The air dropped a fifth ( ) .
A Message 1 f I have sent ( ) to Mr, A.
A Letter J ' * L I have written ( ) to Mr. B.
Yeaj^s He is a man of forty ( ) .
While ~\ r ^^^^ ^"^^^ ^^ ^o^' t^ic present ( ).
T^l^iQ r \ Have you been here long ( ) ?
•^ 1_ I was there a little ( ) before.
Day The sixth ( ) of ^rarch.
Hours It is four ( ) of the clock.
Part A third ( ).
Shillings Three ( ) and sixpence.
Money How much ( ) did it cost ?
TFea/th Content with a little ( ) .
Clothing She was clad in white ( ) .
Cloth Was it linen ( ) or woollen ( ) ?
g f In the Mediterranean ( ) and the
[_ Baltic ( ).
Water Launch out into the deep ( ) .
River The ( ) Thames ; the ( ) Severn.
Wine Will you take some hock ( ) ?
Road ^ This ( ) leads to Dorchester.
Way, direction 1 He came straight ( ) to me.
Via, regione . . . j E navi recta ( ) ad me xenit.— Cic. Alt.
pj „ f He was in the middle ( ) of the room.
'Medio ( ) tutissimus ibis.' — Ovid Met. ii.
Space . < He is in the north ( ), and his brother is in the
Part ' ^^^^^ U-.
L I am standing in the dry ( ) .
6 17. Articles :
a . . . f He was a learned, ( ) wise, and ( ) good man.
the . . I^Tlie Lords and ( ) Commons.
SYNTAX.
255
648. Personal Pronouns :
he r He reads and ( ) writes.
they, &c. . {_ They walk and ( ) ride.
ego, vos, &c. . ( ) scribo, ( ) legitis.
649. Limiting Pronouns :
o r He is ( ) of the Horse Guards.
one, ^^- ' ■ \_YLei^{ ) of the firm of A. B. & Co.
650. Verbs : . . . . You cannot winte, but I can ( ).
You did not play cricket, but I did ( ) .
hasten, run, flee . ( ) to arms, ( ) to the mountains.
/ swear ( ) by the life of Pharaoh.
is, there is 1 m TThe more haste ( ) , tlie less speed ( ) .
are, there are J ' j^Quot homines ( ), tot sententiae.
Thence the Latin rule "Ponuntur interdum sola, per ellipsin,
verba infinita ; ut,
incipere, 'H'mc ( ) exaudiri gemitus, irseque leonum.^ — Virg."
651. CoxNJUNCTioNS : The King, ( ) Lords, and Commons.
652. Prepositions :
by .... He was actuated more by hope than ( ) fear.
for .... They sell bread at sixpence ( ) a loaf.
653. To, or unto, is omitted from a dative case ; as, ' We
should have been like Gomorrah,^ for ' we should have been
like unto Gomorrah.' 'Give ( ) me a book;' for 'give to
me a book.' ' I went ( ) home.'
To is omitted from the infinitive mood of some verbs ; as,
' I heard him ( ) speak,' for ' I heard liim to speak.'
* Bid him ( ) come hither,' for ' bid him to come hither.'
654. Adjectives, &c.
Prteditus .... Vir ( ) magna doctrina.
Justo Est paulo liberior ( ) .
655. In relative propositions either the antecedent or con-
sequent noun is often left out, though both of them are some-
times given with their relative pronoun :
' Diem {\) dicunt, qua die (2), ad ripam Rhodani omnes
conveniant.' — Cas. B. G. i. 5.
Here both the antecedent {diem) and consequent {die) are
given.
256 SYNTAX.
The consequent noun is tlie most often omitted ; as, * This
is the tree which ( ) 1 planted/
Sometimes the consequent noun is given, and the ante-
cedent one is left out ; as,
( ) Urbem (2) quam statuo, vestra est ; i.e.
Urbs, (1) quam urbem (2) statuo, vestra est.
' Quam materiam reperit, banc ego polivi.^ — Phdsd.
Ego polivi hanc materiam quam materiam reperit.
656. Propositions are left out ; as,
/ must say To be candid with you, ( ) I do not
like your behaviour,
/ swear ( ) " ^y t^ie life of Pharaoh, ye shall
not go forth hence except," &c. — Gen. xlii. 15.
/ wish, &c The French imperative mood-formula, * *qu'il
aime, *qu'ils aiment,' is an apodosis of a con-
ditional mood-formula (1 fast, 2 loose) without
its protasis, Avhich would be some such sentence
as 'je veux :' ' je veux qu'il aime.'
657. Pleonasm.
A pleonasm is an overfilling of speech with a word which is
not needful for the bare clearness, though it may be so for
the full strength of its meaning ; as,
A little bit of a house. A little doll of a woman.
A great lout of a boy. A great thing of a boar.
Greek, [Msya %pv](xa avog.
Eng., What ever are you doing?
In Greek two or three negative adverbs are sometimes given
instead of one :
Ovdi%0Te ov^ev ov ju-i^ yivviTCii rav hovruv. — Demosth.
where three things are nayed or negatived, (1) the time by
ov^izoTs, (2) the thing by oiilh, and (3) the happening by |x;i.
Spanish, Ella se alaba a si mismo.
658. Other Figures of Grammar.
ExALLAGE is a change of words and cases, one for another,
as an adjective for an adverb, — 'he spoke slow' (for slowly) ;
a noun for a pronoun, — " si quid est in Flacco viri " (for in
me viri). — Horace.
SYNTAX. 257
659. Syllepsis, or up-taking, is a taking up in the mind
of something understood, but unnamed, and forming of the
sentence to it.
Spanish, ' Su alteza es muy docto,'
' Your highness is very learned ;'
where docto agrees, not with the nominative noun alteza, but
with hombre man, understood under alteza.
660. Metonymy, or name-changing, is a figure by which
one puts the effect for the cause, or the cause for the efJ'ect,
the place for the person, or the abstract noun for the concrete
one; as, 'even to hoary hairs (old age) will I carry you;'
'Heaven (God) preserve us!' 'the house (members) divided;'
'the soldiery (soldiers) were called out;' 'noctem' for 'somnum,'
Virgil, lib. iv. 1. 530; ' tvine (a drunken man) is a mocker.'
661. Synecdoche is a figure by which one puts a part of a
thing for the whole, or a definite for an indefinite number ;
as, 'Mr. S. employs twenty hands (men);' 'all the useless
mouths (people) were sent out of the city;' 'the horse (for
horses in general) is a useful animal.'
In Sophocles {Ajax, 1. 739), we find ad^Luru^ bodies, for
men or persons.
662. Hendiadis is a figure by which one names one thing
as two ; as, ' malus aut fur,' for ' mains fur.' — Hor. Sat. i. 4, 3.
* I heard shouting and men,' for ' the shouting of men.'
663. Amphibolia, or twofold meaning, is a construction of
words gi^ing two meanings ; as, ' John met Simon, and gave
him his bat;' which may mean either John's or Simon's bat.
664. Anastrophe is an inversion of words from their more
usual order ; as, ' mecum ' for ' cum me.'
665. Asyndeton, or unbinding, is an omission of copu-
lative words ; as, ' he is upright, kind, good.'
666. Hypallage, or case -shifting, is a mutual shifting of
two cases ; as we say ' the men were put to the sword,' when
the sword was put to the men. (Art. 272, &c. ; art. 617.)
667. Hysterologia is a figure by which the speech names
things in an order different from their natural one; as, 'he
earned two shillings, and worked all day,' for ' he worked all
day, and earned two shillings.'
258
SYNTAX.
668. EuPHEMiSMUs, or fair-speaking, is a figure by which
one speaks of an unbecoming or unwortliy thing by a worthier
n ime tlian its own, or gives it by fair words a more worthy
form than its true one ; as,
" The ' convicts ' in New Holland call themselves, and are
called, 'government-men."' — Henderson's Australia.
Bullocks' blood was called ' spice ' by refiners of sugar.
A little boy, who has carelessly broken his pencil, will most
likely say ' My pencil broke.'
669. Purity.
A language is called purer inasmuch as more of its words
are formed from its own roots.
Pm'ity is deemed a good quality of languages, inasmuch as
the purer a language is, the more regular it is in clippings and
breath-sounds, and in the forms of its words and sentences;
and the more readily it is learnt and understood.
If the French word vin, or the Welsh word Haw, were
borrowed into English, it would call for a breathing unknown
to bare speakers of pure English ; and as the clipping of pure
French does not call the tongue beyond the teeth, our word
' truth ' would be hard to utter with the French. And while a
thousand compound words formed from English single words
would bear, to English minds, their own meanings in their
known elements, a thousand words borrowed from another
tongue would need a thousand learnings to be understood.
" What the Greeks should aspire after," says a late writer,
" is the complete purification of the modern language." The
modern Greek has been much improved by the weeding out
of Turkish and Italian words, and by the partial restoration
of ancient forms of construction.
The intaking of Arabic words into the Persian and Hin-
doostanee languages has made them hard to be understood
without much knowledge of the Arabic Grammar, and there-
fore of Arabic ; and the large share of Latin and Greek words
in English makes it so much the less handy than a purer
English would be for the teaching of the poor by sermons
and books.
We may enrich and purify our speech by the inbringing
of words of forms already known and received. Of the verb-
form (2-j-ew) we may take 'greaten,' to exaggerate; of the
SYNTAX. 259
noun-form (5-|-l) we may take ' foredraught/ a programme;
and on the adjective form {S-\-some) we may have ' bendsome/
for flexible.
A writer in Chambers' Edinburgh Journal, Dec. 27, 1851^
has been bold enough to call what is mostly named a sub-
marine telegraph, an undersea telegraph ; and another, in an
account of a visit of the British Archseological Association to
the antiquities of London, says, with a good English word,
' it was inwalled in the time of Alfred.'
The text 1 Peter ii. 16, "As free, and not using your liberty
as a cloke of maliciousness, but as the servants of God,"
seems translated less truthfully than it might have been,
owing to the use of Latin-rooted instead of English words,
s\ich as liberty, maliciousness, and servants. It might have
been better ' as free, and not using your freedom as a cloke
of (or for) evil, or evildoing, but as the bondsmen of God.'
Servants is not in antithesis to free or freedom, since our
servants are free.
670. Ethnology and Language.
Mankind live on the earth in sundry tribes or nations, each
of them composed of men of one stock and language, and
bound together under one fellowship of laws and self-defence
against others.
These tribes or nations may be offmarked into kindreds or
races, each of them composed of a set of tribes or nations of
one older stock, and of languages from the same roots and of
the same building.
The English belong to the Teutonic race, which takes in
the English, Germans, Dutch, Danes, Swedes, Norwegians,
and Icelanders.
The Sclavonic race are the lUyrians, Servians, Croats or
Croatians, the Vendes or Slovenzi, Bulgarians, Wallachians,
Moldavians, Bohemians, Slovaks, Poles, and Russians.
The Finnic race comprehends the Finns, the Laps or Lap-
landers, the Madjars or Magyars of Hungary, the tribes by
the river Iser and in Eastland, and Livonia in the circle of
Riga and Courland. The Cheremisses on the left side of
the Volga, the Mordiviners of Orenburg, the Permians and
Syrjjieners on the rivers Witshedga and Wim, the Wogiils of
Siberia, and the Ostraks of the Lower Irtysh and Ob.
260 SYNTAX.
The Celtic race, -vrhich had once a larger share of Europe, are
now abiding only in the Welsh, the Bretons of France, and
the Irish, the JNIanx, and Gael of Scotland, though their blood
has mingled much with the French and a little with the English.
The Basques or Gascons of the Pyrenees mountains are a
fragment of an old race now nearly lost.
It seems to be a law of languages, that when one tribe
blends or mingles with another in one community or political
life, through the taking of lands by war, the language of the
incoming race will be grafted into that of the overcome tribe,
or will take place of it, only after the same rate as the in-
coming race are many or few as rated against the others ;
and that the language of the incoming race will not wholly
take place of that of the invaded one, till the former are more
numerous than the latter. The fewer yield their language to
the greater number.
The Saxons and Angles seem to have at last outnumbered
the Britons in the east and west of England, and to have
planted their language there ; but the Franks, a Teutonic
tribe, who took a share of Gaul or France, and the Northmen,
who took Neustria, though they were the wielding race, were
the fewer men, and wei'e taken into the overcome population,
and received their language. So Galatia in Asia Minor, and
Gallicia in Spain, were settlements of fewer Gauls among
more men of other races, and therefore St. Paul wrote to the
Galatians in Greek, and the Gallicians speak Spanish.
And since there are in India fewer English among more
Hindoos, so if the English were to leave India next year, the
English language would give place to the native tongues.
The French language seems to have been formed from Latin
grafted on a Celtic stock in the minds of the Gauls ; and
while most French words are broken stumps of Latin ones,
many of its idioms are those of the Bretonne.
Trench. Brefomie.
tout-le-monde ; ar bed oil ; all the world, every body.
je n'ai point de pain; n'am ens qet a vara ; I have no bread.
je n'ai rien; n'em ens ne tra; I have nothing.
au tour ; en dro.
a cote; a gostez.
divant ; diracg.
d'aller ; da vont.
So De Larramendi has shown that the Castilian has been
formed from Latm Avords with the idiom of the Basque.
261
PROSODY.
671. Prosody, wliicli is so called from the Greek xpo?
(for) and wJvj (song or poetry), treats of the laws of the
language of poetry, and the accidents of words upon which
those laws hold ; such as the lengths and accents of syllables,
the disposing of them in metrical lots with their rhymings
and clippings, and the emphases and tones of words.
672. In an English word of two or more syllables, one of
them is uttered with a stronger breathing and higher sound
than the rest of the Avord, as the syllable gram in gram-mar.
673. The stronger breathing or higher sound of a syllable
is called the acute accent, and the softer breathing or lower
sound of a syllable is called the grave accent.
The mark with which an acute accent is betokened in
English is a stroke leaning to the right ('), and that wath
which a grave accent is betokened is a stroke leaning to th
left of a reader ( ^ ) .
674. The voice may both rise and fall with the same syllable,
or may pronounce it with the acute and grave accent in quick
succession : and this twofold accent is marked with what is
called a circumflex, a or a.
675. The relative lengths of time which are taken up in
the uttering of syllables is called their quantity, or tirne.
676. Syllables are short or long.
677. The mark for a short syllable is a curve ("), as bid.
678. The mark for a long syllable is a horizontal stroke (~),
as bide.
679. Accent is from the Latin word accentus, formed of ad
(to or upon) and cano (to sing or sound) , and means singing or
sounding on a syllable. In Greek it is called tqvoq (tone or
stress), from rslvu (to stretch or strain), as sharper or flatter
tones are given by the stronger or weaker strainings of a
string, or the voice.
262 piiosoDY.
680. That the acceiitus or rovoq [tonus) of the Romans
aud Greeks was the higher or lower sound of a sylhi1)le, whieh
■we call aceent, is shown by their names for it, as it is by the
accent of the Greek of our time, Avhich answers to the mark-
ings and laws of the acute accent in Ancient Greek; and if
that which has been betokened by the laws and markings of
accent in Greek was some other thing than what we call
accent, we must conclude that accent has taken the place of
an unknown something that was not accent, and that the laws
of that which accent has displaced hold upon accent as fully
as they Avould if it were not accent, but that which it has
displaced, though this would be an immutation unknown in
any language of the world.
It is clear, from what Cicero writes of accent {Oral, xviii.),
that it was the same as our accent. He says, " INIira est enim
queedam natura vocis ; cujus quidem, e tribus omnino sonis,
inflexo, acuto, yravi, tanta sit, et tam suavis varietas pcrfecta
in cantibus. Ipsa enim natura, quasi modularetur hominum
orationem, in omni verbo posuit acutam vocem, ncc una
plus, nee a postrema syllaba eitra tertiam."
The last expression is of the same meaning as a rule in Greek
prosody, that an acute aceent will not be followed by more
than two syllables, nor by more than three times of a short
syllable; and thence that the circumflex is never thrown
farther back than the penultimate syllable, for the circumflex
takes one time of rising and another of sinking, and its one
time of sinking with another low syllable will make two low
syllables, the most of lo\v syllables that the acute accent takes
after it.
Thence the circumflex of au[Lu becomes an acute in the
genitive case-form auixurog ; for otherwise, since auixu is
equal to crdofxa, aSixcirog would be equal to aooiMxror, a word
of one acute syllable with three grave ones after it, and there-
fore a word of a forbidden form. Hence come the rules, that
if the last two syllables be short, the acute accent may be
before them on the antepenultimate ; if the last two syllables
be long, it comes on to the penultimate; and if the penul-
timate be long and the last short, the accent will be circumflex.
The accent shifts in Illyric as it does in Greek and Latin.
681. Notwithstanding the care with which English scholars
learn and teach the rules of the acute accent in Greek, and
PROSODY. 263
mark it in their Greek books, few of them ever make the
Tovog by their rules or markings when they read or speak
Greek.
They take the rule, ' If the last syllable be long, the accent
will be placed on the penultimate,^ and upon this rule Avrite
TUTTTO/xiyou, •JSipsKvj, and aretpcivovg, and yet they pronounce
them TUTTo'/xfvou, vs^sKvi, are^uvovg.
682. English verse is constructed upon sundry orders of
acute and grave accents and matchings of rhymes, while the
poetic language of the Romans and Greeks is formed upon
rules of the sundry clusterings of long and short syllables,
and therefore the English are much given to confuse time and
accent in Latin and Greek and other languages; so that a
scholar may, without blame, pronounce amdbilis, insiiperabilis,
for amdbilis, insupercibilis, giving accent for quantity, and may
say bonus and brevis for bonus and brevis, giving quantity and
accent for the Latin accent ; though one must always give
the right quantity to the penultimate or critical syllable of
words of more than two syllables, and therefore he would
sin greatly in the saying of vesica for vesica, though he may
call vesica vesica without blame.
From these anomalies of our Latin prosody, and from the
insufficient lettering of the Latin, which has only one letter
for a long and a short breath-sound of the same kind, the
Latin prosody is, on the one hand, very bewildering ; and yet,
inasmuch as Latin poetry is constructed upon rules of sundry
clusterings of long and short syllables, it is, on the other
hand, of great weight in Latin scholarship.
683. It must not be concluded that the mark which we
have taken as a token of the acute accent fills the same office
in all languages in which it is found.
In Spanish and Irish it betokens a long sound, and in
Icelandic the leaning strokes over the vowels are not tokens
of tone, since the two words blasa (to turn toward) and bldsa
(to blow), and the two words atti (heated) and dtti (had) have
the same tone. Nor docs this stroke ( ' ) at all denote the
length of the vowels, for the unmarked ones are often long,
and the diphthongic ones short or toneless, as vel (well), math
(meat) ; but it (the stroke ' ) betokens an addition or essential
alteration in the sound itself, as tap [tavp] pith, tre {trie) tree,
264 PROSODY.
mtr {mier) to me, gret (griet) wept; it therefore betokens a
diplithoug, of which the vowel it marks gives one sound.
684. The same stroke, which is found in Anglo-Saxon, and
is taken by most Anglo-Saxon scholars as a mark of a single
long sound, might have been a mark of a diphthong ; and
therefore, Avhilc it is rightly taken as a mark of two times, it
may be wrongly taken as the mark of two times of the same
sound. Many of the stroke-marked vowels of the Anglo-Saxon
are found as diphthongs in some otlier Teutonic dialects ; as,
clsen; Dorset, clean. dom; doom,
hlaf; „ luof. eode; Northumh. yewd.
hal; „ hail. hy'rde; Dorset, heard,
an ; one (won) ; Germ. ein. hwy' ; why.
gast; Germ, gheist. sy'; Germ. sey.
stjin ; Dor. stwon ; Ger. stein. fy'r ; fire ; Germ, feuer.
Ised-an ; Dorset, lead. ur ; our.
mare ; „ mwor. hus ; house ; Germ, haiis.
cid-au ; chide. wi^utan ; without,
min; mine; Germ. mein. hu; how.
fif; five. tun; town.
sniS-an; Germ, schneiden.
685. In English the acute accent keeps mostly on the root
in words of the forms (.+1), (1+.), (.+2), (2+.), (.+3),
(3-|-.) ; as, unhorse, manliness, unfair, truly, undo, laughingly.
Compounds of the forms (^-f-l), (4+3), have the acute accent
sometimes on 4, and sometimes on the root syllable ; as,
German, utifang-en, zusehen, eingang, dbfall, iibersetz-en, wider-
stehen, underwood, undersherijf.
In Welsh the acute accent is on the last or penultimate
syllable, and when it falls on the last it becomes a circumflex.
In the north of Ireland the acute accent is on the root syllable,
but in the south it is on the ending ; so that the poems of a
Munster bard are of very bad construction to an Ulster reader,
and the song of an Ulster man is spoilt in the mouth of a
Munster one.
686. The utter inattention to quantity in English prosody,
in which accent takes its place, works to make unlearned
English bad pronouncers of Avords from languages in which
long gi'ave breath-sounds follow short acute ones.
Kuron {kurcin), vrith the first syllable short and the last
long, is mostly called in England kardn, with the first long and
PROSODY.
265
the last slioi't ; and few English would make the last ^ syllable
long without easting the acute accent on it, as kurcin.
So most other long end-syllables of words from the Oriental
languages are either wrongly shortened as grave tones, or
wrongly sharpened as long ones.
Quantiti/
as commonly
pronounced.
. . . islam
True
(Quantity.
. . . . ameer . .
carvan, caravan
. . . . divan . . ,
. . . . faquir . . .
. . . . haram . . .
. . . . Allahabad
. . . . ramadan .
. . . . kafir ....
. . . . sultan . .
. . . . salam . . .
. . . . Shu'az . .
)or(-
')or(
')•
')•
-),
).
687. Prosody is of much utility, not only for the wording
of poetry, but also for the reading of it with advantage and
pleasure, as well as for the true pronunciation of words and
the ends of comparative and critical grammar; and it has
often led to emendations of classical works.
688. Scanning is the dividing of a line into its clusters of
long and short, or acute and grave, syllables.
689. To scanning belong several figures of prosody, —
Synalcepha, Ecthlipsis, Si/nai'esis, Dicer'esis.
690. Synalcepha is the casting out of a vowel-ending of a
word, before a vowel at the beginning of another :
{e)l ie)2
Latin, conticu- \ er*dm- \ nes In- \ tentl \ qiC^ora ten- \ ebdnt.
The e marked 1 and 2 are omitted.
691. Ecthlipsis is the casting out of *m at the end of a
word, before a vowel of the next in Latin pcetry :
1 2
Latin, monstr\um\ horrend\um'\ inform[e] ingens.
The urn marked 1 and 2 are omitted.
12
266 PROSODY.
692. Crasis, or Synceresis, is the contraction of two vowels
into the time of one ; as,
' By fraud th\e o]jfended Deity t\o a]ppease.'
Where the e and o, and tho o and a, are uttered in the time of one short Towel.
693. Diceresis is the opening of one syllahle into the time
of two ; as, sUlke for silvce.
694. The sundry chisters of long and short, or acute and
grave, syllables are called feet.
Dr. Latham has taught us, that if we betoken a long or
acute accent or syllaljle by A, and a short or grave one by a,
we can mark the sundry clusters of long and short, or acute
and grave, syllables by very handy formulae of like clusters
of A^s and a's.
The feet are the
Pyrrhic, 2 short or grave syllables (2 a).
Spondee, 2 long or sharp (2 A).
Iambus, 1 short or grave, and 1 long or sharp . . (a-f-A) .
Trochee, 1 long or sharp, and 1 short or grave . (A-(-a).
Dactyl, 1 long or sharp, and 2 short or grave . . (A-j-2 a) .
Anapcest, 2 short or grave, and 1 long or sharp . (2a-f-A) .
Amphibrach, 2 short or grave, with a long or"l / _i a _i_ ■*
sharp between them J i^+^+^J-
Amphimacrum, 2 long or sharp, with a short~l , . _j , . .
or grave between them J '•* "r^T'-^J-
Baccheius, 1 short or grave, and 2 long or sharp . (a-|-2 A) .
Anti-Baccheius, 2 long or sharp, and 1 short
or grave
} (2A+a),
Choriambus, 2 long or sharp between 2 short"! , j^^ .
or grave J (a-j-^A+a).
Epitritus, an iambus and a spondee.
PcEona, a trochee and a pyrrhic.
Antispastus, an iambus and a trochee.
695. A verse or line may be formed of a set number of
feet, which may be all of the same kind, or of sundry kinds,
and therefore there are sundrv kinds of verse or metre.
PROSODY. 267
696. Heroic.
6 [(A + 2a) or (2 A)].
The Heroic verse of the Greeks and Romans has six feet,
spondees or dactyls, though the fifth must always be a dactyl,
and the last a spondee :
Tu nihil | invi | ta di | cas faci | as ve Mi- [ nerva.
This kind of verse has been tried in English, but does not
seem to have been received with much favour.
697. Elegiac
The Elegiac verse is the pentameter of five feet, dactyls or
spondees or anapaests :
12 3 4 5
Res est | solici | ti plen | a ti mor | is a mor.
698. Adonic
2[(A + 2a) + (2A)].
The Adonic verse is of two feet, a dactyl and spondee :
12 12
Gaudia
PeUe ti-
pelle.
morem.
Sis mihi I prjesens.
Rebus in arctis.
Christe Re demptor.
Boethius.
699. Sapphic
3 [(A-f a) + (2 A) + (A-|-2a) + (2 A+a)] + 1 Adonic.
A Sapphic verse is of five feet, a trochee, spondee, dactyl,
two trochees ; and after three of such lines an Adonic :
_1 2 _ 3 4 6
Inte- I ger vi- | t^ sceler- | isque | purus.
700. ASCLEPIADE.
2[(A-f-2) (A-|-2a + A) + (a + A)].
An Asclepiade consists of 4 feet, a spondee, two choriambi,
and an iambus :
Maece- | nas atavis | edite reg- | ibus.
701. Iambic
[6 (a + A), or 4 (a-f A)].
The Iambic verse is mostly of iambics and spondees, or
other feet of their time, four or six in a line :
" With wo I ful mea | sures wan | Despair,
Low sul I len sounds, | his grief | beguiled."— Co//jw«.
268 PROSODY.
1 2 __ 3 4
Inar | sit £e - | stiio- | siiis.
1 2 3 4 5 6
Siiis I et ip- | sa llo- | ma vi- | ribus | riiit.
Hor. Epod. xvi. 2.
"And Hope, | enchant | ed, smiled | and waved | her gold | en hair."
Collins.
1 2 3 i_
" Once more I the ho- | ly star | light
1 2 3
Sleeps calm | upon j thy breast,
1 2 3 4
Whose bright | ness bears | no to | ken more
1 2
Of man's | unrest." — Mrs. Hemana.
702. Anacreontic.
3[(a+A)+a) or (2 A) -|- 2 (a + A) + a.) ]
The Anacreontic verse is of 3^ feet ; the first a foot of
three or four times, the second and third iambics :
12 3 i
ades I pater j siipre- | me.
1 2 3 i
" Flow on, I rejoice, | make mu ] sic." — Mrs. Eemans.
703. Archilochiax.
2[(A + 2a)+a)].
The Archilochian, 2| feet; two dactyls and a syllable :
1 2 \
Dulcibus I alloqui- | is.
704. Alcaic
2 [ (a4- A) + (2 A) + (2a-fA) + (a + A) ].
The Alcaic, 4^ feet; two feet of two syllables, a syllable,
two dactyls :
12 3 4 5
Vides 1 ut al I ta stet | nive can | didum.
705. Archilochian Iambic
2 [2A+(a + A)]+A.
4| feet ; first and third spondees, second and fourth iambics,
and a long syllable at the end :
12 3 4 I
Nec su I mit aut | ponit | secvi | res.
PROSODY. 269
An odd syllable is sometimes given at the end of an English
iambic line ; as,
J 2 8 4, 5 I
of hear'n \ received | us fall- | ing, and | the thund- | er,
706. Dactylic Alcaic Minor.
2(AH-2a) + (A+a) + (2A.)
1st and 2nd feet dactyls, and the 3rd and 4th feet trochee
and spondee : . ? v, . , . ? ^ t t ^ i *- -
^ arbitn | o popu- | lans | aurse.
707. Phaleucian.
(2A) + (A-f 2a)4-2(A + a) + (2A.)
Five feet ; 1 spondee, 1 dactyl, and 3 trochees :
1 2 3 4 5
Summam | nee metu- | as di- | em nee j optes.
708. The English heroic verse is mostly iambic of five feet :
m heaven | or earth, | or un- [ der earth | in hell.
This line is nearly, if not wholly, pure in quantity as well
as in accent :
in heaven | or earth, | or un- | der earth | in hell.
This coincidence of the acute accent with a long syllable,
and of the grave accent with a short one, is not, however, often
found in English verse, in which accent is taken instead of
quantity.
709. A variation of iambic verse is often made by the
incasting of a trochee instead of one of the iambics.
1st foot trochee :
My'sti- I cal dance, \ which yond- | er star- | ry" sphere.
2nd foot :
U'ndeck't | save with \ herself | more love- | ly fair.
3rd foot :
Fairest | of stars, | last in \ the train | of night.
4th foot :
These are | thy glo- | rious works, | parent \ of good.
5th foot :
Spoil'd prin- ] cipal- j ities | knd powers | trium'ph'd.
270 PROSODY.
710. Each of the iambic feet may also give place to a
spondee.
1st foot :
Smooth, ed- \ sy, in- ] offen- ] sive, (lorn 1 to hell.
2nd foot :
At such I bold words, \ vouch'd with | ^ deed ] so bold.
3rd foot :
And faith- | ful now \ prdv'd false, \ but think | not here.
4th foot :
While day | kris- | es, that \ sweet hour \ of prime.
5th foot :
Sflence, | ye troub- [ led waves, | and thou, | Deep, peace.
711. The pyrrhic may take place of an iambic foot.
1st foot :
On the I proud crest ] of Sa- | tun, that | no sight.
2nd foot :
Springs light- | er the \ green stalk, ] from thence |
the leaves.
3rd foot :
Converse ] with A'd- | dm hi \ what bow'r \ or shade.
4th foot :
By pray'r [ th' offend- ] ed de- | )tij | t' {\ppe^e.
5th foot :
His dan- | ger, and | from whom | what en- | emy.
The under-length of the pyrrhic is often made out by the
over-time of the spondee, or by a pause, so that the time of
the verse is not shortened or lengthened by either of them.
712. The anapsest and dactyl seem to have, in many places,
two shortened short syllables, such as Quinctilian calls bre-
vibus breviores, 'shorter than the short'; so that two of them
take up only one short time :
and flow'- | nng 6- | dours, cass- | id, nard, | and balm.
No in- I grate- | ful food, | and food | alike | those pure.
713. The anapsest may take place of an iambic foot.
1st foot :
1 2 3 4 5
To e- I van- | gelize | the na- ] tions, then | on all.
PROSODY. 271
2nd foot :
of mer- | c'y and jus- \ tice in | thy face | discern'd.
3rd foot :
Near that | bi-tii- | niinous lake j where So- | dom flam'd.
4th foot :
The earth | to yield | unsa- | vbury food | perhaps
5 th foot :
Hurl'd head- ] long flam- | ing from | the ethe- | real sky.
714. The dactyl may take place of an iambic foot.
1st foot :
Myriads \ i\ih' bright; [ if he | whom mii- | tukl league.
3rd foot:
More jiist- | ly , seat 1 worthier \ of gods | is built.
4th foot :
over I the vast | abyss, | folloiving \ the tract.
715. Two or three trochees, spondees, or anapaests may
take place of as many iambics in the same line.
*^* These notes on the commutation of feet in English verse are
taken from a Paper on ' the Quantity or Measure of English Verse,
with Examples from Milton/ Annual Register, 1758.
716. Sometimes the last line of a couplet has six instead of
five feet, and is called an Alexandrine :
And Hope [ enchant- | ed smiled, | and waved | her gold- | en hair.
Collins.
717. Iambic verse is of sundry metres besides the heroic,
or has more or fewer feet in a line.
1st, two feet. 2(a + A.)
Pack clouds | away,
And wel- | come day. — Heywood.
Tho' lee- | ward whiles, | against | my will 4 (a-|-A.)
I took I a bick- | er.' — Burns. 2 (a-|-A) -{-(a.)
Once more j the ho- | ly star- | light 3 (a-|-A) -|- (a.)
Sleeps calm | upon | thy breast, 3 (a-j-A.)
Whose bright- | ness bears | no to- | ken more 4 (a-}- A.)
Of man's ] unrest. 2 (a-j-A.)
272 PROSODY.
2(a + A.)
Your voi- I ces raise,
Ye cher- | ubini
And ser- | apliim,
To sing I his praise.
One night | as I | did wand- | or, 3 (a--j-A) -I- (a.)
^Vhen corn | begins | to shoot. — Burns. 3 (a-j-A.)
4(a4-A.)
Ye banks | and braes | o' bon- | nie Doon,
How can I ye bloom | so fresh | and fair.
4(a + A) + (a.)
Thy wee | bit hous- | ie too | in ru- j in,
Its silly wa's the wins are strewin. — Burns.
5(a-f A.)
The sil- I ver swan, | who liv- | ing had | no note.
When death | approach'd | unlock'd | her si- | lent throat.
May pure | contents 2 (a-j-A.)
For ev- I er pitch | their tents. 3 (a-j-A.)
Upon I these downs, | these meads, | these rocks, | these mount-
ains, 5 (a-j-A) -j- (a.)
And peace | still slum- | ber by | these purl- | ing fount- | ains.
Raleigh.
Sometimes we have alternately four feet ia one line, and
three in the other : this is called common metre.
As pants | the hart | for cool- | ing streams,
When heat- | ed in | the chace.
So longs I my soul, | O God, | for thee,
And thy | refresh- | ing grace.
718. Trochee.
One foot and a long syllable. ( A -f- a ) -j- (A.)
Tumult I cease.
Sink to I peace.
Two feet. 2 ( A -|- a.)
Kich the | treasure,
Sweet the | pleasure. — Bryden.
(Two feet -f 1). 2 (A -j- a) -f (A.)
Can I I cease to | care ?
PROSODY. 273
Three feet. 3 ( A -j- a. )
Can I I cease to | languish ? — Burns.
(Three feet + 1 .) 3 (A -{- a ) -|- (A.)
Scots wha I hae wi' | Wallace | bled,
Scots wham Bruce has often led.
Four feet. 4(A-{-a.)
Onward | float, the | wave di- | viding,
Go, my I bark, se- | renely | gliding.
(Four feet -f- 1 .) 4 ( A + a) -f- (A.)
Must I I tell my | sorrow | and de- | spair P
Five feet. 5 ( A + a. )
We must I make for | yonder | distant j island.
719. Dactyl.
Spondee and iambus. (2 A -j- a) -\- (A.)
God save | the Queen.
Two feet. 2 ( A -}- 2 a.)
Bird of the | wilderness,
Blithesome and | cumberless. — Hoffff.
Happy and | glorious.
Long to reign | over us.
(A + 2a)+(A + a.)
Non sia ri- | trosa,
Non isdegn- | dsa,
Ma ritro- | setta,
E sdegnos- | etta.
(Three feet -fl.) 3(A+2a) + (A.)
Light be thy | matin o'er ] moorland and | lea. — Hogff.
(Three feet + 2.) 3 ( A+ 2 a) + ( A-j- a.)
Light sounds the | harp when the | combat is | over. — Moore.
Four feet. 4(A + 2a.)
Out of the I door as I I look'd with a | steady phiz. — Soncf.
12 §
274 PROSODY.
720. Anapaestic.
Two feet. 2(2a-|-A.)
Hearts of oak | are our ships,
British tars | are our men. — Song.
Three feet. 3 ( 2 a -f A. )
Oh, the stream- | let that flow'd | round her cot,
All the charms | of my Em- | ily knew.
Sometimes the first anapaest gives place to an iamb as :
I am mon- | arch of all | I survey,
My right \ there is none | to dispute.
Four feet. 4 (2 a + A. )
And the sheen | of their spears | was like stars | on the sea,
When the blue | wave rolls night- | ly on deep | Galilee. — Byron.
721. A catalectic or wanting verse is one that wants a
syllable for the filling of its feet, or a hypercatalectic or over-
full verse is one that has an odd syllable besides its full feet.
It might be more rational to consider that the catalectic
and hypercatalectic verses are neither underfull nor overfull
in time, if they are in speech ; and that the odd syllables are
always followed by pauses, ^ith which they make, in time, true
feet. They may be called pause-footed verses; and if we
take P for a long pause, or the pause of an acute accent,
and p for a short pause, or the pause of a grave accent,
then the Anacreontic verse (art. 702) would be of four feet,
3(a-hA) + (a-fP).
The archilochian (art. 703) would be of three feet,
2(A+2a) + (A+2p).
So of the other metres :
2 (a+A) + (a) (art. 717) should be 2 (a+A) -}- (a-j-P).
3 (a-l-A) + (a) would be 3 (a+A) -f (a+P).
4 (a+A) + (a) is 4 (a+A) + (a+P).
(A+a) + (A) (art. 718) should be (A+a) + (A+p).
2 (A+a) + (A) is 2 (A+a) + (A+p).
3 (A+a) + (A) might be 3 (A+a) + (A+p).
4 (A+a) + (A) would be 4 (A+a) + (A+p).
3 (A+2 a) + (A) (art. 710) should be 3 (A+2 a) + (A+2 p)
3 (A+2 a) + (A+a) is 3 (A+2 a) + (A+a+p).
PROSODY.
275
The following are overfull verses of sundry kinds. The odd
syllable is given in italics.
722. Iambic,
with ( ' + P. )
2 ( a-{-x4)-f-(a.) I took | a bick- | er.— Burns.
3 (a-{-A)-|-(a.l One night | as I | did wan- | der. — Burns.
4 (a-f-A)-j-(«.) Thy wee | bit hous- | ie too | in ru- | in. — Btmis.
5 (a-j-A)-|-(a.) Upon | these downs, | these meads, | these rocks, |
these mount- | ains. — Raleigh.
723. Trochaic,
with ( ' -{- p. )
2 trochees-f-(^.) Can I | cease to | care ?
3 trochees-|-(y^.) Scots wha | hae wi' | Wallace | hied,
Scots wham | Bruce has | often | led. — Burns.
4 trochees-|-(^.) Must I | tell my | sorrow | anrl de- | spair ?
724!. Dactylic,
with ('4-2 p.)
1 dactyl-}-(^.) God save the | Queen.
2 dactyls-f-(^.) Bright be the | place of thy | soul. — B^/ron.
3 dactyls-(-(^.) Sound the loud | timbrel o'er | Egypt's dark |
sea. — Moore.
3 dactyh-\-(A-\-a.) Light sounds the
ver. — Moore
harp when the I com bat is
725. In loose verse a trochee often takes piace of a dactyl,
and a dactyl takes that of a trochee :
Little Miss | Muffet she | sat on a | iuj^i.
Eating of I curds and | whey.
Why all this
Why aU this
wJujiing ?
pining ?
The following verses are of sundiy kinds of feet :
Come ye, | come ye, | to the green, | green wood.
Loudly' the | blackbird is | singing;
The squir- | rcl is feast- | ing on bios- | sbm and bud,
And the curl- | ing fern | is spring- | ing.' — Howitt.
Two trochees take the place of a dactyl :
Down by' yon | stream, and yon ] bonny castle | green. — Burns.
276 PRosoDy.
A dactyl is given for an iambus :
He bade | mc- act \ a man- | ly' part, | though 1' | had ne'er | a
far- I thing, O,
For wWioiH I an hdn- | est man- | ly" heart, | no man \ was worth
I regard- j ing, 0. — Burns.
An iambus is cast in for an anapaest :
And her hair, | shedding te;'ir- ] drops from all | its bnglit | rings,
Tell 6- I ver her white | arm, to make | the gold strings. — Moore.
Where health \ and high spi- | rits awa- | ken the morn.
And ddah \ through the dews | that impearl | the rough thorn,
To shoiUs I and to cries
Shrill e- I cho replies, ScC. — Bishop.
726. The measure of two lines taken together is sometimes
full, while each of them taken singly as they are written, is
overfull or wanting. Such lines may be so written as to show
their full measure :
Light sounds the | harp, when the | combat is over, [ wJien
Heroes are | resting, and | jc5y is in bloom ; when
Laurels hang | loose from the | brow of the | lover, | and
Ciipid makes | wings of the | warrior's \ pliime. — Moore.
727. The following is a trial at English, sapphics byDr.Watts:
When the fierce northwind, with his airy forces,
Eears up the Baltic to a foaming fury,
And the red lightning, with a storm of hail, comes
Rushing amain down. — Notes and Queries, iii. 494.
728. Part of the 120th Psalm, in alcaic metre :
As to th' Eternal often in anguishes
Erst have I called, never unanswered ;
Again 1 call, again I calling.
Doubt not again to receive an answer. — Sir P. Sidney ?
729. The Japanese mostly write their poetry in distichs.
The first line of a distich is made up of three feet or measures,
with five syllables in the first, seven in the second, and five in
the third. The last line of the distich has two feet or mea-
sures, with seven syllables in each.
277
RHYME.
730. Rhyme is tlie matching of two breath-sounds by the
likeness of one to the other of them. The rhyme-likeness of
two breath-sounds consists in voicings (vowel -sounds) and
clippings (articulations or consonants) . A breath-soun^ may
be only a pure breath-sound or voicing, as o or oive ; or it
may be a voicing with a clipping, or more than one clipping,
before it or after it ; as, bo, bio ; hot, blot ; stand, brand.
The main element of rhyme-likeness is the last voicing in a
breath-sound ; as e in me, be ; a in hand, land.
The next elements of rhyme-likeness are the clippings that
follow the last voicing ; as nd in hand, land.
731. It is a rule of full and true English rhyme, that the
last voicings, and all the clippings after the last voicings, of two
rhyming breath-sounds should be the same, as band rhymes
with land, or as iveeps rhymes with sleeps in
Lo ! where tliis silent marble iceeps,
A friend, a wife, a mother sleeps.
732. It is a rule of full and true English rhyme, that two
clippings before the two last voicings of two rhyming breath-
sounds should be different, and therefore that a breath-sound
should not be taken for a rhyme to itself, as in the lines
The blackbird leaves
The quiv'ring leaves.
or. The sailors see
The rolling sea.
733. Now if we set a vowel, a or e, for the last voicing of a
breath-sound, and figures 1, 2, 3, 4, &c. in the places of the
clippings of it, they will afford us handy formulse for the be-
tokening of rhyming breath-sounds and rhymes.
a. 1. would betoken a breath-sound of one voicing and one
clipping, as on. Then, if sundry figures betoken sundry clippings,
a. 1. 2. would stand for one voicing and two clippings, as old;
3. a. 1. 2. would mean a breath-sound of one voicing, with
a clipping before it and two tonguings after it ; and
4. 3. a. 1, 2. would be a formula for a breath-sound of one
voicing between two pairs of clippings, as bland.
278 RHYME.
Two of sncli formulse for brcatli-sounds placed parallel, with
a line between them, as
3. 4. a. 1.2.
5. a. 1.2.
would betoken a pair of rhyme breath-sounds, as
bland
• land.
Now the rule for full and true English rhyme is, that the
last voicings, and all the clippings after the last voicings, of
two rhyming breath-sounds should be the same, but that all
the clippings before them should not be the same ; so English
rhymes would be of the form
1 as
l.a no.
2.1.a^^
snow.
1. a no
2. l.a
snow
-a -0.
-a
-0.
2. 1. a free
3. a
2.1.a''^^
me
3. a ^^ me.
free.
2. a. 1. bad
3.a. 1. ^^ lad.
4. a. 1.2. band
5. a. 1.2. ^^ land.
3. 4. a. 1.2. trend
4. a. 1.2. ^^ rend.
In Arabic, Persian, and Hindoostanee prosody, the voicing
and clippings of rhyming breath-sounds bear sundry names.
A last long voicing is ri(if, and the last short voicing, with the
clipping after it, is kied ; the clipping that folloAVS ridf, or
kiedy is rewee.
734. These nilcs do not hold good for the rnyme of all
languages, and they are sometimes broken by English writers.
Butler, in his Hudibras, frequently breaks the rule that the last
voicings of two rhyming breath-sounds should be the same in
quality and quantity, and often gives an opener and closer,
and a longer and shorter, as rhymes.
Let different vowels betoken sundry voicings, and let a
vowel with a dash ( a' ) stand for a short vowel, and a vowel
with two dashes ( a" ) mean a long one. Then the unlikeness
RHYME. 279
of the two last voicings of the two breath-sounds will be
shown by the formulai —
3. I a. 1. lad
4. I e. 1. bed.
3. a'. 1. ten
4. a". 1. mane.
735. Cases of the breach of rules.
— '- instead of — '—
e. a.
And weave fine cobwebs, fit for skull
That's empty, when the moon is full. — Hud. pt. i. c. i. 1. 159.
They stoutly in defence on't stood.
And from the wounded foe drew blood. — Ibid. 323.
The mighty Tyrian queen, that gain'd
With subtle shreds a tract of land. — Ibid. 467.
Some of Butler's misrhymings, as they are to us, may
have been true rhymes in bis time, since which the voicings
of many of our words have changed, as in
And when we can with metre safe.
We '11 call him so ; if not, plain RapJi,
Ralph is still often voiced Rafe by the rustics of the West
of England.
a 1
736. In Norse the half-rhyme, ~ which is called skot-
hending, is allowed; so that sCirS-um rhymes with nor^-an,
and var^ with forS, and
spara^ . , ,
— — rrr- IS a good rhymc.
— '- — '- is the form of one of Butler's rhymes :
e. o. ''
The Eabbins wrote Avhen any Jew
Did make to God, or man, a vow. — Hud. pt. ii. c. 2.
737. 3. a. 1.
4. e. r.
In this case of half-rhyme the last voicings are of sundry
sounds, and are followed by clippings which are kinsletters,
but not the same ; as, met
bad.
280 RHYME.
This rliymc is allowed in Irish, under the name of uaithne,
or union. Butler has taken the freedom of this form of
half-rhyme :
The beaten soldier proves most man/«l,
That, like his sword, endures the anvd. — Hud. pt. ii. c. 1.
But we must claw ourselves with sha>«e/«d
And heathen stripes, by their e\i\mj)le. — Idid. c. 2.
sham*/*l
Her mouth compared to an oyster's, with (wid)
A row of pearls in't 'stead of teeth (tjd:). Ibid.
738. a. 1. 2.
e. 1. 3.
This form is allowed as a good half-rhyme {skot-hending,
half-assonance) in Norse poetry, in which
„ , . — IS a good rhyme.
739. a'. 1.
a". 1.
This is a form of imperfeet rhyme, where the last voieings
are of the same sound, but one of them long and the other
short, with the same clippings ; as, lane
ten.
But first, with knocking loud and bmol-m^,
He roused the squire in truckle loll-'m^. — Hud. pt. ii. c. 2.
740. a. 1.
a. 1'.
This form of half-rhyme has the last voieings the same,
and the last clippings of the same kind or class ; as, blade
late.
The Persian poets call it eekfa, and sometimes, though rarely,
allow it ; so that lub has been taken as a rhyme to chup.
It is allowed, also, in Irish poetry under the name of com-
harda or correspondence.
RHYME. 281
Butler has admitted it into his Hudibras, as in
In which they 're hamper'd by the fet-lock.
Cannot but put y' in mind of wed-lock.
Also, And, by the greatness of its noise (noiz),
Proved fittest for his country's choice (tqois).
741. a' 1.
a" 1'.
In this form of half-rhyme the last voicings are of the same
class but of sundry lengths, and the last clippings are of the
same class but not the same ; as in
not overstrain'd,
nor overbent.
742. a. 1.
a. 2.
In this form of half-rhyme the last voicings are the same,
but the last clippings are of sundry classes.
This form is the imperfect correspondence of Irish poetry,
in which it stands good with the form
743. a.
a. 1.
where one of the rhyming breath-sounds has no tonguing;
ba . ,
-y^ — - IS a rhyme.
so that 1
ba
744. a. 1.2. a. 1.2.
a. 1. 3'. a. 1. 3.
are forms of half-rhyme, in which the same voicings have
more clippings than one, and the last clippings are of sundry
classes or breathings.
It is allowed as a good rhyme (Iiending or assonance) in
Norse poetry, in which
biarts . , .
-T • — j— IS a good rhyme.
282 RHYME.
745. Twofold Rhymings.
The two main rhyming breath-sounds are often given with
two or more others after them ; as, say-ing
pray-ing.
In English rhyme it is needful that the two hinder breath-
sounds of the rhyme should be the same ; as ing of the two
rhyming words saying and praying.
The hinder rhyming breath-sound is called by the Persian
poets rudeef, an Aj'abic word, meaning the hindermost, as of
two men upon one horse ; and they mostly make only a word,
but not a syllable rudeef.
Hinder rhyme, or rudeef, takes place very often in English,
and still more often in Persian, Kafir, Italian, Spanish, and
Portuguese poetry ; as,
He snatch'd his weapon, that lay near him,
And from the ground began to rear him. — Hud. pt. i. c. 2.
But since you dare and urge me to it,
You '11 fmd I 've light enough to do it. — Ibid. c. 1.
Compound for sins they are inclined to.
By damning those they have no mind to. — Ibid.
And little pleasure had they in him,
Who had spent the day to win him. — Allingham.
746. The Persians sometimes give, after the rhyming breath-
sounds, two or more words answering in final letter with the
rhyme ; and at other times they bring in two rhymes at the
end of a distich, as if we were to write
In the light day
Of bright May.
Or, In the cold gloom
Of an old tomb.
747. When the rhyming breath-sounds are those of two
words of the same measure or number of letters, as well as
full rhyme, the Persian poets call the rhymes ' full snjd' or
full rhyme, though sujd means a-cooing, as of doves ; as,
Fra le vane speranze c'l van dolore,
Ove sia chi per prova intenda amore. — Petrarca, son. 1.
748. A tongue-rhyming of only the last clippings of two
words of sundry measures and numbers of breath-sounds, is
called svjd moturruf, or end-rhyming.
rhymt:. 283
749. Blank Verse.
Poetry written in unrhyming lines is called blank verse.
Milton's Paradise Lost, and most of Shakspeare's works, with
Thomson^s Seasons and many other poems, are in blank verse.
Although blank verse is free of rhyme, yet it seems holden
by another rule, — that every verse should end with an im-
portant or emphatic word.
No sooner had the Almighty ceased, but all
The multitude of angels, with a shoui
Loud as from numbers without number, sweet
As from blest voices, uttering joy, heav'n rttng
With jubilee ! Milton.
The rolling i/ear
Is full of Thee. Forth in the pleasing spring
Thy beauty walks, thy tenderness and love.
Wide flush the fields, the softening air is balm,
Echo the mountains round, the forest smiles,
And ev'ry sense and ev'ry heart is Jot/. TJmnson.
750. Rhymes are arranged in sundry ways, as in couplets
or distiches of two lines together :
a.
a.
Oh, render thanks to God above, ( — a)
The fountain of eternal love. ( — a)
In verses of four lines, of which the alternate ones rhyme
with each other : a.
b.
Or thus
As high as heav'n its arch extends ( — a)
Above this little spot of clay, ( — b)
So much His boundless love ixsinscends (—a)
The small respects that we can pay. ( — b)
And hard Unkindness' alter'd eye,
That mocks the tear it forced to Jloio, ( — a)
And keen Eemorse with blood defied, ( — b)
And moody Madness laughing Tvild ( — b)
Amid severest woe, ( — a)
284 RHYME.
Lament in rhyme, lament in prose, ( — a)
Wi' saut tears trick'ling down your nose, ( — a)
Our bardie's fate is at a close, ( — a)
Past a' mmead ; ( — b)
The last sad capestane o' his 7coes, ( — a)
Poor Mailie 's dead. ( — b)
Burns.
'Tis done ! But yesterday a Mti//, ( — a)
And arm'd with kings to strive; ( — b)
And now thou art a nameless thinff, ( — a)
So abject, — yet alive ! ( — b)
Is this the man of thousand thrones, ( — c)
Who strewed our earth with hostile bones ? ( — c)
And can he thus ^wxvive ? ( — b)
Since he, miscall'd the Morning Star, ( — d)
Nor man nor fiend hath fall'n so far. ( — d)
Byron, Ode to Buonaparte.
Fair Greece ! sad relic of departed ioorth ! ( — a)
Immortal, though no more, — though fallen, great ! ( — b)
Who now shall lead thy scatter'd children /or^/?, ( — a)
And long-accustom'd bondage uncrea^e ? ( — b)
Not such thy sons who whilome did awa^Y, ( — b)
The hopeless warriors of a willing doom, ( — c)
In bleak Thermopylfe's sepulchral strait : ( — b)
Oh ! who that gallant spirit shall resume, ( — c)
Leap from Eurota's banks, and call thee from the tomb ? ( — c)
B^ron.
751. Sonnet.
The sonnet is a composition of a very pretty form, of
which many and most excellent specimens have been given by
Petrarca, the Italian poet, and by writers of England, Por-
tugal, and other nations of Eui'ope.
The sonnet is a perfect little poem on one subject, and it
must have fourteen lines and five sets of rhymes, (a, b, c, d, e) ;
two sets of a and b, which may be arranged in sundry ways
in the first eight lines, and the other three sets {c, d, and e,)
may be given, in sundry orders, as the ending of the last six
lines; as.
RHYME.
285
! a
a
b
b
b
a
a
b
a
b
b
a
b
b
a
a
c
c
d
d
e
d
c
c
d
e
e
e
Ye airs of sunny spring, that softly hlow
With whisp'ry breathings o'er the grasses h\ade ;
Ye grass-bespangling flow'rs — too soon to hde —
That now with gemlike brightness round me groiv ;
Ye saplings small and green-bough'd trees, that ihrow
Your waving shadows on the sunny ^ade ;
Thou lowland stream, whose winding waters Jloio
Like molten silver to the hoarse cascade,
Give Vice the noisy town, and let the great
Ride mighty o'er the earth with pride and poio'r ;
Give Avarice his gold, but let mefiee
Where cold and selfish hearts live not to //ate
And scorn. Oh, take me to thy lonely dow'r.
Sweet rural Nature ! Life is sweet for thee.
-a)
-b)
-b)
-a)
-a)
-b)
-'')
-b)
-c)
-d)
-e)
-c)
-d)
-e)
752, Nine-line Rhyme.
Ay, me ! how many perils do enfold ( — a)
The righteous man to make him daily fall, ( — b)
Were not that heav'nly grace doth him \\\^/iold, ( — a)
And stedi'ast Truth acquite him out of all. ( — b)
Her care is firm, her care contin««/, ( — b)
So oit as he, through his own foolish ^vide ( — c)
Or weakness, is to sinful hands made ihral ; ( — b)
Else should this red-cross knight in bands have died, ( — c)
For whose deliverance she this prince doth thither guide. ( — c)
Spenser.
286 RHYMK.
Eight lines.
Di vivere &\?,cioUo
(-a)
Giii chc pretcndo in vano,
(-b)
M'aniioiU qiiella \\\ano
(-b)
Chi mi guidn fin or.
(-C)
Da solio, dair osile.
(-d)
Sia rozzo o sia genti/e,
(-d)
Sceglier tu dei quel \olto.
(-a)
Che ha da legarmi il cor.
(-C)
Metastasio.
Cada il iivanno,
(-a)
Kegno iVs.more,
(-b)
Kegno d'ingftHMO
(-a)
Di crudel^«.
(-C)
Scemo ogni core
C-b)
De' suoi martm,
(-d)
L'aure respfW
(-d)
Di liberta. Ibid.
(-C)
As the sets and orders of rhymes are
free
for the fancy of the
let, it is not thought needful to give
more patterns of them.
753. AVord-Matching.
There is in Eastern poetry a kind of word-rhyming, or
word-matching, in Avliich every word of a line is answered by
another of the same measure and rhjane in the other line of
the distich : it is called ters\a, or adorning.
The following distich is a ters\a as to the accented words :
She drove her flock o'er mountains,
By grove, or rock, or fountains.
There are kinds of match ings of wordsj breath-sounds, or
clippings, which the Persians call iujnis, or likeness.
754. That which they call tujnis-i-tom, or 'full-matching,'
is a full likeness in sound, of words which differ in meaning,
and is nothing more than our punning ; as if one were to say
to a married lady, ' If I call'd you a miss, I call'd you amiss.'
755. A matching of each of the words of one line by another
of the same measure in the other, is called by the Persians
sujd mowQzana, or constant matching, as in the couplet —
Syllahles. 12 lis 1
In 1 Britain's | isle, I no | matter | where,
An 1 ancient | pile j of | building | stands. — Gray.
Syllables.
RHYME.
287
Or,
1 2
2 1 1
2 1
111
silent
horror | o'er the
boundless waste,
The
driver
Hassan j with his
camels past.
Or,
Collim.
1 1
2 3
And
the
bhickest
discontents
Be
her
fairest
ornaments. -
-Wither.
756. In Irish verse there is a rule called rinn, ending, or
airdrinn, licad-eiiding, by which the last word of the second
line of a qnatrain should have one syllable more than the last
word of the first, and the last word of the fourth one more
than that of the third.
Irish metre has a kind of verse called seadna, in which the
last word of the second and fourth line of the quatrain is a
monosyllable called ceann, or head. Sometimes the first and
third lines are made to end in a word of two syllables, and the
third and foui'th in a word of one syllable.
In one kind of Irish verse, rarmaigheact bheag, or the less
filling, every line ends Avith a word of two syllables. In
rannaigheact mhor, or the great filling, every line ends Avith
a word of one syllable. In casbhairn every line ends with a
word of three syllables.
757. Tirsia with hfjr/[s, a full matching, in number and
form, of breath-sounds of the words of two lines, is holden
by the Persians as a great beauty ; as,
or tui n'oz ore
or tui noz ore.
If thou hast not love,
If thou hast sportiveness.
Or, as if we say in English :
What can undo
What cannon do ?
758. Clipping-Rhyme, or Matching of Clippings.
Clipping-rhyme, or matching of clippings, or letter-matching,
is the inbringing of the same clippings in set places of a line, or
two lines. It is known in the versification of many languages.
There is a matching of clippings which takes place in Welsh
and Persian poetry.
The Persians call it U/jnis-i-nakis, or deficient likeness;
and the Welsh cynghanedd.
288 RHYME.
By this matcliinji:, some same clippings are brought into two
lines, or in two halves of a single line.
The seaman
By heafcw's stars v, n, s, t, r, s.
To hare??* s/eers. v, n, s, t, r, a.
In both of the last two lines the clippings v, n, s, t, r, s are found-
"^orsaJdng bttXer ways, s, k, luj, b, t, r, w, a.
Is seeking b'ltier woes. s, k, ng, b, t, r, w, t.
The hunter roams
In woody wolds w, d, w, I, d, s.
And weedy wilds. w, d, w, I, d, s.
Beguiled by gold, b, g, I, d, \ b, g, I, d.
What hast thou sold !
In the first line the clippings b, g, I, d are found twice.
And can a little boy that's good,
Dare kill a ^ir6?'s dear callow brood? d, r,k, I, b,r, d, \ d,r,k{c),l,b,r, d.
Here the clippings d, r, k, I, b, r, d are found twice in the last line,
for c in callow is of the same clipping as k in kill.
3Iy Dorset maid, my dearest meed m, d, r, s, t, m, d \ m,d,r,s,t, m,d.
Is now thy winsome smile.
Compare the Norse . . Enn ]>eir er ^omu
Kilir vestan til,
Um ^i^ liSu
J , V 1 , • imafiarSar brm ;
and the Latin •'
Quaeque lacus late liquidos. — Virg. JEn. iv. 26.
The cry of Reuben, on his missing of Joseph, with its
clipping rhyme of n, is very touching :
:Nn"">j>* r\iik ^:^^"l ^ir^< I'^^n
|T .-; T^T •-;- v •• v v-
Hayeled enennvx vaa«j owo a«j bo.
n n n n n
The child is not; and I, whither shall I go? — Gen. wxjyii. 30.
There is a tendency in English, and some other languages,
to the formation of two-limbed words, with clipping-rhyme
and full-voice rhyme.
Clipping-rhyme.
chit-chat. gew-gaw. "^^^^^^
ding-dong. hip-hop.
iid(lle-faddle. nick-nack. ,. ,
flim-flam. nidd)' -noddy. onm-snnn
smp-snap.
RHYME. 289
Voiee-rJiyme.
cag-mag. hocus-pocus. hurly-burly,
clap-trap. hoity-toity. hurry-scurry,
harum-scarum. hotch-potch. namby-pamby,
higgledy-piggledy. hum-drum. roly-poly.
hob-nob. humpty-dumpty. wiUy-nilly.
759. Old Teutonic Poetry.
The old Teutonic poetry was constructed on laws of tongue,
rhyme, or clipping-rhyme and accent, or of clipping-rhyme
and quantity. The main law of the tongue-rhyme or clipping-
rhyme is, that every two fellow-verses should have three ac-
cented words or syllables beginning with the same clippings
or rhyme-letters, or with three vowels ; and that two of them,
which are the under -clippings, should be in the first of the two
lines ; and that the third, called the head-clipping , should be
at the first accent in the other line : as,
When, (5iound to some buy b, h.
In the billowy ocean, b.
O'er seas rolling surges s, s.
The sailors are steering, s.
God ?/Jeighs on his waters ?v, w.
Their ?pandering bark, ic.
And ?i"afts them with winds w, w.
O'er their ?catery way, w.
While his s^ars for their steersman s^, d.
Bes^ud all the sky. &t.
Then forego all misgivings g, g.
Of guidance and helping, g.
For our /mnds from the i/ighest h, h.
Have /^elp in their weakness, h.
When we woxk by the w'\)l w, w.
And the wisdom of God. w.
Or,
But when the raoonlight marks anew
Thy jMurky shadow on the dew.
So stowly o'er the sfeeping flow'rs,
OnsZiding through the nightly hours,
While smokeless on the houses' //eight
The /iigher chimney gleams in light
Above yon reedy roof, where now,
With rosy cheeks and lily brow.
No ?(7atchful mother's rard within
The window sleeps for me to win, &c.
^undlas ^tsung, bottomless greediness
yilpes and sehta, of glory and wealth.
13
290 RHYME.
If the rliymc-lcttcrs are vowels_, they sliould be all sundry ones:
ntan ymbe (^-'Selnc out round the noble
iiiiglas studon ........ angels stood.
\>cOt se dca het the same (man) bad
enlle acwellan to slay all.
Anglo-Saxon and Icelandic poetry has sometimes, but not
always or mostly, rhyme as well as tongue-rhyme or clipping-
rhyme ; and short verses have often only two instead of three
rhyme-clippings in a couplet, one in each of them :
iEla ]>u scippend thou creator
scin-d tungla of the bright stars.
This poetry is constructed mostly by rules of accent or em-
phasis with some attention to time or quantity, inasmuch as
the sharp syllables were of a set number in a line, often two,
as in the foregoing verses ; but the grave or uncmphatic sylla-
bles were thrown in before, between, or behind them, fewer
or more as the language may need them. The unaccented
or uncmphatic syllables, which are called the sjjeech-fillinff,
were read or sung very quick, like the breviores brevibus, or
shortened -short syllables, of our verse.
The following couplet has speech-filling within the brackets :
[ac sc] s^earca storm, .... but the stark storm,
[)?onne he] strong cym^. . when it comes strong.
The following lines have no fore-speech filling :
scean scix werod, shone the bright host,
scyldas lixton shields gleamed.
760. In Icelandic verse there is often an under-clijiping
rhyme, or two incomings, in the same line of the same clipping,
in the midst or end of two breath-sounds, whereas the place of
the main clipping-rhyme is at the beginning of them ; as,
fasto?"'Sr skyli firSa, . . . the king that would be rich in men,
fe«^s3ell vera J'f'WT/ill. . . should always keep his word,
where ?•§ are the under-tongue rhyme in the first line, ng in the latter,
761. The difference, therefore, between under-clipping rhyme
and full rhyme — to which under-clipping rhyme often comes
near — is, that under-clipping rhyme may be the sameness
only of clipping, and in the middle of a word, while full
rhyme is the sameness of breath-sound and clipping, and is at
the end of a word.
Under-clipping rhyme sometimes becomes full rhyme in
Icelandic.
RHYME. 291
762. Some of the more severe kinds of Norse poetry are
constructed by rules of quantity, with a set number of syllables
in a line.
763. This Teutonic versification is found in the works of
Anglo-Saxon poets : King Alfred's translation of the Metres
of Boethius ; Csedmon's Metrical Paraphrase of portions of
the Bible ; the heroic poems on Beowulf, king of the Angles ;
and the Sagas of the Northern skalds.
764. We find the true clipping rhyme of Saxon verse in
the later works of early English ; as in the
Vision of Piers Plowman.
In a somer seson, s, s.
Whan softe was the sonne, s.
I s/iop me into s/n'oudes, sh, s/i.
As I a sliee-p weere. s/i.
In /^abite as an /^eremite, k, k.
Un/^oly of workes, 7i.
Wente wide in this ?^orkb w, w.
TFbnders to here ; ic.
Ac on a il/ay wiorvvenynge m, m.
On Jialverne hilles, m.
Mebi/ela/erly / /.
Of /aire, me thote. /.
765. In the sixteenth centm'y the threefold clipping rhyme
of Teutonic poetry had given place to manifold clipping rhymes
in a line, as we find in The Paradise of Dainty Devises, printed
in 1576 :
The ifrustless ^vaynes that /coping /^arts allure. — E. S.
jPast /etter'd here is /orste away to _/ye,
As /mnted /^are that /^ound hath in the chace. — L. Faux.
And by conseyte of sweete alluring tale,
He Sites the baiie that Sreedes his fitter Sale. — F. K.
\A here sethyng sighs and sower sobbs. — L. F.
The fire shall freest, the //-ost shall /ne.
The /rozen mountains hie.— il£ Edtmrds.
As one that runnes beyond his race, and rows beyond his reach.
A. Bourcher.
766. Celtic Poetry of the Bards,
Irish Celtic poetry is constructed on rules of quantity of
syllables and lines, clipping-rhyme and voice-rhyme^ under-
rhyme and full-rhyme.
292 RHYME.
767. Irish clipping rhyme, which is much like that of
Teutonic poetry, is the beginning of two words of a line with
the same clipping ; as,
cpiall taji beapb'a na j-peab* j-ean,
cap eij- /aochjiaib'e Zairean.
Or, as in English :
Aloft, o'er /urrow'd /ields,
Tlie /ark now Zoudly sings.
7G8. Irish sound-rhyming is the answering of two breath-
sounds at the ends of two lines in vowels only, though not in
PP ^'^ * ba rhymes with blay.
aoi „ „ aoif.
As, in English :
Tall o'er the dingy town
Uprose the lofty tow'r.
Or, Then flew with deadly aira
The arrow through the air.
769. Irish under-rhyme is the answering of two breath-
sounds at the ends of two lines, both in vowels and clippings,
so far as that the clippings may be either the same or of the
same class, — liquids, or soft, or hard, rough, strong, or light.
Our rough and smooth kins-letters are two of the Irish
classes, and the liquids are another; so that ^-cam rhymes
with -mall, and ann with cholam.
As, in English :
High o'er the houseless vioor j
Rode on the silver moo7i.
770. Rinn, or ending, requires that the last word in the
second and fourth lines of a quatrain should have one more
syllable than that of the first and third.
771. There is a kind of under-rhyme, or rhyme called
union, which is the under-rhyming or rhyming 'of the last
word or breath-sound in one line, with one in the middle of
the following one ; as.
Then on buds of early foic'rs
April showers had cast bright gems ;
Then on ev'ry hedge was heard
Some sweet l/ird in joyful song.
772. Lines are often of six, seven, or eight syllables.
J
RHYME.
293
773. Some of the rules of quantity of syllables are 'head,'
— that in sundry kinds of verse the lines must end with words
of one, or two, or three syllables.
774i. Welsh poetry is constructed on laws of number of
syllables, full-rhyme, and clipping-rhyme ; and is of four, five,
six, seven, eight, nine, and ten syllables in a line.
Welsh clipping-rhyme [cijnghanedd] is of its own kind,
different from that of the Irish as well as that of the Teutonic
languages. Its laws are, that syllables or words of both of
the two members of a line separated by the caesura, have
syllables or words with the same clippings : (art. 758.)
Pur yw ei ghM, \ por y gljn,
Pure is his sword, the lord of the valley,
where the clippings p, r, gl are found in both members of the
line,— :??ur yw ei ghM, (and) por y gljxs..
The kinsletters are allowed to be rhymes to each other, so
that it is good cynghanedd for one pause to answer d hj t,
b by p, and c by gh in the other.
These rhymes sometimes become voice-rhymes as well as
clipping-rhymes :
/y?/yn ddaw i bob ^yr/a, /, r, /, . . t, r, f; or,
. an end will come to every host. tyr, f, . . tyr, f.
775. There is another kind of clipping - rhyme, called
cymmeriad (taking), which is a taking of the same clipping
or breath-sound for the beginning of two, four, or more lines :
Cael dirgelu
Clwyf annelu,
Cair dy selu,
Croew des haelion.
Being able to conceal
The wound of the an-ow-shot,
An opportunity may be had of seeing thee,
Warm luminary of the generous ones.
This kind of clipping-rhyme {cymmeriad) is that of the
Hebrew of the 119th Psalm, of Avhicli eight verses begin with
the letter aleph, eight more with beth, a third eight with
gimel, and so on to tau.
294 RHYME.
776. lu a ciimmeriad of vowels tlicy may be different ones.
Y docth I a'r annocth | njiwedd,
O //y>-au'r byd \ g\r i'r bcdd.
The wise aud the unwise alike
From the ends of the world He sends to the grave.
777. It may be thoufi:bt that the clipping-rhyme of the
bards and skalds is a triiiing ornament;, even if it gives their
verse any grace, or affords the car pleasure enough to be
worthily called an ornament.
It is* however, pretty and striking, when it is good of its
kind ; and in historical poems, such as those of the bards and
skalds, it was most useful for the continuing of the true text.
A false word of any weight in the verse could hardly take
place of a true one, which was bound into its context by
clipping-rhyme :
Mwy wa m'\l am uwo maw/, m, n, m, I, \ m, n, m, I.
Lin nefoedd oil yn vfadd. II, n,f, dd, | U, n,f, dd.
More than a thousand in united praise,
The throng of heaven were obedient.
In the first line mawl could not drop out without carrj'ing
away in I, answering to the m I in mil ; and in the second line
neither nefoedd nor ufudd could be easily displaced by another
word, as they bind in each other by the letters /, dd.
In the line.
Lion yw'r lla a lla.wn yivW lie, II, n, ywr, II, \ II, n, ywr, II.
Gay is the throng and full the place,
'Hon yw'r llvJ has the same clippings as 'Z/aww yw'r lie;' and
in the Saxon distich,
Fr