arbitrary. The pronunciation is easy in a fimple movement of alternate long and short fyllables; but would be perplexing and unpleasant in the diverfified movement of Hexameter verfe. Rhyme makes fo great a figure in modern poetry, as to deserve a folemn trial. I have for that reafon reserved it to be examined with deliberation; in order to discover, if I can, its peculiar beauties, and its degree of merit. The first view of this fubject leads naturally to the following re flection: "That rhyme having no relation to fentiment, nor any effect upon the ear other than a mere jingle, ought to be banished all compo"fitions of any dignity, as affording but a trifling "and childish pleafure." It will also be observed, "That a jingle of words hath in fome measure a "ludicrous effect; witness the double rhymes of "Hudibras, which contribute no small share to "its drollery that in a ferious work this ludi"crous effect would be equally remarkable, were "it not obfcured by the prevailing gravity of the fubject that having however a constant tenden 66 66 cy to give a ludicrous air to the compofition, "more than ordinary fire is requifite to fupport "the dignity of the fentiments against fuch an "undermining antagonist *." VOL. II. M These * Voffius, De poematum cantu, p. 26. fays, "Nihil æque "gravitati orationis afficit, quam in fono ludere fyllaba"rum." These arguments are fpecious, and have undoubtedly fome weight. Yet, on the other hand, it ought to be confidered, that in modern tongues rhyme has become universal among men as well as children; and that it cannot have fuch a currency without fome foundation in human nature. In fact, it has been fuccefsfully employ'd by poets of genius, in their serious and grave compofitions, as well as in those which are more light and airy. Here in weighing authority against argument, the scales seem to be upon a level; and therefore, to come at any thing decifive, we must pierce a little deeper. Mufic has great power over the foul; and may fuccessfully be employ'd to inflame or foothe paffions, if not actually to raise them. A fingle found, however sweet, is not mufic; but a single found repeated after intervals, may have the effect to rouse attention, and to keep the hearer awake: and a variety of fimilar founds, fucceeding each other after regular intervals, muft have a still ftronger effect. This confideration is applicable to rhyme, which connects two verse-lines by making them close with two words fimilar in found. And confidering attentively the mufical effect of a couplet, we find, that it rouses the mind, and produceth an emotion moderately gay without dignity or elevation: like the murmuring of a brook gliding through pebbles, it calms the mind when perturbed, and gently raises it when funk. These effects are scarce perceived when the whole poem is in rhyme; but are extremely remarkable by contraft, in the couplets that close the several acts of our later tragedies: the tone of the mind is fenfibly varied by them, from anguish, distress, or melancholy, to fome degree of ease and alacrity. For the truth of this obfervation, I appeal to the speech of Jane Shore in the fourth act, when her doom was pronounced by Glo'fter; to the fpeech of Lady Jane Gray at the end of the firft act; and to that of Calista, in the Fair Penitent, when she leaves the stage, about the middle of the third act. The speech of Alicia, at the close of the fourth act of Jane Shore, puts the matter beyond doubt: in a scene of deep diftrefs, the rhymes which finish the act, produce a certain gaiety and cheerfulness, far from according with the tone of the paffion : Alicia. For ever? Oh! For ever! Oh! who can bear to be a wretch for ever! Having defcribed, the best way I can, the impreffion that rhyme makes on the mind; I proceed to examine whether there be any fubjects to which rhyme is peculiarly adapted, and for what fubjects it is improper. Grand and lofty subjects, which have a powerful influence, claim precedence in this inquiry. In the chapter of Grandeur and Sublimity it is established, that a grand or fublime object, infpires a warm enthufiaftic emotion difdaining ftrict regularity and order; which emotion is very different from that infpired by the moderately enlivening mufic of rhyme. Suppofing then an elevated fubject to be expreffed in rhyme, what must be the effect? The intimate union of the music with the fubject, produces an intimate union of their emotions? one inspired by the subject, which tends to elevate and expand the mind; and one inspired by the mufic, which, confining the mind within the narrow limits of regular cadence and fimilar found, tends to prevent all elevation above its own pitch. Emotions fo little concordant, cannot in unión have a happy effect. But it is scarce neceffary to reafon upon a cafe that never did, and probably never will happen, viz. an important fubject clothed in rhyme, and yet fupported in its utmost elevation. A happy thought or warm expreffion, may at times give a fudden bound upward; but it requires a genius greater than has hitherto exifted, to fupport a poem of any length in a tone elevated much above that that of the melody. Taffo and Ariofto ought not to be made exceptions, and ftill lefs Voltaire. And after all, where the poet has the dead weight of rhyme conftantly to struggle with, how can we expect an uniform elevation in a high pitch; when fuch elevation with all the fupport it can receive from language, requires the utmost effort of the human genius? But now, admitting rhyme to be an unfit drefs for grand and lofty images; it has one advantage however, which is, to raise a low subject to its own degree of elevation. Addifon obferves, "That rhyme, without any other affiftance, "throws the language off from profe, and very "often makes an indifferent phrase pass unregard"ed; but where the verfe is not built upon rhymes, there, pomp of found and energy of "expreffion are indifpenfably neceffary, to fup 66 66 port the style, and keep it from falling into the "flatness of profe." This effect of rhyme is remarkable in French verfe: which, being fimple, and little qualified for inverfion, readily finks down to profe where not artificially fupported: rhyme is therefore indispensable in French tragedy, and may be proper even in French comedy. Voltaire † affigns that very reason for adhering to rhyme *Spectator, No. 285, M 3 + Preface to his OEdipus, and in his difcourfe upon tragedy, prefixed to the tragedy of Brutus. |