurately laid down by the Antients, are not
applicable to our Language ; or if they are, there
is no Need of them. But which ever of theſe he
means (for he does not expreſsly ſay which, but
ſeems to intimate both) the direct Contrary, I be.
lieve, will appear to the Reader in the Sequel of
this Treatiſe. The Deſign of which is to ſhew,
that the Rules and Principles of this Art, which
was ſo much the Study and Admiration of the
Greek and Roman Writers, are as Applicable to our
Language as theirs, and in what Manner they are
to be actually applyed in Order to Improve the Har-
mony of Proſe Compoſition.
.
CHA P.
[9]
С НА Р.
II.
The Nature and Quality of ſimple Num-
bers or Feet, Seperately conſidered.
THE
HE fimple Feet are theſe following
Feet of two Syllables.
Pyrrhic
Jambic
Trochee
Spondee
!
Feet of three Syllables.
Tribrachys
Dactyl
Amphibrachys
Anapæft
Bacchic
Cretic
Palimbacchic
Moloſſus
9
Theſe Numbers, conſidered in themſelves or un-
connected with any other, are either Generous and
Strong, or Bafe and Weak.
B
The
(k) For a more particular Account of the ſeveral Numbers both fim-
ple and compound, See The Ejay on the Pawar and Principles of Har-
mony in Verje, Chap. vi.
[ 10 ]
The generous Numbers are theſe,
lambic
Spondee
Anapæſt
Cretic
Bacchic
Moloflus
--
vu
The baſe Numbers are theſe (1).
Pyrrhic
Trochee
Tribrachys
Dactyl
-(m)
Amphibrachys
Palimbacchic
Theſe
(0 When we call theſe Feet baſe, low and feeble, we only mean
when they are taken by themſelves ; for when they are judiciouſly blend-
ed with others, they are of equal Importance with the rest, and (like
Mortar in a Building) contribute as much to the Strength and Beauty of
the Compoſition. Which Quintillian does not ſeem to have attended
to, when he blamed Dionyſius and other Writers before him for making
this Dittin&tion. [Miror autem (sais he) in hac Opinione doetiſimos hou
mines fuiße, ut alios pedes ita eligerent, alios damnarent, quoſi ullus
effet quem non fit neceffe in oratione
deprehendi. De Inftit, Orat. 1. ix,
c. 4.) For certain it is that theſe Feet which are called Baſe, Weak,
and Low, are really ſo, when taken by themſelves or only with them-
ſelves, and not intermixt with thoſe of better Quality.
(m) Though Dionyfius calls this Galvos, i.e. a grave and venerable
Foot, yet he only means when it is taken in Conjunction with the
Spondee, which corrects and tempers it. And thus he immediately ex-
plains himſelf
, nai es vándos dipuovias açonogal ellos, vai tó 74 newinev
Málcov TÒ 7678 xco pelo as Tò wonú. De Struct. Orat. Sect. xvii.
i. é. it's very well fitted to Harmonize the Verſe, and to be an Or.
noment to the Heroic Meaſure ; where it is always mixt with Spondees.
But of itſelf it is too light and feeble, and never fit to End a Verſe.
And therefore thoſe Mealures that admit it, always require for a Cloſe
one
[ 11 ]
1
a
Theſe Numbers are called generous or baſe, be®
cauſe the Movement of the one is Sublime and Strong,
and that of the other Low and Feeble.
Now this different Movement of the Feet de-
pends upon two Things.
(1.) The different Quantities or Number of Time
they contain, for a Foot that conſiſts of more Times
is ordinarily more Magnificent than one that conſiſts
of fewer. e. g. A Spondee (--) is more noble than
a Pyrrhic (--), becauſe that conſiſts of four Times
and this but of two; and a Moloſſus (---) more
noble than a Tribrachys (---) becauſe the former
hath double the Times of the latter.
(2.) Another Thing on which the different Move-
ment of the Feet depends, is the Quantity of the
Syllable with which it ends ; for a Foot that ends
with a long Syllable is more Strong and Sonorous,
and conſequently more Noble and Generous, than
one that terminates in a ſhort one. Thus an lambic
(--), is more noble than a Trochee (--); an Ana-
pæſt (uu-), than a Dactyl(---): Though the Tro-
chee contains juſt the ſame Number of Times as
the lambic, and the Anapæſt as the Dactyl. So
that in this caſe the Excellence of one above the
other depends altogether on the Quantity of the final
Syllable.
But here let it be remarked, that of thoſe which
I call the generous or the noble Feet, lome are
more excellent than others; which is occaſioned by
a ſhort Syllable preceeding the final long one. And
В
this
a
a
B2
one or two long Syllables to qualify it ; as in the Latin Hexameters,
and the Engliſh Dactylic Meaſure. See the E ſay on the Power &c.
of Harmony in Verſe, Chap. xix.
[ 12 ]
this indeed makes a more conſiderable Difference in
the Nature of the Feet, than the Difference of
Times they contain. Hence an Iambic (--) is reckoned
a better Foot than a Spondee (--), though the latter
contains the moſt Times ; and for the ſame Reaſon the
Anapæft(---) is more excellent than the Moloſſus(---);
becauſe the final long Syllable is rendered more diſ-
tinct ſtrong and emphatical by coming immediately
after a ſhort one.
Hence then it follows that the lambic (--) is the
moſt noble and generous of all the Feet (n); and
that the reſt have their Degree of Excellence in
Proportion as they approach to or recede from it,
in the following Order, lambic (--), Anapæſt (---),
Cretic (---), Bacchic (---), Spondee (--), Moloia
ſus (---).
And it is obſervable that this Order or Diſpoſition,
viz. that a quick ſhould be ſucceeded by a ſlow
Movement, is univerſally agreeable. For as a long
Time is beſt after a ſhort one, fo is a long Foot af-
ter a ſhort one, a long Word after the ſhort ones (0),
even as the flow Meaſures in Verſe, and the now
Airs in Muſic come in moſt agreeably after the
quick ones. This is as pleaſing to the Ear as Reſt
after
(n) Hence Ariflotle fais that in his Time it was more uſed than any
other Number by thoſe who ſpake in Public. 'Auln est n Régis v Tür
σολλάν. Διό μάλισα σάνων των μέτρων ιαμβεία φθέγγούlαι λέγοντες.
Rhetor. 1. 3. c. 8. And again in his Poetics, Ex omnibus Metris Ser.
moni quotidiano accommodatum maximè eft lambicum. Cui rei id fig-
no eft, quod plurima nos lambica proferamus imprudentes in Collocu-
tione mutua. Ariſt. Poet. c. 2. None of all the Meaſures run more na-
turally into our common Speech than the lambic; as appears from hence,
that in qur ordinary Converſation we often ſpeak in I AMBICS, before
we are Tenfible of it.
(6) Ideoque etiam brevium Verborum ac Nominum vitanda Continua.
tio, et ex diverſo quoque longorum: afferunt enim quandam dicendi Ter.
ditatem.' Quint. l. ix. C. 4.
[ 13 ]
after Motion is to Nature. If it be enquired, whence
the Agreeableneſs of this Order ariſes, or on what
Principles in Naturę it is founded ; this Myſtery
perhaps lies too deep for our Diſcovery: Let it
ſuffice that univerſal Experience verifies the Obſer-
vation.
Another Thing that deſerves to be obſerved on
this Subject is, that as ſome of the generous Feet
are more noble than others, ſo they have each of
them their reſpective Qualities. e. g. A Spondee
(--) is a grave and majeſtick Foot (P); Molofjus (---)
;
fublime and ſtately (9); Bacchic (---) ſtrong and
ſolemn (r); a Cretic (---) is a bold and eager Foot(s);
the Anapæſt (ww.) rapid and vehement; excellently
adapted to martial Muſic and martial Songs, which
are therefore frequently ſet to this Meaſure, e. g.
>
With Hearts bold and ſtout
will repel the vile rout,
,
Ănd follow fair Liberty's Call;
We'll
(6) Hebetior videtur et tardior, habet tamen ſtabilcm quendam et non
expertem Dignitatis gradum. Cic. Orat. Ed. Lond. Tom. 1. p. 166.
(9) Υψηλός δε και αξιωμάκος εςι, και διαβεβηκώς ως επί πολύ.
Dion. Hal. de Struit. Orat. Sect. xvii.
(r) So called, becauſe in this kind of Meaſure the Dithyrambic Poets
uſed to rant out their Songs in Honour of Bacchus. What is here called
Bacchic, Dionyſius calls Hypobacchic; and terms it, o çu@u.'s abiep.ch
έχων και μέγεθος. Ιbid.
(s) Becauſe it approaches near to the lambic, and (as Tully obſerves)
ſounds to the Ear pretty much like the fourth Pæon, or Pæon pofierior.
(uuu -) as it contains the fame Number of Times; and all the Differ.
ence between them is, th t the iwo ſhort Syllables in the Beginning of
the Latter are contracted into one long one in the Beginning of the For-
mer. De Oratore, 1.
3.
[ 14 ]
We'll ruſh on the Foe,
And deal Death in each Blow,
Till Conqueſt and Honour crown all.
And Tully tells us it is the Meaſure in which the Ro-
man Generals were wont to harangue their Men (t);
as nothing is better fitted to excite the Paſſions (u).
And the Iambic (which is of all the Numbers moſt
generous) is very ſtrong and ſonorous, very proper
(as Horace obſerves) to excite and expreſs the Paſ-
ſion of Anger (v). Hence the Anapaſt and lambic
are not improperly called by ſome, the puſhing
Numbers.
And how naturally the Spondee, Anapæſt and
Jambic (which are the moſt bold, ſtrong and ſonorous
Feet) do run into a Martial Air, may be ſeen in
the Margin, which demonſtrates the Qualities that
have been juſt aſſigned them (w).
The
(1) Nec adhebitur ulla fine Anapaſitis Pedibus Hortatio. Tuſcul.
Quat. 1. ii. c. 16.
(4) Ανάπαισος σεμνότητα δεν έχω πολλήν, και ένθα το μέγεθος σε
ριθειναι τοις πράγμασιν ή πάθος επλήδειός εςι παραλαμβάνεται. Dion.
Hai. de Struct, Orat. Seet. xvii.
) (v) Archilocum proprio rabies armavit Iambo. Art. Poet. 1. 79.
fo Quintilian, Aſpero contrà Iambis maximè concitantur : non ſolum
quòd fint a duobus modò Syllabis, eoque frequentiorem quaſi Pulſum
habent, quæ res lenitati contraria eft ; fed etiam quod omnibus partibus
inſurgunt, et a brevibus in longas nituntur et creſcunt. De Inf. Orat.
1. ix. C. 4. Ariſt. Poet. c. 2.
a
(w)
The double double Beat
Of the thundering Drum
Crys,
1
[ 15 ]
The Drum is an Inſtrument which in a wonder-
ful Manner Thews the Force and Power of Poetic
Numbers ; for though its Sound be only a Monoto-
ny, yet it exactly expreſſes all the different Quali-
ties of the ſeveral Feet. And when we beat thoſe
Numbers upon it, only by varying the Move-
ment into quicker or lower, and making the Sound
ſtronger or ſofter, the Mind is affected as much as
it is by an Inſtrument that runs all the Notes of
the Gamut.
Let us try then if we cannot, by imitating the
Sound of this Inſtrument, exemplify the different
Qualities of the ſeveral Feet as before deſcribed
by giving both to the baſe and the generous Num-
bers all the Advantage they can receive from Or-
der or the Succeſſion of the long Syllables after
the ſhort ones.
The baſe Numbers are theſe, Pyr: Troch: Tribr:
Dact: Amplibr : Palimbac:
;
And
Crys, Heark! the Foe's come :
Charge! Charge! 'tis too late to retreat!
Say's Eſay the ſecond, p. 167.
This will be more manifeft by beating theſe ſeveral Numbers in
proper time upon a Drum, e.g.
Titum tititum tumtum tumtum tititum,
Tititum tumtum titum tumtum ;
Titum tumtum tititum tumtum tititum.
£112 12:5:an vic je mnie ni
Luk. S 15,
Bir: Tidi: T-ira: umir: : intro
ht. Iunt...
Itumti, imrit. umrunt.
Te us
Die Totens interz biete, tamn: Juan :
Llao: Cisc Bird: Voici
4.16 de Free Crier i wa sey buic
fand es se is,
Costlin: Spca: Eace: Micí: 10:
Ciacin, con tant, non inamın toim.
!!* Waz acé State ar the Forer, nd
Ecw Buit arti Seoretre Lazz, let ur7 Eur te
Jice Wachtcres near 13 2 Decca-
icine a. I karena atrociti: 1. Tsar
iets is aa eri Düzce is de ces of
Ek Her, at that core of eben, DZER Z
by toonskam, are free taie acd web; and cien
Sicro ., arr sentencs. 12.) That is is one
CH-
iz i Partisive cirt Tses cooked in be
Batch coat of an equal Viciaci 57
tiei. B.:!3, that the principal Trg to wica
Tung
it is sugi, that in te coe Cafe there is a Suc-
cicn of a thort Quantity after a locg cce, ad
in iscret cf a locg Qcity after a tEort cae.
Z
С НА Р.
[ 17 ]
CH A P. III.
The different Diſpoſition or Combination of
theſe Numbers is that which conſtitutes
the Difference between a ſmooth and a
rough Stile.
A
Good Stile is both Expreſſive and Harmonious.
The former depends on the happy Choice of
the Words to convey our Ideas ; the other on the happy
Choice of Numbers in the Diſpoſition of the Words.
The Language of ſome is Expreſſive but Unhar-
monious ; that is, the Writer's Words ſtrongly and
clearly convey his Sentiments, but the Order in
which they are placed creates a Sound unpleaſant to
the Ear. The Stile of others is Harmonious but
not Expreſſive; where the Periods are well turned
and the Numbers well adapted, but the Senſe ob-
ſcure. The former ſatisfies the Mind, but offends
the Ear; the latter gratifies the Ear, but diſguſts
the Mind : A good Stile entertains and pleaſes both.
Becauſe the well choſen Words convey the Idea di-
rectly to the Reader's Mind, at the ſame Time that
the well choſen Numbers give Muſick to the Ear.
Though the former is that to which we ought
chiefly to attend, yet the latter ſhould by no Means
be neglected. And how this, which we call a nu-
merous Stile, is to be attained, and on what Prin-
ciples it depends, is the Subject of the preſent En-
quiry
D
Now
( 81
'
do not very clearly conceive. Å good Ear is
worth a thouſand Rules.---'Tis true; ſo it is in
Muſic, But an Acquaintance with the muſical
Notes and Chords, and the Rules and Principles of
Harmony is notwithſtanding neceſſary to make a
good Muſician. If we are to have no Rules, what
muſt they do that have no Ear? And the beſt
Ear may ſometimes receive very proper Correction
from Precept.
In ſhort, this learned Author muſt mean, either
that the Rules relating to numerous Compoſition
fo accurately laid down by the Antients, are not
applicable to our Language ; or if they are, there
is no Need of them. But which ever of theſe he
means (for he does not expreſsly ſay which, but
ſeems to intimate both) the direct Contrary, I be-
lieve, will appear to the Reader in the Sequel of
this Treatiſe. The Deſign of which is to ſhew,
that the Rules and Principles of this Art, which
was ſo much the Study and Admiration of the
Greek and Roman Writers, are as Applicable to our
Language as theirs, and in what Manner they are
to be actually applyed in Order to Improve the Har-
mony of Proſe Compoſition.
.
CH A P.
[9]
CH A P. II.
The Nature and Quality of ſimple Num-
bers or Feet, Seperately conſidered.
THE
HE fimple Feet are theſe following
Feet of two Syllables.
Pyrrhic
lambic
Trochee
Spondee
Feet of three Syllables.
Tribrachys
Dactyl
Amphibrachys
Anapæſt
Bacchic
Cretic
Palimbacchic
Moloſſus
--(k)
9
Theſe. Numbers, conſidered in themſelves or un-
connected with any other, are either Generous and
Strong, or Baſe and Weak.
B
The
(k) For a more particular Account of the ſeveral Numbers both fim-
ple and compound, See The Eſay on the Puwer and Principles of Har-
mony in Verſe, Chap. vi.
[ 10 ]
.
1
The
generous
Numbers are theſe,
lambic
Spondee
Anapæſt
Cretic
Bacchic
Moloſſus
The baſe Numbers are theſe (1).
Pyrrhic
Trochee
Tribrachys
Dactyl
Amphibrachys
Palimbacchic
-- (m)
!
Theſe
a
(1) When we call theſe Feet baſe, low and feeble, we only mean
when they are taken by themſelves ; for when they are judiciouſly blend-
ed with others, they are of equal Importance with the reit, and (like
Mortar in a Building) contribute as much to the Strength and Beauty of
the Compoſition. Which Quintillian does not ſeem to have attended
to, when he blamed Dionyſius and other Writers before him for making
this Diltin&tion. (Miror autem (fais he) in hac Opinione doctiſimos hou
mines fuiſe, ut alios pedes ita eligerent, alios damnarent, quafi ullus
effet quem non fit neceffe in oratione deprehendi. De Inſtit, Orat. l. ix,
c. 4.) For certain it is that theſe Feet which are called Baſe, Weak,
and Low, are really fo, when taken by themſelves or only with them-
felves, and not intermixt with thoſe of better Quality.
(m) Though Dionyſius calls this galvos, i.e. a grave and venerable
Foot, yet he only means when it is taken in Conjunction with the
Spondee, which corrects and tempers it. And thus he immediately ex-
plains himſelf
, nai eszánnos apcovias diconogalelos, xai tó ze nipaiyev
jálpov &TÒ 7878 xoop.cilat ass em to wonú. Þe Struct. Orat. Sect. xvii.
i. é. it's very well fitted to Harmonize the Verſe, and to be an Or-
nament to the Heroic Meaſure ; where it is always mixt with Spondees.
But of itſelf it is too light and feeble, and never fit to End a Verſe.
And therefore thoſe Meaſures that admit it, always require for a Cloſe
one
c
[ 1 ]
Theſe Numbers are called generous or baſe, be
cauſe the Movement of the one is Sublime and Strong,
and that of the other Low and Feeble.
Now this different Movement of the Feet de-
pends upon two Things.
(1.) The different Quantities or Number of Time
they contain, for a Foot that conſiſts of more Times
is ordinarily more Magnificent than one that conſiſts
of fewer. e. g. A Spondee (--) is more noble than
a Pyrrhic (vu), becauſe that conſiſts of four Times,
and this but of two; and a Moloſſus (---) more
noble than a Tribrachys (www) becauſe the former
hath double the Times of the latter.
(2.) Another Thing on which the different Move-
ment of the Feet depends, is the Quantity of the
Syllable with which it ends ; for a Foot that ends
with a long Syllable is more Strong and Sonorous,
and conſequently more Noble and Generous, than
one that terminates in a ſhort one. Thus an lambic
(--), is more noble than a Trochee (-); an Ana-
pæſt (---), than a Dactyl(---): Though the Tro-
chee contains juſt the ſame Number of Times as
the lambic, and the Anapæſt as the Dactyl. So
that in this caſe the Excellence of one above the
other depends altogether on the Quantity of the final
Syllable,
But here let it be remarked, that of thoſe which
I call the generous or the noble Feet, lome are
more excellent than others; which is occaſioned by
a ſhort Syllable preceeding the final long one. And
a
;
B 2
this
one or two long Syllables to qualify it ; as in the Latin Hexameters,
and the Engliſh Dactylic Meaſure. See the Efay on the Power &c
of Harmony in Verſe, Chap. xix.
[ 12 ]
this indeed makes a more confiderable Difference in
the Nature of the Feet, than the Difference of
Times they contain. Hence an Iambic (--) is reckoned
a better Foot than a Spondee (--), though the latter
contains the moſt Times; and for the fame Reaſon the
Anapæſt(---) is more excellent than the Moloſſus(---);
becauſe the final long Syllable is rendered more dif-
tinct ſtrong and emphatical by coming immediately
after a ſhort one,
Hence then it follows that the lambic (--) is the
moſt noble and generous of all the Feet (n); and
that the reſt have their Degree of Excellence in
Proportion as they approach to or recede from it,
in the following Order, lambic (--), Anapæſt (---),
Cretic (---), Bacchic (---), Spondec (--), Moloſ-
ſus (---).
а
And it is obſervable that this Order or Diſpoſition,
viz. that a quick ſhould be ſucceeded by a flow
Movement, is univerſally agreeable. For as a long
Time is beſt after a ſhort one, ſo is a long Foot af-
ter a ſhort one, a long Word after the ſhort ones (),
even as the flow Meaſures in Verſe, and the flow
Airs in Muſic come in moſt agreeably after the
quick ones. This is as pleaſing to the Ear as Reſt
after
(n) Hence Ariſtotle fais that in his Time it was more uſed than any
other Number by thoſe who fpake in Public. 'Autú es wv v néges v Tat
σολλών. Διο μάλιςα πάνων των μέτρων ιαμβεία φθέγγούlαι λέγοντες.
Rhetor. 1. 3. c. 8. And again in his Poetics, Ex omnibus Metris Ser-
moni quotidiano accommodatum maximè eſt lambicum. Cui rei id fig-
no eſt, quod plurima nos Iambica proferamus imprudentes in Collocu-
tione mutuâ. Arift
. Poet. C. 2. None of all the Meaſures run more na-
turally into our common Speech than the lambic; as appears from hence,
that in gur ordinary Converſation we often ſpeak in I AMBICS, before
we are ſenfible of it.
(o) Ideoque etiam brevium Verborum ac Nominum vitanda Continua-
tio, et ex diverſo quoque longorum : afferunt enim quandam dicendi Tar.
ditatem. Quinţ. 1. ix. C. 4.
[ 13 ]
after Motion is to Nature. If it be enquired, whence
the Agreeableneſs of this Order ariſes, or on what
Principles in Nature it is founded; this Myſtery
perhaps lies too deep for our Diſcovery : Let it
ſuffice that univerſal Experience verifies the Obſer-
vation.
Another Thing that deſerves to be obſerved on
this Subject is, that as ſome of the generous Feet
are more noble than others, ſo they have each of
them their reſpective Qualities. e. g. A Spondee
(--) is a grave and majeſtick Foot (P); Molofjús (---)
ſublime and ſtately (9); Bacchic (---) ſtrong and
ſolemn (r); a Cretic (---) is a bold and eager Foot(s);
the Anapæſt (vv-) rapid and vehement; excellently
adapted to martial Muſic and martial Songs, which
are therefore frequently ſet to this Meaſure. e. g.
а
With Hearts bold and ſtout
wěll repel the vile rout,
Ănd follow făir Liberty's Call :
;
We'll
(p) Hebetior videtur et tardior, habet tamen ftabilcm quendam et non
expertem Dignitatis gradum. Cic. Orat. Ed. Lond. Tom. 1. p. 166.
(4) Υψηλός δε και αξιωμάκος έσι, και διαβεβηκώς ως επί πολύ.
Dion. Hal. de Struet. Orat. Sect. xvii.
(r) So called, becauſe in this kind of Meaſure the Dithyrambic Poets
uſed to rant out their Songs in Honour of Bacchus. What is here called
Bacchic, Dionyfius calls Hypobacchic; and terms it, ó pu@u.ès oblous
έχων και μέγεθος. Ιbid.
(s) Becauſe it approaches near to the lambic, and (as Tully obſerves)
ſounds to the Ear pretty much like the fourth Pæon, or Pæon pofierior.
luvu -) as it contains the fame Number of Times; and all the Differ-
ence between them is, th t the iwo ſhort Syllables in the Beginning of
the Latter are contracted into one long one in the Beginning of the For-
mer. De Oratore, 1.
3.
[ 16 ]
And the beſt Order in which they can be ranged,
I think, is this,
Pyr: Troch : Tribra : Amphibr: Dact : Palimbac.
titi tumti, tititi titumti, tumtiti tumtumti
The generous Numbers are theſe, lam: Spon :
Anap: Cretic Bacch: Molof.
>
And the proper Order in which they ſhould
ſtand ſeems to be this,
Cret: Iam : Spon: Bacch: Moloſ: Anap:
tumticum, titum tumtum, tituintum tumtumtum titicum.
How Weak and Effeminate are the Former, and
how Bold and Strong the Latter, let any Ear be
Judge. Which I think comes near to a Demonſtra-
tion of what I have been advancing ; viz. (1.) That
there is an effential Difference in the Qualities of
the Numbers, and that ſome of them, when taken
by themſelves, are more baſe and weak; and others
more ſtrong and generous. (2.) That this is ow-
ing in Part to the different Times contained in the
Feet which conſiſt of an equal Number of Sylla-
bles. But (3.) that the principal Thing to which
it is owing is, that in the one Caſe there is a Suc-
ceſſion of a ſhort Quantity after a long one, and
in the other of a long Quantity after a ſhort one.
hol
CH A P.
[ 17 ]
CH A P. III.
The different Diſpoſition or Combination of
theſe Numbers is that which conſtitutes
the Difference between a ſmooth and a
rough Stile.
A
Good Stile is both Expreſſive and Harmonious.
The former depends on the happy Choice of
the Words to convey our Ideas; the other on the happy
Choice of Numbers in the Diſpoſition of the Words.
The Language of ſome is Expreſſive but Unhar-
monious ; that is, the Writer's Words ſtrongly and
;
clearly convey his Sentiments, but the Order in
which they are placed creates a Sound unpleaſant to
the Ear. The Stile of others is Harmonious but
not Expreſſive; where the Periods are well turned
and the Numbers well adapted, but the Senſe ob-
ſcure. The former ſatisfies the Mind, but offends
the Ear; the latter gratifies the Ear, but diſguſts
the Mind: A good Stile entertains and pleaſes both.
Becauſe the well chofen Words convey the Idea di-
rectly to the Reader's Mind, at the ſame Time that
the well chofen Numbers give Muſick to the Ear.
Though the former is that to which we ought
chiefly to attend, yet the latter ſhould by no Means
be neglected. And how this, which we call a nu-
merous Stile, is to be attained, and on what Prin-
ciples it depends, is the Subject of the preſent En-
quiry
D
Now
[ 18 ]
Now every Word, except a Monoſyllable, is com-
poſed of ſome Foot or Feet (x); the right Diſpo-
ſition of which is that which conſtitutes what is
properly called a numerous Stile. ' For though any
Combination of Words may be reduced into their
reſpective Numbers of which they are compoſed,
yet unleſs thoſe Numbers be well adjuſted or agree-
ably intermixed; it is not called a numerous, but
a rough, lame or broken Stile (y).
y
But a ſmooth and flowing is not the only nume-
rous Stile ; that which is rough, maſculine and ve-
hement hath ſometimes an equal Claim to that Ti-
tle; provided the Sound of the Numbers conform
to the Senſe of the Words. To deny this, is in
Effect to affirm that there is no Muſick but what
is foft, and no Verſe but what is ſmooth. If the
Senſe be ſublime and ſtrong, the Numbers ſhould
be flow and ſtately. And be the Senſe what it will,
the Words ſhould in ſome Degree be an Eccho to
it, in Profe as well as Verſe. On this Score it is that
Horace,
(α) Παν όνομα και ρήμα και άλλο μόριαν λέξεως, ότι μή μονασυλ-
aabóv és iv, įv puopão Tuye aég ET%. Dion. Hal. de Struct. Orat.
Sect. xvii.
(y) Sed omnis nec claudicans, nec quafi fluctuans, et æqualiter cono
fanterque ingrediens, numerofa habetur Oratio. Cic. Orat.
That Stile (fais Tully) which hath not a limping irregular Movement
but a uniform conſtant Flow, is called a numerous Stile.-- -But his
Meaning in what preſently follows, I confeſs I do not apprehend; where
he fais, idque quod numeroſum in Oratione dicitur non ſemper numero fiat
fed nonnunquam aut concinnitate aut conſtruktione Verborum. Id. Ed.
Lond. T. 1. p. 167. a. i.e. That a numerous Stile is not alivays
owing to the Numbers, but ſometimes to a certain neat Conſtruction
of the Words. But what that agreeable Conſtruction of the Words
can be owing to, but the Numbers of which they are Compoſed, I
am at a Lofs to gueſs. Unleſs he means (as perhaps he may) that
there are ſome Words of ſo harſh and jarring a Sound, that when they
meet (though they may compoſe a good Number yet) cannot be pro-
nounced without ſome Difficulty : Which indeed is ſometimes the
Caſe.
[ 19 ]
Horace, notwithſtanding the Roughneſs and Irre-
gularity of ſome of his Meaſures, eſpecially in his
Satires, may be deemed, what the ſmoother Ovid
calls him, a numerous Writer (Z).
Were we (as Dionyſius (a) obſerves) to uſe none
but the beſt and moſt generous Numbers, our Stile
would be always Muſical ; that is, either ſoft and
flowing, or grave and majeſtick. But as we are
obliged for the Sake of Aptitude of Expreſſion to
make Uſe of Words that introduce the weak and
feeble Numbers, which tend to break the Harmo-
ny and debaſe the Majeſty of our Language, the
great Art lies in mixing and diſpoſing of thoſe baſer
Numbers in ſuch a Manner as that the Harſhneſs
of them ſhall give no Offence to a good Ear ; which
in this Caſe is a very ſovereign and critical Judge.
And this is done chiefly by mixing them with as
much good Company as we can; I mean with
better Numbers: And diſpoſing of them into thoſe,
Places where they will be leaſt attended to, that is
in the Middle of a Period, and keeping them by alt
Means, from the End of it, where the Ear always
expects to be pleaſed.
Every Sentence may be conceived as diviſible in-
to diſtinct and ſeperate Clauſes.; every Clauſe where.
there is an apparent Ceffation of the Voice, ſhould
always End with a generous Foot ; and all the pre-
ceding Numbers be ſo intermixt, that the ſhort ones
be duly qualified by the ſucceeding long ones ; re-
ſerving the beſt and moſt harmonious Numbers for
the Cadence. And this, in ſhort, is what conſti-
D 2
tutes
(z) Sæpe tenet noftras numerous Horatius Aures.
Sec Say's Efay, p. 116.
(a) De Struct. Orat. Sect. xviii.
[ 20 ]
a
tutes that agreeable Fluency of Words which in
Proſe we call a ſmooth and pleaſant Stile; and which,
if at the ſame Time it be clear and expreſſive, hath
all the Elegance of which Profe-Compofition is ca-
pable. To illuſtrate this by one plain Inſtance. A
late Divine ſpeaking of the Trinity hath this Expreſ-
fion — It is a Myſtery which we firmly bellieve the
Trutb of, and humbly a dore the Depth of.—Here
the Language is expreſſive but not harmonious. And
what is the Reaſon of this ? Not merely becauſe each
Clauſe of the Sentence ends with the Sign of the
Genitive Caſe (which, if it be ſometimes deemed
an Inaccuracy, yet does not always interrupt the
ſmooth Flow of the Words) but becauſe it is com-
poſed almoſt intirely of baſe and feeble Numbers,
viz. Pyrrhics and Trochees ; as appears from the Re-
duction of them ; which by a ſmall Tranſpoſition of
the Words might eaſily be avoided. As thus
It is a Myſtery, the Truth of which/ we firmly be-
lievel, and the Depth of which we humbly adore.
Every Ear will ſoon determine this to be the moſt
agreeable Diction. And the Reaſon why it is ſo
is now very plain. Becauſe according to this Dif-
poſition of the Words, the Sentence is compoſed
altogether of ſtrong and generous Feet, viz. Tambics
and Anapæſts. But the Method of reducing the
Members of a Proſe Period into the original Num-
bers of which they are compoſed, will be more
particularly conſidered in the following Chapter.
But before I conclude this, it may not be amiſs
to obſerve, that this is the only Reaſon, that in
all
[ 21 ]
all Languages (eſpecially the learned ones) we find
the Words ſo frequently tranſpoſed out of their na-
tural Order ; viz. to give them a ſofter Flow, a
ſtronger Sound, or ſmoother Cadence, by reſerving
the moſt ſweet, ſtrong and generous Numbers for
the Cloſe. For which end ſuch a Tranſpoſition is
always allowable, provided it do not by being too
frequent, ſtiffen the Stile, obſcure the Senſe, or ſeem
affected.
CH A P. III.
Concerning the Manner of reducing Pro-
ſaic Numbers, or examining the Feet
of which any Period is compoſed.
H
3
ERE we are to take Dionyfius for our Guide
who hath ſhewn us in various Inſtances how
Proſaic Numbers are to be reduced (c). To take one
out of many, let us ſee in what Manner he examines
the Numbers of that celebrated Speech of Thucy-
dides, which he affirms to be ſo full of Grandeur
and Dignity, and begins thus - Οι μεν πολλοί τών εν|-
θάδε ήδη αρηκόων, επαινεσι τον προσ|θέντα τω νόμω τον λόγον τόνδε.
Now that which gives ſuch an Air of Majeſty
to this Sentence (fais he) is, that each Member of
it is compoſed of the moſt fublime and generous
Feet. For in the firſt Member, which ends with
the Word eipneclav, the three firſt Feet are Spondees,
the fourth an Anapaſt, the fifth a Spondee, and the
fixth
(c) De Struct. Orat. Sect. xviii
.
[ 22 ]
two firſt Feet are Bacchina
a
fixth a Cretic. And in the ſecond Member of the
Sentence, which begins with the Word én avušas, the
(which he calls Hypa-
bacchics) the third a Cretic, and the two laſt Feet
Bacchics; the whole concluding with an odd Sylla-
ble, which is common.
Now here I would make the following Obſer-
vations.
(1.) That in reducing Proſe- Sentences into their
Original Numbers, there is no Neceſſity to confine
ourſelves to Diffyllable Feet only.
For in reducing the firſt Member of this Sen-
tence, Dionyfius uſes both the Diffyllable and Tris-
ſyllable Feet: But it is capable of being reduced
into all diffyllable Numbers ; tbus-= Or Mev] 7022001.TW
Ev|bcde| n9n| Exprpxolar And according to this Method of
Reduction you ſee there is but one feeble Foot
among them, viz. the Pyrrhic in the fourth Place;
and even this is not at all amiſs, as it is there ſituated;
for the Spondee immediately following corrects its
Rapidity, and gives it the agreeable Air of an
Anapæft.
Therefore (11.) In examining the Numbers of a
Proſaic Period, it is uſually the beſt Way, to reduce
them into Feet of three Syllables rather than thoſe
j
of two.
For this Reaſon ; becauſe though there may be
ſeveral weak and baſe diffyllable Feet in it, yet as
they ſtand in Conjunction with others of a better
Quality, they are ſtrengthened and harmoniſed, and
become very good Feet of three or four Syllables.
Thus
[ 23 ]
Thus the Pyrrhic and the Trochee, though they are
both weak and feeble Numbers of themfelves, yet
followed by a Spondee they gather Force, and the
one has the Air of an Anapall and the other of
a Cretic, which are both good triffyllable Feet.
And therefore Dionyhus, you obferve, refolves the
ſecond Member of the Sentence into all Triſfylla-
bles ; by which Diviſion they appear to be all ſtrong
and generous Numbers. Whereas were they to be
divided all into Diffyllables thus-επαίνεσι τον Apo|0e7a
TW vouco tovl nog;co | Tobfe, -- there would appear to be no
leſs than three Trochees, which of themſelves are baſe
and feeble Feet; and might tempt us to think that
the Numbers were not good. But being all fuc-
ceeding by a long Syllable, they are exalted and con-
firmed, and aſſume the Grace and Force of a Cretic,
which is a good triffyllable Foot:
(111.) The laſt Syllable of a Proſe Sentence, like
that of a Verſe, is always common ; that is, may
be confidered as long of ſhort, as it beſt fuits the
Cloſe,
For this we have Tully's Authority (d). Quin-
tilian indeed pretends that his Ear could diſtin-
guifh whether the laft Syllable of a Sentence be long
a
a
or
(d) Nihil enim ad rem, extrema illa, longa fit, an brevis Orat:
and therefore he makes the Word perfolutas as well as comprobavit
to be a Dichoree, which he recommends as no bad cloſe. But when
he commends a double Trochee for a good cloſe, it's much he ſhou'd
condemn a ſingle Trochee for a bad one ; eſpecially ſince it may be
confidered as a Spondee, by his allowing the laft Syllable to be common,
And yet we find he does, in theſe Words, fed eò (Trochéus) vitioſus
in oratione fe ponatur Extremus, quod Verba melius in Syllabas longiores
cadunt. ld. p. 166. (b).
[ 24 ]
SE
af
0
E
S S
or ſhort (e). And perhaps it might ; but I ſee no
Neceſſity to deſcend to ſuch extreme Refinements.
Therefore
(sv.) The laſt Syllable being common, it is often
neglected and made no Account of (eſpecially if
it be naturally ſhort) and ſerves only to give a Grace
or Flouriſh to the preceeding long one, and may be
conſidered in the ſame Quality as a double Rhime
in the End of a Verſe. Thus in the laſt Word of
the Sentence before us (róvst), the Syllable (de) you
ſee is detached from the final Foot, or rather con-
fidered as belonging to the laſt Syllable, as a Part
of it.
This odd Syllable at the Cloſe which cannot
conveniently be taken into the laſt Number is
called by the Greeks xalcanšis ; of which Diony-
th
b
re
h
E
b
C
2
fius gives us ſeveral Inſtances in the Place | above
referdſto. But
(v.) What is chiefly to be remarked in the Me-
thod in which Dionyſius reduces the above Sentence
is this, (viz.) hence it appears that the Greeks
read their Proſe as well as their Verſe by the Quan-
tity and not by the Accent ; that is, in Pronuncia-
tion they laid the Streſs or Force 'of their Voice
on the long Syllables though they were not ac-
cented, and Nurred quickly over the ſhort ones though
they were.
For Dionyſius here reduces the Numbers accord-
ing as they were pronounced. And in the firſt
Clauſe
(e) Quamvis habeatur indifferens ultima- aures tamen conſulens
meas intelligo multum referre, utrumne longa fit quæ cludit, an pro long
gâ. De Inft. Orat. I. ix. c. 4. p. 486.
[ 25 ]
Х
X
Clauſe in the Words évhese and eipnxólasy, though the
Syllable (oc) in the former, and (xó) in the latter
are both accented, yet according to the Diſpoſition
of the Numbers here given us, we find they are
both pronounced ſhort, and read thus sudad's expnzolav.
So in the laſt Member we find the firſt Syllable of
the Word vouw and that of the Word aózou were
both pronounced ſhort, though both accented, and
read thus
This therefore (after all that
νομω, λογόν.
hath been ſaid upon the Subject) to me appears
a Demonſtration, that with Regard to the Streſs or
Emphaſis of the Pronunciation, the Antients read
by the Quantity only.
If it be faid, of what Uſe then were the Ace
cents ? I anſwer, they were deſigned very probably
at firſt to regulate the Tone or Key of the Voice,
not the Streſs or Force of it, which are two very
different Things; or to Thew when the Voice is to
be elevated or depreſſed ; that is, not when it is to
be ſtronger or weaker, but higher or lower, acute
or grave, according as the Accent directed. This,
as it is extremely difficult for us to imitate them
herein, and would anſwer no good Purpoſe that I
know of if we could, is ſufficient to juſtify us in
paying them no Regard at all, and furniſhes us with
a good Reaſon to read Greek Proſe as well as Poe-
try, according to the Quantity only as the Greeks
themſelves did.
Let us take another Inſtance out of the fame Au-
thor (p. 139.). and ſee how he reduces the following
Sentence of Plato. Tuxóviles a opéu!ou?zev Thu Mappéviv |
ών μαρμένην
πορείαν. Here (fais he) the two firſt Feet are Critics,
E
then
( 26 )
then follow two Spondees, then a Cretic, and laſtly
a Baccbic. So that here again he uſes both diffyl-
lable and triffyllable Feet. And his calling the three
laſt Syllables of the Word sijepptérne a Cretic, it is
plain he read it thus
without
Ειμαρμενην,
any Regard
to the Accent on the Penultima (ué).
After this Example now let us examine the Feet
in the Engliſh Tranſlation of the two firſt Verſes
of the Bible, and we ſhall preſently ſee how much
the Grandeur of the Stile is owing to the Strength
and Magnificence of the Numbers, in which the
Tranſlators are often very happy.
.
In the Belginning | God created the Heavens | and
the Earth, and the Earth, was without | Form and
"
1
void ; | and Darkneſs | was upon the Face of the
Deep.
Theſe three Sentences thus reduced, appear to be
made
up
of all the moſt generous Feet, viz, the Spon-
dee, Cretic, Moloſſus, Bacchic, lambic and Ana-
pælt, without one weak or faultering Foot among
them ; unleſs it be the firſt, which is a Dactyl.
And that being corrected by a long Syllable imme,
diately ſucceeding, becomes a good initial Number.
СНАР,
$
[ 27 ]
CH A P. V.
Concerning the moſt proper Feet to cloſe a
Sentence.
T
HE Antients (who I think have refined this
Science to Exceſs) have laid down ſeveral
Rules concerning the moſt proper Initial Numbers.
Which I ſhall not trouble the Reader with for this
Reaſon ; Becauſe the Ear is leſs apprehenſive of and
more reconciled to a bad Rhythmus in the Beginning
than it is in the End of a Sentence. And therefore
as an Orator will reſerve his beſt Thoughts, ſo his
beft Numbers to the laſt; that he may cloſe with
Eclat, in which there is much Pleaſure, Propriety
and Elegance.
It was a Queſtion among the Antient Orators,
Whether the whole Period ſhould be compoſed in
Numbers, or only the Beginning and End of it ?
That is, whether an Orator is obliged to ſtudy and
attend to the juſt Diſpoſition of his Numbers through-
out the whole Sentence, or only in the two Ex-
tremes of it. Tully is for the former Part of the
Queſtion, but thinks that Care ſhould be taken to
reſerve the beſt Numbers 'till laſt: And gives this
Reaſon for it; Becauſe (lais he) the Ear, which is
always waiting for the Cloſe of the Sentence, wants
to be gratified then, and therefore ſhould not be diſ-
appointed of the Pleaſure it expects (F). And be-
fides
Cum Aures Extremum ſemper expectent, in eoque acquieſcant,
id vacare numero (i. e. generoſo) non oportet. Orat. Ed. Lond. T. <
p. 166. b.
E 2
( 28 )
fides (as Quintilian (8) well obſerves) the Ear is
more at leiſure and more diſpoſed to Judge of the
concluding, than it is of the intermediate Num-
bers.
Now the ſeveral Cloſes recommended by the
Antients are theſe.
(1.) A Dichoree, or double Trochee. This Cloſe
was approved by Tully and Quintilian (b), and was
much in Uſe among the Greeks. And it was chief-
ly on Account of this ſweet and decent Cloſe (as
Tully obſerves) that the following Sentence was re-
ceived with ſuch incredible Applauſe.—Patris Dic-
tum ſapiens, Temeritas filii comprobavit (i).
But it ought to be obſerved that as the laſt Sylla-
ble is common, it may be conſidered as long, and
then the three laſt. Syllables will be a Bacchic :
Again, as the laſt Syllable may be conſidered as
xoluanţis or ſupernumerary, then the three preceed-
ing Syllables will be a Cretic; both which are ſtrong
and generous Feet. And this is the Reaſon that a
Dickoree though it be in itſelf a baſe and feeble
Foot yet makes a Cloſe ſo graceful.
The fame may be ſaid
( (11.) Of a Dačtyl. Becauſe the laſt Syllable be-
ing common, the concluding Foot may be conſider-
ed
1
a
(g) Quod Aures continuam Vocem fecutæ ductæque velut prono de ,
currentis Orationes Flumine, tum magis judicant cum ille Impetus ftetit
et intuendi Tempus dedit. Lib. ix. c. 4:
(6) Dichoréus eft ille non vitioſus in Clauſulis ; cadit autem per ſe
ille ipfe præclare. Id. p. 167. b. Cludet et Choreus fi Pes idem fibi
ipfi jungetur. Quint. 1. ix. c. 4.
(i) Orat. Id.
[ 29 ]
a
a
ed either as a Dactyl or a Cretic (k), and is very
well preceeded by a Cretic or an Iambic; as is ob-
ſerv'd by Quintilian (1).
Mr. Manwaring aſſerts that a Cretic before a Dac-
tyl makes a good Cloſe, e. g. What will this End
in but treacherous Knavery : But that a Spondee be-
fore a Dactyl is bad, and gives this Inſtance, What
will this End in but downright Knavery? But on
what Rule, Authority or Reaſon he builds his laſt
Affertion, I know not. If the Ear be Judge, the
latter Cloſe is altogether as good as the former (*).
(111.) An Iambic, As this is the moſt noble and
generous of all the Feet, there is no one that makes
a finer Cloſe, eſpecially if (as Quintilian (m) ob-
ſerves) it be preceeded by a Bacchic ; which forms
a Foot of five Syllables called Dochymus (-----) and
is the ſame as an lambic and Cretic.
This is a firm
a
ſtately cloſe. And a Spondee preceeding a final Iam-
bic always ſtands very well.
And as an Iambic is ſo fine a Cloſe, all thoſe
compound Feet that end with an lambic, muſt of
Conſequence be fo too. e, g.
(1.) A Ca-
(k) Nihil enim intereſt, Dactylus fit extremus, an Creticus : quia
poftrema Syllaba, brevis an longa fit, ne in verſu quidem refert. Id.
(2) L. ix. C. 4.
(*) See his Harmony, &c. p. 26.
(m) Quint. 1. ix. c. 4.
[ 30 ]
а
(1.) A Cretic.
Which Tully allows to be a good
final Foot.
(2.) Some have recommended the Pæon Poſterior
(www-) which contains the ſame Number of Times
as the Cretic, but one Syllable more, and is com-
poſed of a Pyrrhic and lambic, as a Foot that
Cloſes admirably well (n). But Tully prefers a Cre-
tic before it for a Cloſe ; which, if the Ear may
be a Judge, is a much better Foot ().
(3.) An Anapeſt is a good final Foot, as it ends
in an Iambic. And as it's two firſt Syllables are
ſhort, it is beſt preceeded by one that is long.
(1v.) A Spondee makes a good Cloſe. It may
be preceeded
(1.) By a Thort Syllable; and then it becomes
a Bacchic. Or
(2.) By a long one; and then it becomes a Mo-
loſſus; a very majeſtic Foot.
(3.) By
(n) Say's Efray. p. 168.
() And the other, which is called the firſt Peon (-uvu) conſiſte
ing of a Trochee and a Pyrrhic, and is nothing elſe than the former
Pæon reverſed, is recommended by ſome as a good initial Foot; See
Say's Effay. p. 108. Quint. p. 487. And theſe Movements Ariſtotle
thinks are peculiar to Proſe; becauſe no Verſe can be formed of them.
For being in the Sefquialterate Proportion (i. e. as 2 to 3) they are
not capable of being regularly meaſured by the Hand per Arfin et The-
fin. Vid Arißot. Rhetoric. l. 3. c. 8. Elay on Numbers, &c. Chap. vii.
[ 31 ]
(3.) By a Trochee; and then it becomes the firſt
Epitrite (----) a Cloſe which Tully much delights
in (p).
2
( 4.) By a Cretic. Quintilian well approves this
Cloſe (9).
(5.) By an Anapæſt. This is but barely admitted
(
by the Author before mentioned, (-).
(6.) By a Dactyl. This indeed is condemn'd by
Quintilian for this Reaſon; becauſe (fais he) “ a Profe
" Period ſhould never conclude like the Line of a
Verſe, (s).” But as this refer’d to the Latin Hex-
ameters, and is not the proper Cloſe of Engliſh Verſe,
we
(P) See his Oration pro lege Manilia.-Urbemque &c. L. Luculli
D
c
Virtute Affiduitate, Confilio, ſummis Obſidionis Periculis, liberatam :
patefactumque noftris Legionibus effe pontum ; qui antè populo Roma.
no ex omni aditu claufus effet: cæteraſque Urbes Ponti et Cappadociæ
permultas, uno aditu atque adventu effe captas: Regem-ad alios fo
reges atque alias gentes fupplicem contuliffe : atque hæc omnia, falvis
populi Romani ſociis atque integris Vectigalibus, efe geftas. Satis opi.
nor hoc eſé laudis. Tom. i. p: 311. a.
(7) L. ix. C. 4. p. 487.
fr) Poteſt, etiamſi minus bene, præponi Anapæftus. Ibid.
(s) Ne Dactylus quidem Spondæo bene præponitur, quia fincm verſus
damnamus in fine Orationis." Id. p. 488. The juſtnels of this Obſer-
vation of Quintilian will be conſidered hereafter.
[ 32 ]
we have not the ſame Reaſon for condemning it,
And with us a Spondee preceeded by a Dactyl, ſtands
very well at the End of a Sentence.
(7.) The ſame may be ſaid of a Pyrrhic before
a Spondee. The rapid Movement of the former
being agreeably corrected by the Slowneſs of the
latter.
But three ſhort Syllables together ſhould not be
often uſed though ſucceeded by a Spondee.
And four or five together is much worſe : for
a
few Ears are reconcileable to the Rapidity of a double
Pyrrhic.
(Laſtly.) A Spondee in a Cloſe may ſometimes be
very well ſucceeded by itſelf, which makes an ex-
treme Now Movement. And ſometimes we may
uſe three or four Spondees ſucceſſively, when we
mean to fix an Impreſſion by dwelling upon the
.
Words that convey it.
A notable Inſtance of which we have in Tully's
Oration againſt Verres. In reciting the ignominious
Puniſhment of a Roman Citizen, whom Verres had
ordered to be ſcourged with Rods, he makes Ule
of this Art to raiſe a Horrour of the Fact in the
Minds of his Hearers. The Action was ſo vile in it-
ſelf, that the bare Recital of it was ſufficient to inflame
their Indignation. Which he more effectually does
by
( 33 )
by the Slowneſs with which theſe plain, and to all
Appearance, artleſs Expreſſions are pronounced, ca-
debat ur virgis Civis Romanus ; cum nulla Vox alia
iftius miferi, inter dolorum crepitumque plagarum, au-
diebatur, niſ hæc, Civis ROMANUS SUM (+).
C H A P. VI.
Of Poetic Profe.
A
Proſe Writer may be ſaid to have a Poetic
Stile,
(1.) When he makes Uſe of thoſe Images, Fi-
gures or Words, which are too bold and ſtrong to
be allowed in any but Poetical Compoſitions ; with
a a View to affect the Paſſions, rather than inform
the Judgment; and in all his Paintings, ſeems more
attentive to the Goodneſs of his Colours than the
Juſtneſs of the Features. This turgid Stile in Poe-
try is called Bombaft : In Proſe it is ſomething
worſe.
[2.] When he binds his Periods with too much
Uniformity and Strictneſs, and does not ſufficient-
F
ly
(6) In Verrem, l. v. p. 295. Mr. Manwaring indeed affirms that
there can ſcarce be a Union of two Spondees; for the Concluſon is
beavy and flat. The Reaſon he gives for it indeed is fo ; and too
weak by far, to ſtand in Oppoſition to the Authority juſt mentioned.
Manwaring on Harmony, p. z6, 27.
[ 34 ]
ly diverſify his Numbers to throw them out of
Poetical Meaſure. And hence it is that thoſe who
have dealt much in Verſe, are ſo apt in their Proſe
Compoſitions to run into a Pcetic Stile.
The Laws of Poetic and Profaic Numbers are
eſſentially different. For in Poetry we are tyed
down to thoſe Numbers only which are appropriate
to that Species of Verſe we write in, whether Tro-
chaic, Anapæſtic or lambic, with only thoſe Varia-
tions, Licences or Anomalies that are allowed by
Cuſtom, and the Authority of the beſt Writers in
that Way. But in Proſe we are tyed to no par-
ticular Sort of Numbers, but are permitted to make
Uſe of any that are harmonious to the Ear, and
form a graceful Cadence. And this is done by a
judicious Intermixture of the ſhort and long ones ;
or by introducing more of the one Sort or the
other, according as the Subject requires.
This then being the eſſential Difference and juſt
Boundary between the Proſe and Poetic Stile, we
may lience draw the following Corollaries.
(1.) That it is as great a Fault in Proſe Stile to
be too much bound, as it is in the Poetic to be too
free. Therefore
(2.) That Foot from which any Species of Poe-
try takes its Name, ought not to be too often re-
peated without the Intervention of fome other ; be-
cauſe if it ſucceed itſelf immediately above three
or four times, it becomes Verſe, and that Kind of
Verſe which takes its Name from that Foot, whe-
ther Iambic or Anapæſtic, &c. e. g. A late excellent
and judicious Writer, whoſe Stile for the moſt Part
is
[ 35 ]
is very chaſte and ſweetly numerous, deſcribing the
Devotion and Piety of the Son of God, hath theſe
Expreſſions ; “ His Time was divided between De-
“ votion and Charity, converſing with God, and
doing good to Men.
The Stars by Night as
they moved their Rounds, beheld him breathing
« out his Soul to God. The Angels, that wait-
" ed near him with delightful Wonder, obſerved
a Soul burning with a Flame of Love furpal-
ſing theirs (u).” Here it is plain that the lambic
Numbers ſucceed one another ſo cloſe, that they
give theſe Periods the direct Air of lambic Verſe.
(3.) The fame Foot may be often uſed in the
ſame Sentence provided any other Foot intervene, ſo
as to throw it out of Poetical Meaſure. Thus, a
very finall Alteration will throw the foregoing Sen-
tences out of their Poetic Movement without the
leaſt Damage either to their Sound or Senſe.
“ The Stars as they moved their nightly Rounds
“ beheld him breathing out his devout Soul to God;
“ The Angels that waited near him, with Won-
“ der and Delight, obſerved a Soul burning with
Flame of Love that ſurpaſs’d their own."
F 2
(w) See Grove's Works, Vol. viii. p. 184.
e.g.
a
(4.) As
1
( 36 )
CS
C
(4.) As the Laws of Proſe Compoſition will not
admit of above three or four of thoſe Feet toge-
ther which conſtitute any Species of Verſe, much
leſs will they admit of an intire Verſe in the midſt
of a Proſe Sentence.
Becauſe this quite confounds the two different
Compoſitions, breaks down the Boundary that was
deſigned to part them, violates the Laws of Profaic
Structure, appears too much bound, and diſcovers
an Affectation or at leaſt an Art in the Writer,
which in Proſe-Compoſition ought by all Means to
be concealed. “ For (as Quintilian (x) obſerves)
though Profe Compoſition is bound by Numbers,
yet it rould appear to be perfectly free. And
" therefore to conceal the Poetical Meaſure, thoſe
«s Feet which cloſe a Poetical Verſe (fais he) ſhould
“ never cloſe a Proſe Period; nor ſhould thoſe
so that begin the former begin the latter. Becauſe
“ the Ear will then diſtinguiſh it, and the Stile be-
" comes too ſtiff and affected. But a Profe Period
may begin with the ſame Meaſure with which
” a Verſe ends, and may end with thoſe Feet with
" which a Verſe begins.—To bring in thoſe Num-
” bers into Profe which form Part of a Verſe, is
not right; but to bring in an intire and compleat
“! Verſe is altogether wrong (y).”
Never to begin a Proſe Period with thoſe Numbers
that begin a Verſe, nor conclude it with thoſe that
C
cloſe
(*) Quamvis enim vincta fit, tamen foluta videri debet Oratio. 1. ix,
c. 4. p. 484.
(y) Verſum in Oratione fieri, multo fædiſfimum eſt, totum : ficut etiam
in parte, deforme : utique fi pars pofterior in claufula deprehendatur,
aut rurſus prior in Ingreflu. Nam quod eft contra, fæpe etiam decet ;
quia et cludit interim optime prima pars verſus, et ultima verfuum
Initio conveniunt Orationis. Id. p. 483.
[ 37 ]
7
/
Ć
$
S
cloſe a Verſe, perhaps may be deemed too ſevere a
Law. But his
condemning a compleat Verſe in the
Midſt of Proſe (that is, when it is paſſed upon
the Reader for Proſe) ſurely muſt be juſt
. Of the
fame Sentiment is Tully (Z).
Now with this Authority I am obliged to encoun-
ter that of the learned Mr. Blackwall
, who is of
another Opinion ; and produces ſeveral Inſtances both
from Greek and Latin Authors (ſome of which I
have thrown into the (a) Margin) wherein their Proſe
Stile appears to run into compleat Verſe; with a
View to vindicate the Stile of the facred Writers,
where we ſometimes find the ſame Thing (6).
But why ſo much Solicitude to vindicate the Ele-
gance of the Apoſtles Language? And to aſcribe to them
an Art which they avowedly neglected, and exprel-
ly declared they were above making Uſe of in their
Writings; which were to recommend themſelves,
not by the Eloquence of their Stile, but the Divini-
ty of their Doctrines ? However theſe Inſtances are
far from proving the point in Hand, viz. that it
3
]
is
(z) Quòd Verſus in Oratione fi efficitur conjunctione Verborum,
Vitium eft. De Oratore l. 3.
Verſus fæpe in Oratione per Imprudentiam dicimus : quod vehementer
eft vitiofum. -Perſpicuum eft igitur, numeris adftričam Orationem
effe debere, carere Verfibus. Orator §. 56.
(α) Ψελλία και τρελοί και ίσσοι χρυσοχάλινοι.
Xenoph,
Κηρύττειν ότι και γάτονα χρησόν έχειν.
Plutarch,
-Urbem Romam in principio reges habuere.
Tacitus.
(1) Πάσα δόσις αγαθή και πάν δώρημα τέλειου.
Jam. i. 17.
Και η φωνή γήν εσάλευσε τότε.
Heb. xii. 26.
See Blackwalls ſacred Clafficks, V. i. p. 180.
[ 38 ]
is no Fault in a Profe Stile to run into Verſe. For if
a few Inſtances collected out of the numerous Works
of the antient Writers be ſufficient to juſtify and re-
commend any particular Mode or Form of Stile,
I am miſtaken, if by this Means every Blemiſh of
Stile may not be proved to be a Beauty (c).
CH A P.
VII.
Of Proſaic Poetry.
W
HEN Profaic Numbers are too much
bound, the Stile is Poetic Profe; when Poe-
tic Numbers are too free, it is Proſaic Poetry.
That which exalts this laſt above common Profe,
is the Boldneſs of its Figures, the Sublimity of its
Language (d), and the Dignity of its Numbers.
But
-
(c) Ariſtotle I think hath plainly enough decided this matter for us,
Το δε χήμα της λέξεως δε μήτε έμμετρον έψαι, μήτε άρρυθμων. That
the Diction ought not to be ſtrict Meaſure, nor yet intirely void of
Rhythmus. , de ,
And again, ρυθμόν δε έχειν τον λόγον, μέτρον δε μή,
Foános guapisat. Our Stile ought to have a Rhythmus, but not ftri&
Numbers; for then it would be Verſe, vid Ariſtot. Rhetor. l. iii. c.
8. Ör as Mr. Geddes obſerves, The Meaſures are to be concealed
as much as can be, yet fill our Di&tion muſt have them, otherwiſe it cannot
bear the leaſt Reſemblance to Poetry: but if it abound too much in Numa
bers, (i.e. metrical Numbers) it will approach to Verſe, and loſe it's ge-
nuine Character and Simplicity. Eſſay on the Compoſition of the Anti.
ents, p. 29.
(d) Moft Languages have their Poetical Words, which are never uſed
on other Occaſions, Theſe prove of great advantage to the Poets, who
are hereby enabled to raiſe the Stile and Diction into the poetical Cha-
racter with greater Eaſe. The French have few fuch words in their Lan-
guage; for want of which their Poetry appears in a too familiar Garb,
00
[ 39 ]
But thoſe Numbers not confined to any particular
Species, nor compriſed in any particular Meaſure,
as thoſe of modern Poetry are, but looſe and
unbounded ; but however ſo diſpoſed as to give a
Grandeur and Sublimity to the Stile, ſuitable to
that of the Subject.
In this kind of Poetry, every Part, even the
ſmalleſt Clauſe of a Sentence, ſhould conclude with
a generous Foot. And this, when ſtrong and full
ſhould terminate the Line; becauſe the ſhort Pauſe
occaſioned hereby, will make the Ear more ſenſible
of its Beauty : to attain which the natural Order of
the Words is frequently tranſpoſed.
And of this Kind is
I. The Oriental Poetry.
For the moſt antient Poetry was only a ſublimer
Sort of Profe; or that in which the Sentiments,
Figures and Language were exalted above the
common Mode of Speaking, and whoſe Numbers
were ſtrong and fonorous, but not ty'd to any
Meaſure.
Let us take an Inſtance of this from the firſt
Pſalın, both in the Original, and a Tranſlation
of it, conformable to the Laws of the moſt an-
tient Poetry
I.
not ſufficiently diſtinguiſhed from the common Language ; not being al-
lowed any Boldneſs or Flights but what might paſs in Profe. To this
in a good Meaſure, may be attributed the little Succeſs their Authors have
met with in the Epic Way. In fort, that which is eſſential to Poetry is
Elevation of Stile, bold Metaphors, brilliant Thought, and a ſtrong
Superior Diction. Theſe without any limited Feet or Meaſure give a
Diſcourſe that Dignity which makes it unmeaſured Poetry: without theſe
the moft exact Arrangement of long and ſhort Syllables is but a Kind of
'
meaſured Proſe, The former is Poetry, the latter Verſification. See
Chambers's Dictionary, under the Word Poetical.
[ 40 ]
.
אשרי האיש
t
אשר לא הלך בעצת רְשָׁעים
{
:
וּבדרך חטאים לא עמד
.:
C
וּבְמוֹשַׁב לצים לא ישב:
II.
אם
בתורת יהוה חפצן
ובתורתו יהנה
-
יומם ולילה :
זזז
bers ;
Now in theſe Lines the Quantities are ſo diſpoſed
as to conſtitute the moſt ſtrong and generous Num-
Ńhich I have diſtinguiſhed by their proper
Marks, and which will more readily appear from
the following Reſolution of them.
Line
1. Spondee, lambic.
2. Spondee, Cretic, Anapæſt, Bacchic.
3. Choriambic, Bacchic, Cretic,
4. Cretic, Moloſſus, Cretic,
5. Iambic.
6. Tambic, Cretic, Bacchic.
7.
Cretic, Iambic, Anapaeft.
8. Spondee, Iambic, Iambic.
Wheri
[ 41 ]
When thefe Words are read according to the
Quantities here diſtinguiſhed, the Ear will ſoon be
judge how much more muſical they are than when
they are read without any Regard to them. And
this Strength of Numbers, together with the Beauty
of the Metaphors, and the Elevation of Thought
contained in this Sentence, is that which exalts it
to a Poetical Character.
The Tranđation of it in Imitation of the fame
Proſe-Poetical Stile may be in this Manner.
1.
o bleſſed Män!
Who walks not in the Councel of the Wicked
Nor in the Way of Sinners ftands,
And in the Seat of Scoffers doth not fit.
II.
But
His Delight is in Jehovah's Law,
In whoſe Law be meditates
Day and Night,
II, Of this kind are moſt Monumental Inſcrip
tions, and Panygerick Characters,
G
OF
[ 42 ]
Of the former we may take the following In-
ftance.
Hic inhumatur Corpus
MATTHÆI HALE militis ;
ROBERTI HALE et JOHANNÆ,
Uxoris ejus, Filii unici
Nati in hâc Parochiâ de Ålderly,
Primo die Novembris
A. D. 1609.
Denati vero ibidem
Vicefimo quinto die Decembris
A. D. 1676.
Ætatis fuæ 67:
Here lies enter'd
The Body Of MATTHEW HALE, Knight;
The only Son
OF ROBERT HALE ảnd JOAN his Wife:
Who was born in this pariſh of Alderly,
,
On the firſt Day of November
"
In
[ 43 ]
In the Year of our Lord 160g,
And dy'd in the ſame Pariſh,
On the twenty-fifth Day of December,
In the Year of our Lord 1676
Of his Age 67.
Though there is the utmoſt Simplicity of Words
in this Inſcription, which Sir Matthew Hale or-
dered to be engraven on his Monument, yet there
appears a certain Air of Dignity in them, owing
to the Feet that compoſe them, which are all of the
moſt generous Quality. A plain Inſtance of the
Power of Numbers, even in the moſt common and
fimple Language.
And as an Inſtance of Panygerical Deſcriptions,
which are generally drawn up in this Profe-Poetical
Stile, we may take the following Character of the
late King William.
He was,
Bat is no more,
The Head, Heart and Hand
Of the Confederacy z
The Aſſertor of Liberty,
G 2
The
( 44 )
1
The Deliverer of Nations,
The Support of the Empire,
The Bulwark of Holland,
The Preferyer of Britain,
The Reducer of Ireland,
And the Terrour of France.
His Thoughts were wiſe, ferene and fęcret,
His Words few and faithful,
His A&tions many and heroick;
3
His Government without Tyranny,
His Juſtice without Rigour,
And his Religion without Superſtition.
He was
Magnanimous without Pride,
Valiant without Violence,
Victorious without Triumph,
Active without Wearineſs,
Cautious without Fear,
And Meritorious without Thanks.
Though
( 45 )
Though there be a few weak and faultering
Feet in this Panygerick, particularly in the fourth
and fixth Lines, yet they are abundantly compen-
fated by the Energy of Thought, the Succinctneſs
of the Language, and the Variety of Contraſt,
which makes the Compoſition ſo beautiful. It is
not limited to any Feet or Meaſure, and there-
fore is not Verle; but is diſtinguiſhed in general
by its harmonious Numbers, ſublime Sentiments,
with a peculiar terſe, ſtrong and lively Turn of Ex-
prefſion which raiſes it above Profe, and therefore is
a fit Specimen of Proſaic Poetry.
III. Romances and Novels are often writ in this
mixt Language, between Poetry and Profe ; and
hence it is ſometimes called the Romantick Stile.
Of which we may take the following Inſtance in
the Words of Alexander when he took his Leave of
À
Statird. “ Madam (ſaid he) I am forced to leave
you ; but though I go from hence, my Thoughts
« ſhall not be ſeperated from you ; perhaps I may
one Day come back to lay all my Victories at
“ your Feet; and may the Gods grant, I
may
be
as able to conquer your Mind, as I am to con-
“ quer Kingdoms; and that I may find you as
“ much ſoftened at my Return, as I leave
you ob-
“ durate at my Departure (e).”
(Laftly)
6) Caſſandra.
[ 34 ]
ly diverſify his Numbers to throw them out of
Poetical Meaſure. And hence it is that thoſe who
have dealt much in Verſe, are ſo apt in their Proſe
Compoſitions to run into a Pcetic Stile.
The Laws of Poetic and Profaic Numbers are
eſſentially different. For in Poetry we are tyed
down to thofe Numbers only which are appropriate
to that Species of Verſe we write in, whether Tro-
chaic, Anapæſtic or Iambic, with only thoſe Varia-
tions, Licences or Anomalies that are allowed by
Cuſtom, and the Authority of the beſt Writers in
that Way. But in Proſe we are tyed to no par-
ticular Sort of Numbers, but are permitted to make
Uſe of any that are harmonious to the Ear, and
form a graceful Cadence. And this is done by a
judicious Intermixture of the ſhort and long ones ;
or by introducing more of the one Sort or the
other, according as the Subject requires.
This then being the eſſential Difference and juſt
Boundary between the Profe and Poetic Stile, we
may lience draw the following Corollaries.
(1.) That it is as great a Fault in Proſe Stile to
be too much bound, as it is in the Poetic to be too
free. Therefore
(2.) That Foot from which any Species of Poe-
try takes its Name, ought not to be too often re-
peated without the Intervention of ſome other ; be-
cauſe if it ſucceed itſelf immediately above three
or four times, it becomes Verſe, and that Kind of
Verſe which takes its Name from that Foot, whe-
ther Iambic or Anapæſtic, &c. e. g. A late excellent
and judicious Writer, whoſe Stile for the moſt Part
is
[ 35 ]
is
very
chaſte and ſweetly numerous, deſcribing the
Devotion and Piety of the Son of God, hath theſe
Expreſſions ; “ His Time was divided between De-
“ votion and Charity, converſing with God, and
doing good to Men.
The Stars by Night as
" they moved their Rounds, beheld him breathing
out his Soul to God. The Angels, that wait-
" ed near him with delightful Wonder, obſerved
a Soul burning with a Flame of Love ſurpaſ-
"ſing theirs (u).” Here it is plain that the lambic
Numbers ſucceed one another ſo cloſe, that they
give theſe Periods the direct Air of lambic Verſe.
(3.) The fame Foot may be often uſed in the
fame Sentence provided any other Foot intervene, ſo
as to throw it out. of Poetical Meaſure. Thus, a
very finall Alteration will throw the foregoing Sen-
tences out of their Poetic Movement without the
leaſt Damage either to their Sound or Senſe.
“ The Stars as they moved their nightly Rounds
“ beheld him breathing out his devout Soul to God;
" The Angels that waited near him, with Won-
“ der and Delight, obſerved a Soul burning with
Flame of Love that ſurpaſs’d their own.”
e. g.
a
F 2
(w) See Grove's Works, Vol. viii. p. 184.
(4.) As
[ 46 ]
(Laſtly.) of this kind alſo I conceive' were the
antient Dithyrambics; or thoſe Hymns which were
formerly ſung in Honour of Bacchus. Which were
a very wild and looſe Compoſition, and as full of
Tranſport and Rage as the drunken God they 'ce-
lebrated. Of theſe we have no Remains extant:
But as Horace fais they were tyed to no poetical
Numbers (f ), I take them to be a Species of this
Proſaic Poetry
Before I conclude this Chapter it may not be a-
miſs juſt to obſerve the vaſt Difference between the
antient and modern Poetry.
The moſt antient Poetic Compoſitions were con-
fined neither to Rhime, Number or Meaſure ; and
were nothing but juſt ſublime Sentiments clothed in
ſtrong figurative Language. Such was the Oriental
Poetry. This was afterward reduced to Meaſures
and Lines; but both very various; the Meaſures
of no determinate Sort, and the Lines of no de-
terminate Length. As in Pindaric Odes. After this
the Poetic Stile was bound to ftill ſtricter Laws;
and confined to a certain Meaſure, and a certain
Number of Feet in every Line, e. g. to five dif-
fyllable Feet or ten Syllables; as in Milton's Verſe.
It was afterwards laid under a further Reſtriction,
and ſubject not only to Meaſure but Rhime; and
every other Line was to conclude with a Sound fi-
milar to that which cloſed the preceeding Line.
And when the Poetry was divided into Stanzas,
each Stanza conſiſting oi four Lines of eight and
Gx
a
V) Laureâ donandus Apollinari,
Se fer audaces nova Dithyrambos
Verba devolvit, numeriſque fertur
Lege folutis.
Hor. l. iy. Od. 2.
[ 47 ]
fix Syllables alternately, they were to correſpond in
alternate Rhime. And be the Lines ever ſo ſhort
they muſt End with a ſimilar Sound ; and ſometimes
the two rhiming Syllables are found both in the
fame Line; nay according to the Judgment and Taſte
of ſome People, that is the beſt Poetry where the
Numbers are leaſt varyed and the Rhime moſt
exact and frequent. Which lays it under the moſt
miſerable Reſtraint, hampers it with the moſt un-
reaſonable Fetters, cramps a true Poetic Fancy, and
whilſt it keeps the Attention fixt to the Structure
and Sound of Words, takes it off from that which
is the very Life and Spirit of all true Poetical Com-
poſition, viz. ſublime Thought and ſtrong Language,
it pleaſes the Ear at the Expence of our Underſtand-
ing, and puts us off with Sound inſtead of Senſe.
If the antient Poetry was too lax in its Num-
bers, the modern is certainly too ſtrict. The juſt
Medium between theſe two Extreams ſeems to be
that whịch Milton hath choſen for his Poem, viz.
the Penthameter Verſe with the mixt Iambic Mea-
ſure, free from the Shackle of Rhime; in which
the Numbers are neither too free nor too confined;
but are muſical enough to entertain the Ear, and at
the ſame Time leave Room enough to expreſs the
ſtrongeſt Thought in the beſt and boldeſt Lan-
guage:
CH A P.
[ 48 ]
CH A P. VIII.
The Compoſition of ſome of our beſt Engliſh
Writers conſidered with Regard to their
Numbers.
A
RCHBISHOP Sharp, whore Sermons for
Perſpicuity of Stile; Solidity of Senfe, and
Piety of Spirit
, are deſervedly admired, was never-
thelefs very negligent of his Rhythmus. We are
frequently hampered with four or five fhort Sylla-
bles together,, e. g.
« This I muſt confefs is a very
“ melancholy and unpleaſing Argument (8).” Which
he might with Eaſe have prevented, only by putting
the Word Unpleafing firſt. Again,
« We are not
“ much degenerated from the Purity of Chriſtianity
" I ſpeak
as to Doctrinals (h).” And what is worſe, he of-
ten cloſes with a double Pyrrhic. eig.
“ of the national Sins, the reigning Vices of the
" Times, the Miſcarriages that are ſo prevailing and
“ fo common that a Publick Guilt is contracted
by them, and the whole People may juſtly Ihare
« in the Puniſhment of them (i).”
Arch-
(sVol. i. p. 6.
(5) Ibid.
(1) Id. F. 7.
[ 49 ]
Archbiſhop Tillot fon hath all the Simplicity and
Perſpicuity of the former, but is much more har-
monious. He had a nice Ear and a clear Head;
was happy in the Sweetneſs of his Nunibers, an
inimitable Eaſe of Stile and Solidity of Argument.
For theſe he hath been ever admired, and one un-
harmonious Sentence picked out of three Volumes
in Folio, I believe will not be deemed Proof ſuffi-
cient to overthrow ſo well eſtabliſhed a Reputation.
And therefore I cannot help thinking that the Cen-
ſure lately paſſed upon him by a very elegant Wri-
ter is ſomewhat too ſevere (k). If the Archbihop
(whom no Man of Taſte can read without Pleaſure)
be defective in any Thing, it is in Force and Spirit,
and when this ſeems to be moſt wanting, it is often-
times only concealed by a peculiar Simplicity of Lan-
guage. Let us take the following Paſſage for an In-
ſtance," But of all Doctrines in the World,
" it (i.e. the Doctrine of Tranſubftantiation) is pe-
culiarly incapable of being proved by a Miracle.
“ For if a Miracle were wrought for the Proof of
,
it, the very fame Aſſurance which a Man hath
“ of the Truth of the Miracle, he hath of the
“ Fallhood of the Doctrine, that is, the clear Evi-
H
dence
(k) See Fitzofoorn's Letters, Let. xxiv.
It is without Doubt altogether as wrong to condemn a good Compoſi-
tion for here and there a rough Period, as it is to applard a bad Compofi-
tion for here and there a good one. No Man, I believe, will diſpute the
late Lord B-k's Claim to the Rank of a fine Writer ; yet even his
Stile is not always free from ill-turned Periods and a bad Diſpoſition of
Numbers. By never ſaying what is unfit for him to ſay, he will
never hear what is unfit for him to bear; by never doing what is
unfit for him to do, he will never ſee what is unfit for him to ſee..
Again, If the Heart of a Prince be not corrupt, theje Truths will find
an eaſy Ingreſſion through the Underſtanding to it. Letters on the Spirit
of Patriotiſm, &c. p. 218, 223,
Who does not ſee that the former
of theſe Periods has too much of the low affected Turn and Jingle of the
laſt Century to pleaſe in this ; and that the cloſing Numbers in the latter
are halting, weak and unharmonious.
a
[ 50 ]
;
66 dence of his Senſes for both. For that there is
a Miracle wrought to prove, that what he ſees
“ in the Sacrament is not Bread, but the Body of
“ Chriſt, he hath only the Evidence of his Senſes:
“ And he hath the very fame Evidence to prove,
" that what be ſees in the Sacrament is not the
Body of Chriſt, but Bread. So that the Argu-
« ment for Tranſubſtantiation, and the Objection
againſt it, do juſt ballance one another and
« where the Weights in both Scales are equal, it
“ is impoffible that the one ſhould weigh down
“ the other; and conſequently Tranſubſtantiation
" is not to be proved by a Miracle ; for that would
is be, to prove to a Man by ſomething that he fees,
" that he does not ſee what he ſees (1).
Never was there a more perfect Maſter of Num-
bers, both in Poetry and Proſe, than Mr. Addiſon.
Fair Roſamond will always be a Proof of the one,
and his Spectators a laſting Monument of the other.
It is no leſs needleſs than it would be endleſs to
fpecify the particular Beauties of his Language, which
at once excels in Purity, Perſpicuity and Force; and
in which it is equally difficult to find either De-
feet or Redundance. In a Word, the beſt way to
acquire 'a chafte, expreſſive and numerous Stile is to
read and copy him.
Mr. Gorden is full of Force and Fire ; his Stile
nervous and pointed; well turned for Raillery, and
far above the common Lével. His Numbers moſt
ftrong and generous ; .happily adapted to pleaſe the,
Ear and reach the Heart. He hath Seneca's Point
without his Poverty, Tully's Spirit without his Pro-
fu ſeneſs,
(1) Tillotſon's Works, Vol. i. p. 179. Serm. 21.
a
a
[ 51 )
a
fyſeneſs, and Demoſthenes's Thunder without his
Lightning: For a Specimen we may take the fol-
lowing Paragraph ; where ſpeaking of the formida-
ble Tribe of Critics, he fais thus, -" The common
" Fraternity of Writers (a moſt unbrotherly Fra-
ternity) furniſh a Swarm of Critics. For almoſt
« all Writers are Critics in the rigorous, but wrong
“ Senſe of the Word; and are therefore ready to
run down all ſuperior Productions; and to Thew
“ the leaſt Mercy to the moſt Merit. If any Work
“ merit Praiſe, this is to them ſufficient Provocation to
decry it. I have known ſome of them appear fond
• of a Book, till they ſaw it ſucceed, then grow
“ mad at its Succeſs, and wondered at the fooliſh
" Taſte of the Town. As I have received many
Proors of their good-will, I know their Candour.
" I have found ſome fo vain, that no good Treat-
ment could reach their Merit, fome fo craving
as only to be beholden for Favours to come; O-
" thers who have praiſed me too copiouſly without
any Court or Temptation from me, have
« abufed me as plentifully without being once
" offended by me: Others, ſo little Șcrupulous as
to revile me for Writings which I never wrote, I
can produce as high a Panegyric as ever was made
upon Man, and as vile a Libel, both in Print, and
es both from the fame Author ; the former without
my ever having ſeen him, and the latter without
ever having wronged him; nay, after I had done
" him a thouſand good Offices. I have ſupported an
“ Author for a whole Winter, and have had his Thanks
« next Summer in a furious printed Invective (m).”.
My
(mi) See Introduction to a Tranſlation of Salluft, p. 18, 19,
a
a
H 2
[ 52 ]
My Lord Shaftſbury's Numbers, if compared with
the two Authors laſt mentioned, are not ſo ſweet
as thoſe of the firſt, nor ſo ſtrong as thoſe of the
laſt. His Talent is delicate Ridicule, but his Stile
not very fit for it; which is rather weak and fluent
than harmoniouſly ſtrong. He wears a perpetual
Face of Pleaſantry, and loves to laugh ; but has
ſometimes the Misfortune to laugh out of Seaſon,
and draw the Smile upon himſelf. His Expreſſions
are now and then no leſs Quaint than his Humour ;
but the Numbers of the former as ill-matched as
the Subjects of the latter. However he hath gain-
ed the Character of a fine Author, which I appre-
hend he owes more to the Dignity of his Name,
than that of his Writings. He affects Delicacy, but
does not always preſerve it. Of which the follow-
ing Lines are a Proof.-" It is obſervable that the
“ Writers of Memoirs and Elſays are chiefly Sub-
ject to this frothy Diſtemper.
Nor can it be
qe doubted that this is the true Reaſon why theſe
Gentlemen entertain the World ſo laviſhly with
« what relates to themſelves. Who indeed can
" endure to hear an Emperick talk of his own Con-
« fticution, how he governs and manages it, what
“ Diet agrees beſt with it, and what his Practice
!! is with himſelf. The Proverb, no doubt, is very
juſt, Phyſician cure thyſelf.
Yet methinks one
“ Thould have but an ill Time, to be preſent at
“ theſe bodily Operations. Nor is the Reader in
" Truth any betier entertained, when he is obliged
" to aſiſt at the experimental Diſcuſſions of his practi-
fing
( 53 )
J
fing Author, who all the while is in reality doing no
“ better than taking his Phyfick in Publick (n).”
Biſhop Atterbury was doubtleſs a great Genius,
and a fine Writer. No one diſputes his Claim 10
Eloquence. His Numbers are well choſen, beauti-
ful and ftrong as the Senſe they convey ; his Ex-
preſſion pure, his Cadence ſmooth, his Phraſe eaſy,
and his Cloſes full of Harmony. As a Specimen
of which, take the following Extract from a Letter
of his to Mr. Pope." I thank you for a Sight
.
“ of your Verſes; and with the Freedom of an
honeſt, though perhaps injudicious Friend, muſt
o tell
you ; that though I could like ſome of them
ss if they were any Body's elſe but yours, yet as
they are yours, and to be owned as ſuch, I
can ſcarce like any of them. Not but that the
« four firſt Lines are good, eſpecially the ſecond
Couplet ; and might if followed by four others
as good, give Reputation to a Writer of a leſs
,
“ eſtabliſhed Fame. But from you I expect ſome-
thing of a more perfect Kind, and which, the
" oftener it is read, the more it will be admired.
« When you barely exceed other Writers, you fall
• much beneath yourſelf (o).
Having
(n) See Characteristicks, Vol. i. p. 163,
(1) See Letters to and from Dr. Atterbury Biſhop of Rocheſter, Lett. 24.
(6
co
( 54 )
Having mentioned Mr. Pope, I muſt produce
him next. He would have thone no leſs in Proſe
than Poetry, had he applyed himfelf as much to the
former as he did to the latter. This
This appears from
his Letters; where you ſee nothing of the Poet,
none of thoſe fanciful Images or excurfive Flights,
fo natural to thoſe who have dealt much in Verfe
but all is ſmooth eaſy Language, ſtrong and ſolid
Senſe. His Numbers are purely Profaic, but flow
with a Sweetneſs peculiar to one whoſe Soul was
all Harmony. Writing to his Friend, the foremen-
tioned Biſhop, when under Diſgrace, he ſais—" Once
more I write to you as I promiſed ; and this once
« I fear will be the laſt! The Curtain' will foon be
« 1
i
i
« drawn between my Friend and me, and nothing
« left but to wiſh you a long good Night. If you
“ retain any Memory of the paſt, let it only Image
6
“ to you what hath pleaſed you beſt ; ſometimes
preſent a Dream of an abſent Friend, or bring
you
back an agreeable Converſation. But upon
's the whole, I hope you will think leſs of the Time
! paſt, than the future ; as the former hath been
« leſs kind to you than the latter infallibly will be.
“ Do not envy the Weild your Studies; they will
* tend to the Benefit of Men againſt whom you
can
[ 55 ]
can have no Complaint; I mean of all Pofterity.
“. And perhaps at your Time of Life, nothing elſe
“ is worth your Care. What is every Year of a
şr wiſe Man's Life, but a Cenſure or Critique on the
o paſt? Thoſe whoſe Date is ſhorteſt, live long
" enough to laugh at one half of it.
The Boy
deſpiſes the Infant, the Man the Boy, the Phi-
loſopher both, and the Chriſtian all ().”
I have marked the Cloſes, that the Reader may
obſerve the Numbers to which they owe their
Sweetneſs.
I ſhould tire my Readers and myſelf, were I to
mention half our Englith Authors whoſe Writings
have done an Honour to our Language, and who
owe their Fame for Eloquence chiefly to their Skill
in Numbers. But it would juſtly be deemed a want
of Taſte or Memory, not to mention in this Num-
ber the excellent Mr. Mtb; who hath lately
obliged the World with a Collection of Letters full
of fine Senſe and fine Language.
All the Spirit,
Eaſe and Elegance of original Epiſtles enter into
his Trandation of Pliny's: Where the Reader is at
once charmed with a Beauty of Thought and Dic-
tion, fcarce to be paralleled by any but thoſe of
Fitzoſborn. Taking Occaſion from a Paſſage in
Pliny to recommend Epiſtolary Writing, he fais,
-" It
W) Id. Letter xxiii.
a
( 56 )
" It appears from this and ſome other Paſſages
“ in thoſe Letters, that the Art of Epiſtolary Wri-
“ ing was eſteemed by the Romans, in the Num-
“ ber of liberal and polite Accompliſhments. It
" ſeems indeed to have formed Part of their Educa-
“ tion ; as in the Opinion of Mr. Lock it well de-
or ſerves to have a Share in ours. It is to be won-
s dered that we have ſo few Writers in our own
Language, who deſerve to be pointed out as Mo-
"
" dels upon ſuch an Occaſion.-A late diſtinguiſh-
" « ed Genius treats the very Attempt as ridiculous,
" and profeſſeſs himſelf a mortal Enemy to what
they call a fine Letter. His Averſion however
was not ſo ſtrong but he knew how to conquer
« it when he thought proper; and the Letter which
“ cloſes his Correſpondence with Biſhop Atterbu-
ry(9), is perhaps the moſt genteel and manly Ad-
« dreſs that was ever pen'd to a Friend in Dif-
CC
grace (r)."
A nice
*(9) Referring to the Letter out of which I have taken the Extract
above.
See Pliny's Letters, B. 2. Let. 13. not. a).
[ 57 ]
A nice Ear will ſoon perceive a Difference in
the Stile of the two laſt mentioned Writers. They
are both numerous, both harmonious, but in a dif-
ferent Way. The Firſt is more Succinct and Nery-'
ous, the Lattermore Diffuſe and Flowing. And a
judicious Reader will as ſoon diſcern the Cauſe to
which, this Difference is owing, viz. becauſe the
one deals moſt in Spondaic and Iambic, the other
in Dactylic and Anapæſtic Numbers.
I muſt not omit here to mention Mr. Smith;
who (if I miſtake not) hath tranſlated Longinus in
the true Sublime : And ſeems as much inſpired by
the Spirit of his Author, as his Author himſelf was
.by the Nature of his Subject : And both were a
happy Specimen of the Art they taught. And though
he ſpeaks in very diminutive Terms of the Rules
the Antients laid down to attain a numerous Com-
poſition (which he owns Cicero ſtudy'd and prac-
tiſed (s) ) and apprehends they will throw too great
a Reſtraint and Incumbrance on our Language, yet
his own Stile is, I think, a Proof of the Contrary.
For whatever Averſion he might have to the Rules
of this Art, he knew how to practiſe them with
very good Succeſs. For condoling the Publick on
the Loſs they have ſuſtained by that of Longinus's
Treatiſe on the Paſſions, he ſais, the Excellence
-
-
“ of this on the Sublime makes us regret the more
a
“ the Loſs of the other; and inſpires us with a deep
“ Reſentment of the irreparable Depredations com-
“ mitted on Learning and the valuable Productions
" of Antiquity, by Goths, and Monks, and Time.
,
I
" There
(s) See his Notes and obſervations on Longinus, Sect 39.
[ 58 ]
'
" There, in all Probability we ſhould have beheld
" the ſecret Springs and Movements of the Soul
"diſcloſed to View. There, we ſhould have been
taught, if Rule and Obſervation in this Caſe can
" teach, to elevate an Audience into Joy, or melt
" them into Tears. There, we ſhould have learn'd
“ if ever, to work upon every Paſſion, to put every
Heart, every Pulſe in Emotion. At preſent we
" muſt ſit down contented under the Loſs, and be
“ ſatisfyed with this invaluable Piece on the Sublime,
« which with much Hazard hath eſcaped a Wreck,
!! and gain'd a Port though not undamag'd (t).”
Sir William Temple's nervous and maſculine Stile
is a good deal owing to the ſtrong, majeſtick Num-
bers of his Compoſition.—" To find any Felicity,
take any. Pleaſure in the greateſt Advantages of
" Honour and Fortune, a Man muſt be in Health,
“ Who would not be Covetous, and with Reaſon,
“ if this could be purchaſed with Gold? Wlio not
♡ Ambitious, if it were at the Command of Power,
!! or reſtored by Honour. But alaſs! A wbite Scaff
$
or
will
(1) Notes and Obſervations on Longinus, ad fin.
[ 59 ]
or
" will not help gouty Feet to walk, better than a
« common Cane ; nor a blue Ribband bind up a
" Wound ſo well as a Fillet. The glitter of Gold
of Diamonds will but hurt ſore Eyes, inſtead
" of curing them. And an aking Head will be no
more eaſed by wearing a Crown, than a com-
mon Night-Cap (u).”
I know not how to conclude this Chapter without
obſerving, that the Tranſlators of our Engliſh Bible
are uſually very happy in their Numbers ; which
are moſtly ſolemn, majeſtic and grave as the ſacred
Subjects they treat of. For ani Inſtance, let us take
the four firſt Verſes of Saint John's Goſpel.
ز
-
“ In the Belginning was the Word, I and the
1
“ Word / was with God, | and the Word / was God.
" The ſame was in the Beginſning with God.
" All Things were made by him, and without
1
" him was not any Thing made that was made.
1
" In him was Liſe, and the Life was the Light
" of Man."
I 2
A Man
(u) See his Miſcellanies, Part iii. p. 110:
To the forementioned Writers eminent for numerous Compoſition I
might juſtly add, Dr. Middleton, Dr. Burnet, Mr. Geddes, Mr. Balguy,
Mr. Grove, Dr. Watts, and Mr. Hervey. But the Language of the two
laſt, is, for the moit Part, too Poetical.
[ 60 ]
A Man muſt have no Ear, no Tafte, that does
not perceive in this Paragraph, with how much Har-
mony the Subject and Numbers accord. And per-
haps there is no Paſſage in any Writings ſacred or
profane, that exceeds it in Sublimity of Sentiment
and Dignity of Diction.
By this Time, I hope we have a diſtinct Idea of
what is generally called a numerous Compoſition. It
hath no reference to a Writer's Sentiments: For
good Thoughts may be, and very often are, expref-
,
fed in a very bad Manner. It does not refer to the
Propriety of Expreſſion: For the propereſt Words
are ſometimes harſh and diſcordant, and Nonſenſe
may be muſical. Nor is a numerous Stile only a
ſmooth flowing Stile, as ſome imagine, but an har-
monious and muſical Stile. Or ſuch an Arrange-
ment and Diſpoſition of the Words, as gives the
Ear a Pleaſure when they are pronounced. The
Sound of the Hautboy and Trumpet is muſical as
well as that of the Harp and Lute : But the Mu-
ſick of the one is loud and ſtrong, that of the o-
ther ſoft and ſweet. For there is as great a Diver-
ſity in muſical Numbers, as there is in muſical No-
tes; and as great a Variety of Harmony ariſing from
the different Diſpoſition of them: So G-n and
Temple are excellent for numerous Compoſition as
well as Tillotfon and M--th: But the Numbers
of the former are more maſculine and ſtrong, thoſe
of the latter more ſoft and flowing; both equally
Harmonious.
And from hence alſo we may obſerve not only
a great Difference in the Stile or Compolition of
Writers, but the Cauſe of that Difference. The
ſoft
[61]
ſoft and flowing Stile ariſes from the great Num-
ber of ſhort Quantities or rapid Feet, and the ſtrong
and maſculine Stile from the long Quantities and
grave Numbers which compoſe it. For it is the Num-
bers with which the Periods and the ſeveral Parts
of them cloſe, that gives the particular Diſtinction
and Air to the Structure of the Sentence. And
according to theſe an Author may be ſaid (in Proſe
as well as Verſe) to write in the Dactylic or Iam-
bic Meaſure ; i. e. according as he cloſes moſt fre-
quently with Dactyles or Iambics: (fo Tully fais
that Ephormus the Orator followed the Dactylic (x)
Meaſure) For every Author naturally runs into one
of theſe different Meaſures more than the other
i
as he does into the Uſe of ſome particular Words
and Phraſes: And theſe two Things (though the
former is not ſo often obſerved as the latter) are the
Cauſe that a Man is no leſs diſtinguiſhed by his Stile
than his Hand-Writing.
СНА Р.
IX.
Containing certain Rules proper to be ob-
ſerved in Order to acquire a numerous
Stile.
Rule I.
URNISH yourſelf with a Copia of
H
vey juſt the ſame Idea ; that you may have it in
your Power to ſubſtitute one of a good Number in
the
(*) Oratır, p. 166. (a).
[ 62 ]
the Room of another that is a bad one, and to chaſe
that which beſt ſuits the Rhythmus, of which a
good Ear will ſoon be Judge.
This Rule Quintilian fais was obſerved by ſome
in his Time, who for this purpoſe got a Store of
fuch Words by Heart (y). But he obſerves that
fuch a Furniture is beſt provided by a careful At-
tention to the Manner of Speaking and Writing
uſed by the beſt Maſters of Language ; becauſe by
this Means we ſhall know not only the beſt Words
but their beſt Situation (Z). And of two Words
equally proper and expreſſive, that which con-
tains the beſt Number is for the moſt Part to be
prefered.
Rule II. When four, five, or more ſhort Syl-
lables come together, you may Part them by inſert-
ing amongſt them fome expletive Particle contain-
ing a long Quantity, which if it do not ſtrengthen
the Senſe, will at leaſt ſerve to meliorate the
Meaſure.
Take for Example the following Sentence This
Do&trine I apprehend to be erroneous and of a per-
nicious Tendency. Here too many ſhort Quantities
follow une another fucceffively. But ſuppoſe it al-
tered thus ; This Doctrine I take to be not only falſe,
but of very pernicious Tendency; and let any good
Ear judge to which the Preference is due.
The ſame Thing may be done in order to pre-
vent the Colliſion of two hard Sounds, which (tho’
the
(y) Equidem fcio quofdam collecta quæ Idem fignificarent Vocabula
folitos ediſcere, quo facilius occurreret unum ex pluribus. 1. x. C. 1.
(z) Ibid.
[ 63 ]
the Number be good yet) require ſome Pains to be
diſtinctly pronounced, without grating on the Ear.
For this Reaſon the Tranſlators of the New Ter-
tament render the Words in Luke x. 11. thus; even
the very Duft of your City which cleaveth on us,
we do wipe off againſt you. Not we wipe; which
are Sounds ſo ready to run into one another, that
they require ſome Care and Pauſe to keep them
aſunder (a).
Rule III. An Illiphs will often help the Rhyth-
mus, by contracting two Syllables into one, as ’tis,
don't ; for it is, do not.
And to mend the Meaſure we may often leave
out not only ſome Syllables in a Word, but ſome
whole Words in a Sentence, provided we do not
thereby weaken or obſcure the Senſe. So the Ad-
verb that, and the Particle the, may be either ex-
preſſed ar underſtood, according as it beſt ſuits the
Run of the Words. e. g. I ſee that nothing can be
done to ſave either the Man or the Horſe. Bet-
ter thus, I ſee nothing can be done to ſave either Man
or Horſe.
Nay, for the ſame End an Author may drop,
not only a whole Word, but Part of a Period, and
leave the Senſe imperfect in fome obvious Caſes.
And a ſeaſonable Silence, or imperfect Speech (a
Figure which the Rhetoricians (6) call a Suppreſſion)
often ſerves at once to ſtrengthen both the Mea-
ſure and Sentiment. As in that Expreſſion in Te-
rence, Liber Loris !-" To cauſe a Period then to
“ run with a greater Smoothneſs and juſt Cadency,
Author will find himſelf obliged, not only
a
so
an
to
(a) Say's Eſſay on Numbers, &c. p. 115.
(6) Blackwell's Introduction to the Ciafiicks, p. 18;
[ 64 ]
" to ſtrip it of all Superfluities, but even to leave
“ out ſomething in the Senſe, which the Reader
" muſt neceſſarily ſupply from his own Invention.
“ Demoſthenes, but eſpecially Thucydides, abound with
“ Inſtances of this. Nor is a Reader of Taſte at
“ all offended with it; on the Contrary he is
pleaſed with the Compliment paid his Under-
ſtanding (c).”—Theſe laſt Words exemplify the
Rule we are upon ; and run much better as they
are, than if they had been—" He is pleaſed with
“ the Compliment wbich is paid to his Under-
« ſtanding."
Rule IV. A proper Uſe of Rhetorical Figures
is ſometimes a great Help to a numerous Compofi--
tion; and when they are well chofen and pertinent-
ly applied, they ſerve at once to exalt the Senſe
and adorn the Language (d).
But here the following Things muſt be carefully
remembered.
(1.) That the Figures we Uſe be neither ob-
ſcure nor impertinent. Which will only darken or
perplex the Senſe (e).
(2.) That they be not too bold and ſtrong. For
that favours too much of Poetry.
(3.) That they be not ftiff or unnatural. Which
diſcovers a ridiculous Affectation.
(4.) That
(c) Geddes on Compoſition, p. 5,
(d) Scd et figuris mutare et caſus et nume:os, quorum Varietas fre-
quenter gratia Compoſitionis adftricta, etiam fine numero folet effe ju.
cunda. Quintil. 1. ix. c. 4.
(C) Sce Fitzofborne's Letters. Let 51.
(65)
(4.) That they be not too frequent. Becauſe that
will tire and ſurfeit the Reader; who does not
love to have more Sauſe than Meat.
This was Mr. Cowley's great Fault, who runs us
quite down with his Rhetorical Wit, and gives us
no Time to breathe (f).
(5.) That they be introduced ſuddenly without
any previous Form or Notice. For nothing is more
agreeable than to be ſurpriſed with Pleaſure, And
when ſuch figurative forms of Speech give a Har-
mony to the Stile (as they often do) the Pleaſure
is ſtill augmented.
Rule V. A Tranſpoſition of Words is very fre-
quently uſed for the Sake of a good Rhythm and em-
phatical Clofe.
K
This
a
CS
(d) Speaking of a Perſon who had publiſhed a Paltry Poem in his
Name, he purſues him with the following exquiſite Raillery.
“ I wondered very much how one who could be ſo fooliſh to write fo
“ ill Verſes, ſhould be ſo wiſe to ſet them forth as another Man's
" rather than his own though perhaps he might have made a better
“ Choice, and not fathered the Baſtard upon ſuch a Perſon, whoſe
“ Stock of Reputation is, I fear, little enough for Maintenance of his
own numerous Legitimate Offspring of that Kind. It would have
“ been much leſs injurious, if it had pleaſed the Author, to put forth
si fome of my Writings under his own name, rather than his own un-
“ der mine. He had been in that a more pardonable Plagiary, and
“ had done leſs wrong by Robbery, than he does by ſuch a Bounty.
Our own coarſe Clothes are like to become us better than thoſe of
“ another Nian's, though never ſo rich. But theſe; to ſay the Truth,
were ſo beggarly, that I myſelf was aſhamed to wear them. It was
“ in vain for me that I avoided cenſure by the Concealment of my
own Writings, if my Reputation could be thus executed in Efigy.
“ And impoſſible it is for any good name to be in ſafety, if the ma-
“ lice of Witches have the power to conſume and deſtroy it in an I.
mage of their own making. This indeed was ſo ill made, and ſo
“ unlike, that I hope the Charm took no effett.”
Proface to his Poems
( 66 )
This is the true Reaſon that we find ſuch a Change
of the natural Order of Words ſo common in all
Languages, eſpecially in the Latin; and in the beſt
Writers, eſpecially in Cicero: Who often poſtpones
to the very laſt, that Verb or emphatical Word
on which the whole Senſe of the Period depends.
But two Things are obſervable in him, in which
he ought to be imitated, viz.
(1.) He does not leave the Mind in the mean
Time altogether at a Loſs for the general Senſe,
but fo diſpoſes of the intermediate Words, that we
may readily gueſs at his Meaning before it be fully
expreſſed
(2.) When the long looked for Word is come, it
is generally more elegant and emphatical than even
the Mind or the Ear, ſo long ſuſpended could ex-
pect; and throws ſuch a ſudden and ſurpriſing Light
and Beauty upon the whole, as more than compen-
fates the pain of that Suſpence.
Inſtances of this are obvious and numberleſs.
Without the former, the Senſe would be obſcured
and without the latter, the Mind would ſuffer a
Diſappointment, which no Harmony or Cloſe could
recompence.
Therefore
Rule VI. Let the Sentence always cloſe,
poffible, not only with a good Number, but an em-
phatical Word.
By which I don't mean that the emphatical Word
muſt of Neceffity be the very laſt: If it be within
three or four Syllables of it, it may do as well,
and
;
cloſe, if
( 67 )
e. g.
and be conſidered as the Cloſe. Nor are the Words
for the Sake of this Elegance to be unnaturally tranſ-
poſed, ſo as to darken the Senſe or ſpoil the other
Numbers: But you ſhould keep it in View, and
,
when it is natural nothing is more beautiful.
To this may be added another Thing which bears
ſome Reſemblance to it, viz. To cloſe with a Word
that ſtands in a lively Reference or Contraſt to ſome
other in the fame Sentence. This will always be
agreeable, eſpecially if both Words be Emphatical.
Unhappy Man, who obtaining the Pleaſure
“ he ſo long purſued, finds himſelf at laſt poſſeſſed
6 of Pain !"
Rule. VII. Remark the moſt beautiful Cloſes,
as well as the propereſt Words, in the Writings and
Converſation of thoſe who moſt excel in Elegance
of Stile.
In this Reſpect you will reap great Advantage
from a good Acquaintance with the Authors before
mentioned, and many others that are equally excel-
lent in the ſame way. Becauſe, as Quintilian takes
Notice (8), you will there obſerve not only the beſt
Words but their beſt Places ; for a good Word miſ-
placed ſpoils the Harmony as much as a good Word
miſapplyed does the Senſe.
And ſince there is a great Diverſity in the Stile,
of good Writers, ſome being more copious and flow-
ing, and others more conciſe and nervous, be moſt
converſant with what you like beſt; becauſe that
youwill be moſt apt to imitate. Nor ſhould you
deal much in thoſe Authors who are quite negli-
gent of their Rhythm, unleſs the Importance of the
Senſe
K 2
(8) L. X. c. 1
( 68 )
Senſe compenſate the Want of Harmony; for if you
have a good Ear they will diſguſt you ; and if none,
will betray you into an imitation of their rugged Stile,
which will diſguſt others,
And when you have gained a Competent Know-
ledge of the Rhythmical Theory, it will be plea-
ſant to obſerve how naturally a good Ear leads the
moſt illiterate Perſons in their common Speech to
the Choice of the beſt Numbers, who are intirely
ignorant of all the Rules and Principles of numerous
Compoſition; and how plainly Nature exemplifys
thoſe Rules which were originally invented for the
Imitation of it.
Rule VIII. Let your firſt Care be a clear and
ftrong Expreſſion of the Sentiment; what is rough and
harih in the Numbers may be rectifyed afterwards.
But never change a proper, ſtrong, expreſſive Word
that is unharmonious, for one that does not convey
the Idea fo fully though it contains a better Number.
For this Reaſon, becauſe Senſe is always to be pre-
fered to Sound, and the Mind to be entertained be-
fore the Ear (b). And ſpecial Care muſt be taken
that a too fcrupulous Attention to the ſmooth Flow
of the Period do not render the Senfe confuſed or
the Stile enervate.
Rule IX. Do not uſe always the ſame Sort of
Numbers, be they ever ſo good ; the Ear will ſoon
perceive the Uniformity and be offended at it (i).
a
You
() In univerfum autem, fi fit neceſſe, duram potius atque aſperam
compofitionem malim eſſe, quam effeminatam et enervem, qualis apud
Et certe nullum aptum et idoneum Verbum permutemus
gratiâ lenitatis. Quint. 1. ix. C. 4. ad finem.
(;;* Ac ne tam bona quidem ulla erit, ut debeat eſſe continua, et in
eoiden ſeniper pedes ire. Nam et verf:ficandi genus eft, unam legam
>
multos.
omnibus
[ 69 ]
e. g.
You ſhould endeavour not only to introduce the
beſt Numbers, but thoſe that beſt ſuit the Subject
they deſcribe ; and vary them as that varies.
Grave and folemn Subjects ſhould move in flow and
ſtately Spondees ; Paſſions run off quick in Pyrrhic;
what is ſtrong and alarming is beſt expreſſed in lan-
bic, and what is ſoft and tender in Trochaic Meaſure:
For a conſtant Uniformity of Meaſure, though ever
ſo ſweet and fluent, fatiates and tires the Ear.
This is no leſs true in Proſaic than Poetic Com-
poſition.
Rule X. Let your Compoſition be ſo free, na-
tural, and eaſy, that you may not ſeem to have any
Regard to your Numbers at all.
The foregoing Rules you ſhould carefully fol-
low, but the Reader muſt not obſerve that you
do ſo. This Art of all others, requires the great-
eſt Art to conceal it: An Orator will certainly
miſs of his Aim if his Hearers once ſuſpect, that
by bribing their Ears he means to make his Way
to their Hearts (k).
As Art is an Imitation of Nature, that is the
moſt perfect Art which reſembles Nature moſt.
And what is unnatural, be it ever ſo much laboured
will have no Power either to pleaſe or perſwade.
And ſometimes it requires the greateſt Labour not
to ſeem elaborate (l).
Theſe
omnibus Sermonibus dare: et id cum manifeſta Affectatio eft (cujus rei
maxime cayenda fufpicio eſt) tum etiam fimilitudine tædium ac fatieta-
Ibid.
(6) Amittitque et fidem et affectus motuſque omnes qui eſt in hac
cura deprehenſus : nec poteft ei credere aut propter eum dolere et iraſci
Judex, cui putat hoc vacare Quint. 1. ix. c. 4. ad finem.
2) Illa quidem maximi laboris, ne laborata videantur.--Diſimulatio
Curæ præcipua, ut numeri ſponte fuxiſſe, non arcefliti et coacti elle
videantur. Ibid.
tem creat.
[ 70 ]
Theſe are ſome of the principal Rules which
regard a numerous Compoſition : To which it may
not be amiſs briefly to adjoin a few others of a more
general Nature; which though they do not imme-
diately relate to Numbers, and perhaps may appear
too minute to ſome, yet I am perſwaded will be
of Service (eſpecially to young Students) in the Art
of Compoſing, ſo far as it regards the Language.
(1.) Two long Sentences ſhould not ſtand toge-
ther, though many ſhort ones may.
The Reaſon of this is plain. Becauſe the former
require too great Expenſe of Breath to pronounce
them, and too much Intenſeneſs of Thought to com-
prehend the full Senſe of them; which the latter
doe not. And a Writer ſhould always have a
Regard to the Eaſe of his Readers (m). It is a vile
Affectation in an Author, leſt he ſhould not appear
learned, to be afraid of making Things too plain.
A long Period therefore is better divided into two
fhort ones, containing juſt the fame Senſe, if it con-
veniently may.
(2.) Words
(m) “ When the Reader is greatly perplexed and at a Lofs for the
Meaning, though the Diction be ever ſo elegant, the Charm va-
« nilhes. The Muſick is drowned amidſt the Hurry and Confuſion of
“ Sentiments. It ſeems a juſt Rule in Polite Writing, though not
s always
obſerved by the Moderns, that two long Sentences ought never
“ fucceffively to follow one another. Seldom, if
ever, will you
find
« either in Demoſthenes or Plato, any remarkable Deviation from this
• Rule. They were too good Judges in Compoſition, not to know
" that a Repetition of the ſame Length of Period becomes flat and
infipid. The dwelling too long on one Note is offenſive to the
* Ear. Whereas if you interiningle a laconic Conciſeneſs, and frequent-
“ ly introduce !hort, nervous, clear, expreſſive Sentences, after cne
“ greatly prolonged, the Effect ſuch a Mechod has on the Mind is
“ wonderful, the Variety extreamly entertaining." Geddes on Com-
pofition, p. 6.
[71]
(2.) Words of ſimilar Sound or Terminations
ſhould be avoided, or at leaſt be kept at a good Dir.
tance the one from the other. For if they are ſo
near together as to jingle in the Ear, they will cer-
tainly offend it.
(3.) The Concurrence of many Genitives with
their Sign of prefixed, ſhould be avoided as an in-
elegance. Two may ſometimes be admitted, but
three never.
e. g. I have thrown off moſt of my
Suſpicions of the Sincerity of your Intentions.
(4.) That which ſome call Alliteration, i. e.
beginning ſeveral Words with the ſame Letter, if
it be natural, is a real Beauty, and not to be
deſpiſed; and accordingly we find it practiſed by
ſome of the beſt Authors; particularly Mr. Pope.
But here we muſt except againſt two Letters,
viz. (w) and (s). The firſt becauſe there is ſome
difficulty in the Formation of its Sound ; and
therefore when two Words meet which begin
with it, they had better be ſeparated by ſcme
expletive Particle, to which a good Ear will
readily direct.
The ſame
may be ſaid of
(th).
And the frequent Concurrence of the (s) muſt
be avoided, becauſe it creates a diſagreeable Hifi-
ing in the Voice ; a Fault which Foreigners uni-
verſally find in our Language: and is occaſioned
by three Letters in the Engliſh Alphabet which
convey that Sound, viz. (s), (z) and ſoft (c): And
we ſtill increaſe it by an Affectation of changing
the Termination eth into es, e. g. bears, loves, does,
for bearetb, loveth, doeth,
(5.) Do
[
72 ]
(5.) Do not often conclude a Sentence with
the sign of the Genetive or Ablative Caſe; be-
cauſe that precludes an Elegance you ſhould al-
ways aim at, viz. cloſing with an emphatical Word.
e. g. Perfe&t Vertue is the higheſt Happineſs Mankind
are capable of, and Reaſon the Rule they are to
walk by. Better thus, Perfe&t Vertue is the bigheſt
Happineſs of which Mankind are capable, and Řea-
Jon the Rule by which they are to walk.- But
the other Cloſe is not to be univerſally rejected, and
a good Rhythm will determine which of them we
ought to chuſe.
(6.) When a Word ends with a Vowel diſtinály
heard, the following Word ſhould not begin with the
fame if it may conveniently be avoided; much leſs
;
with a Syllable of the like Sound.
ro Another
“ therefore may make a due Uſe of the Command-
« ment mentioned in every regard.” What Ear can
bear to be thus grated !
a
e. g.
a
СНАР.
X.
The Advantage of a numerous Compoſition.
TH
HE firſt Queſtion a wiſe Man will put to
himſelf in any conſiderable Affair or Buſineſs
he undertakes, is, cui Bono? What good End will
it anſwer? And is the Benefit expected from it equal
to the Pains it requires ? If not, it will be in Part
I-abour in vain ; a ſerious Trilling; and ſpending
Time laborioſe mihil agendo. An Imputation, of which
perhaps ſome may ſuppoſe the Writer of theſe Eſſays
does
;
( 73 )
а
does not ſtand altogether clear, and from which he
is very deſirous, if poſſible, to be abſolved.
,
I have, it is true, been leading the Reader in a
Path which of late hath been little frequented ; and
having conducted him through it, I am now to in-
forın him for what Reaſon I have brought him hi-
ther. For it may juſtly be aſked, If it be a Way
worth purſuing, why has it lain ſo long neglected?
If not, what need of all this Pains to clear it?
To which the Anſwer is ready. It is a Way worth
purſuing; and the Reaſon why this Science (to diſ-
miſs the Metaphor) hath been ſo long neglected, is
owing in Part to the Difficulty of reducing it to any
certain juſt Rules and Principles which may diſcover
the Foundation of it, and give the Mind a right Direc-
tion in it; and in Part to an Ignorance of the great
Advantage which flows from a good Acquaintance
with it. The former I have endeavoured to inveſti-
gate and explain in the preceeding Chapters, and the
latter I am briefly to ſpecify in this, that the Reader
may not look upon all his Labour as loft.
And in the firſt Place, a familiar Acquaintance with
the Rules and Principles of Proſaic Numbers will con-
tribute a good deal to the Facility of Compoſition.
When a Perſon by a little Care and Practice is once
Maſter of a neat and numerous Stile, he will find
it no longer difficult to expreſs his beſt Sentiments in
a lively Manner; if his Conceptions be clear, bis
Stile will be ſo too ; and will diſcover the Spirit of
true Oratory without the Pomp of it.
And in reviſing his Compoſures he will be able
to correct them with more Judgment; and when he
diſcerns a Roughneſs or Lameneſs in his Stile, which
his Ear may diſcover, he will immediately perceive
L
the
a
1
1
}
[ 74 ]
a
the beſt way to correct and ſmooth it; wherein he
will find but little Aſſiſtance from the Ear alone,
which in this caſe is a better Judge than Guide.
Beſides, a good Skill in the Principles of numerical
Structure opens to us one chief Source of that Plea-
ſure which in the Stile of a well-compoſed Piece,
we have often taſted, but never knew before from
whence it ſprung ; which cannot fail to give an a-
;
greeable Entertainment to a curious and inquiſitive
Mind, which not content with a Set of formal No.
tions, wants to ſurvey their Foundation and trace
them up to their first Principles. And will teach os to
judge better not only of our own Compoſitions but
thoſe of other Men; and will at once enlarge our
View and improve our Taſte of Books and Language.
When we are once well verſed in this Science, it
will be no ſmall Help to our Expreſſion, even on
common Occaſions, and give a graceful Turn to our
Language in ordinary Diſcourſe. It's a pleaſing A-
muſement, in which I have often indulged myſelf,
to obſerve how naturally Men run into thoſe Num-
bers in vulgar Stile, which are beſt adapted to the
Spirit of the Subject they talk of, or the Pallions.
which animate the Perſon that ſpeaks ; and which
to a curious Obſerver are diſtinguiſhable no leſs by
the Numbers of his Stile than the Tone of bis Voice.
Thus, Reſeniment and Wiath are expreſied not only
with a loud and boillerous Tone, but in bold and
daring Numbers; whereas in Sorrow, Complaint and
Pity, the Numbers, like the Voice, are low, feeble,
flexible and faultering. And almost all the foregoing
Rules you may obſerve, with a little Attention, to be
clearly exemplify'd in the Dialect of the moſt illiterate
Parions, For however defective they be in a Propriety
of
["75 1
of Expreſſion, they are generally very happy in their
Rhythmus ; to which they are directed by the Ear,
or the natural Harmony of Sounds. In a particular
Manner
you may obſerve the Beauty of their Cloſes;
for they commonly finiſh their Periods with Anapæſt-
ics or Iambics (Ariſtotle faith (n), chiefly with lam-
bics) and very frequently with an emphatical Word;
that is, emphatical either in its Sound or Senſe.
By this Art many a Writer conciliates to himſelf
more Applauſe than he deſerves. And it's wonderful
to think how ſtrong a Prepoffeffion, a neat and num-
rous Diction gives you in Favour of your Author.
It often compenſates a Defect of Thought ; and, like
a muſical Interlude between the Aets, keeps you in
good Humour till you meet with better Entertainment.
At leaſt, it poliſhes and adorns a low Thought (as fine
Clothes do an ordinary Perſon) in ſuch a Manner as
to give you a better Opinion of it than is due to its
intrinfick Worth. Hence ſome Writers have ſerved
themſelves of this Art ſo far as to turn it into mere
Artifice; and by Means of a ſweet and flowing Stile,
adorned with here and there a vivid Phrafe and bril-
liant Expreſſion, have wrote themſelves into Fame
without Thought ; (for as one obſerves (6) it's a much
eaſier Matter to Write than to think) whilſt the in-
judicious Reader takes all the Tinſel for true Sterling.
However if this Science be Subject to Abuſe (and
what is not ?) does it therefore deſerve Contempt ?
If Fools and Fops appear in rich and gay Attire,
that is no Reaſon ſure that a Man of Senſe ſhould
be a Sloven.
In
a
: ;
a
(n) Ex omnibus Metr's Sermoni quotidiano accommodatum maximè
eft ſambicum. Cui rei id Signo eft quod plurima nos lamica profera-
mus imprudentes in Collocutione mutua. Poetic. 6. 2.
() Firzoborn, Let. lvii.
(176
a
In a Word, it's ſufficient Recommendation of this
Subject, that Longinus himſelf makes it a Branch of
the true Sublime; by Vertue of which many of the
Antients acquired the Reputation of fine Writers, who
had little elſe to entitle them to that Character. For fais
he's Several Poets and other Writers poffefſed of
no natural Sublimity, or rather entire Strangers to
“ it, have very frequeda ly made Uſe of common and
vulgar Terms, that have not the leaſt Air of E-
legance to recommend them, yet by muſically,
diſpoſing and artfully connecting ſuch Terms,
they
“ clothe their Periods in a Kind of Pomp, and dex-
trouſly conceal their intrinſick Lownels (p).” And
this was what gave Euripides all his Fame ; who,
in the Judgment of that diſcerning Critic, excelled
rather in fine Compoſtion than in fine Sentiments (9).
And that which was in fo high Efteem among
the Antients, I cannot but think, for the Reaſons
before mentioned, deferves a more particular Regard
than it hath yet met with from the Moderns.
(0) Longin. de Sublim, Sect. xxxiv.
α) Της συνθέσεως ποιή]ής και Ευριπίδης μάλλον έσιν, ή τα νε. Ιbid.
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