P.S.

"————Violentior influit amnis.

The following Line tours into the Skies with the highest Mountain inItaly.

"—————————————Gaudetque nivaliVertice se attollens pater Appeninus, ad auras.———

"—————————————Gaudetque nivali

Vertice se attollens pater Appeninus, ad auras.———

This falls down as low as the deepest Valley.

"Saxa per, & scopulos, & depressas convalles.

In short there is nothing in Nature thatVirgil'sVerse does not convey to theEar, and theEye; so that this Subject is inexhaustible, and must be left to every one's particular Observation.

The learnedMorhophiushas a Passage relating to this Matter which comes in too properly here to be omitted.

"Solent Carminibus suæ esse a Numeris Veneres, & certa quædam Artificia, quæ mirifice ornant versum, quales apud Virgilium, mirum numeri Poetici Observatorem, frequenter occurrunt, e.g. cum versus terminantur Monosyllabis, ut:procumbit humi bos: nascetur ridiculus mus. Vel cum Spondæi multi adhibentur, ut;media agmina circumspexit: Illi inter sese magnâ vi brachia tollunt.Aut cum Dactyli & Spondæi ita miscentur, utrei naturam exprimant, ut cum de turri ruente ait:

[page 24]

"——————————————Convellimus altisSedibus; impulimusq;, ea lapsa repenteruinamCum sonitu trahit.———

"——————————————Convellimus altis

Sedibus; impulimusq;, ea lapsa repenteruinam

Cum sonitu trahit.———

"Talia infinita apud Virgilium habentur quæhomo in iis non exercitatus contemnat, doctusvero & prudens admiretur.Polyhist.

"Talia infinita apud Virgilium habentur quæhomo in iis non exercitatus contemnat, doctusvero & prudens admiretur.

"Talia infinita apud Virgilium habentur quæ

homo in iis non exercitatus contemnat, doctus

vero & prudens admiretur.

Polyhist.

There is also a Remark of the judiciousColumnaon a celebrated Line inVirgil, which is very much to the present Purpose.

Unus Homo Nobis Cunctando Restituit Rem.]

Virgilius de eodem loquens Æneid l. 6. integrum hoc carmen sumpsit, ita tamen, utspondeorum tarditate Fabii moram referret,

———————————tu Maximus ille es,Unus, qui nobis cunctando restituis rem.Enn. Frag.

———————————tu Maximus ille es,Unus, qui nobis cunctando restituis rem.

———————————tu Maximus ille es,

Unus, qui nobis cunctando restituis rem.

Enn. Frag.

Sept. 21, 1736,

I am,Sir,&c.

The Passage in the learnedMuhlius, which I should have inserted at the beginning of this Letter, I send you in a Postscript. You have seen it before, but it is worth reading more than once. You know it belongs principally to the Article that treats ofthe varying the Pause.

[page 25]

"Neque potest unus idemque semper tenor in carmine usurpari, sed debet is pro varià periodorum Poeticarum ratione distingui. Et ut insurgat decore & intumescat aliquando, iterumque remittat, ubi opus est, consequimur cæsorum ac periodorum sola inæqualitate. Quod pulcerrime observatVirgilius, cujus alia mensura, alia pedum compositio est in narrationibus, descriptionibus, orationibus, & tanta periodorum numerorumque variatio, ut ad eam perfectionem nihil addi possit. Hujus rei quanta negligentia inStatio,Lucano,Claudiano,Silio Italico? Ubi admirabilis illa harmonia, suavitas, gravitas ipsorum pedum æqualiter, inæqualiter temperatorum, per clausulas verborum fractorum, ac intra regiones suas aliter aliterq; interceptorum? Ut de junctura illa literarum nihil addam, cum vocales ac consonantes ipsæque syllabæ ita miscentur, ut rei naturam tam apte jucundeque exprimant, ut eageripotius quamcani,spectarimagis quamaudirivideatur. Talia infinita sunt apudVirgilium, quæ captum imperitorum longe excedunt, doctiores vero & prudentiores impense admirantur; quæ nihil tritum, vulgare, hiuclum nihil elumbe ac contortum patiuntur, at nescio quid virile & stupendum plane, ac majus humana voce videntur sonare.Claudianuscerte istud fastigium non attingit, & quod inMaronianadictione, in illa periodorum ac numerorum varietate præclarum putamus, vix est, ut ejus vel levem umbram ostentet. Sic eadem semper oberrat chorda, quod ridiculum existimat magnus iste dicendi magister."

[page 26]

SIR,

IV.

HE fourth thing to be consider'd is,Virgil'smixing the Singular and Plural Numbers. This has a wonderful Effect, and is very diligently attended to byVirgil; but I believe never once thought of byOvid, or any otherRomanWriter in the Days ofAugustus.

"Quid faciat lætasSegetes,quo sidereterramVertere, Mæcenas, ulmisque adjungerevites,Conveniat: quæ cura boum, qui cultus habendoSitpecori, apibusquanta experientia parcis.

"Quid faciat lætasSegetes,quo sidereterram

Vertere, Mæcenas, ulmisque adjungerevites,

Conveniat: quæ cura boum, qui cultus habendo

Sitpecori, apibusquanta experientia parcis.

Here you havesegetesandterram, and thenvites, and after thatpecoriandapibus.

Again,

"———Camposque, & flumina lateCurva tenent: ut mollesiler,lentæquegenistæ,Populus, &glauca canentia frondeSalicta.Pars autem posito surgunt de semine: ut altæCastaneæ;nemorumq; Jovi quæ maxima frondetEsculus,atque habitæ Graiis oraculaquercus.

"———Camposque, & flumina late

Curva tenent: ut mollesiler,lentæquegenistæ,

Populus, &glauca canentia frondeSalicta.

Pars autem posito surgunt de semine: ut altæ

Castaneæ;nemorumq; Jovi quæ maxima frondet

Esculus,atque habitæ Graiis oraculaquercus.

Here areSilerandGenistæ,PopulusandSalicta,CastaneæandEsculus, andQuercus.

[page 27]

Again,

"Arma Virumquecano, Trojæ qui primus ab orisItaliam,fato profugus, LavinaquevenitLitora.Multum ille &terrisjactatus &alto,ViSuperumsævæ memoremJunonisob iram.Multa quoq; & bello passus, dum condereturbem,InferretqueDeosLatio: genusunde LatinumAlbaniquepatres,atque altæ mœnia Romæ.

"Arma Virumquecano, Trojæ qui primus ab oris

Italiam,fato profugus, Lavinaquevenit

Litora.Multum ille &terrisjactatus &alto,

ViSuperumsævæ memoremJunonisob iram.

Multa quoq; & bello passus, dum condereturbem,

InferretqueDeosLatio: genusunde Latinum

Albaniquepatres,atque altæ mœnia Romæ.

Thesetwo first Wordsof theÆneidare an Example of what I am taking notice of; and then we have in this IntroductionItaliamandLitora Lavina,TerrisandAlto,SuperumandJunonis,UrbemandDeos,GenusandPatres.

But the most beautiful Passage of this Nature is in theGeorgics. Here the thing to be done, and the Instrument with which it is to be done, are varied alternately.

"Quod nisi & assiduisterraminsectabererastris,Etsonituterrebisaves,& ruris opaciFalcepremesumbras, votisq;vocaverisimbrem.

"Quod nisi & assiduisterraminsectabererastris,

Etsonituterrebisaves,& ruris opaci

Falcepremesumbras, votisq;vocaverisimbrem.

Terramrastris, sonituaves, falceumbras, votisimbrem.

Upon whichLa Cerdamakes this Remark:

"PlacetVirgiliussemper, sed cur placeat sæpe ignoratur. In rebus quatuor recensendis numquam pluralem cum plurali, neque singularem cum singulari, quod minus ad varietatem: sed semper cum singulari pluralem. Unica terra multis rastris insectanda est, unica pluvia multis votis petenda. Contra, multæ aves terrendæ unico sonitu, multæ umbræ unica falce compescendæ."

[page 28]

Now inOvidnothing of this Art is to be found.

"Antemare & tellus,& (quod tegit omnia)cœlum,Unus erat toto naturævultusin orbe,Quem dixerechaos:rudis indigestáquemoles,Nec quicquam nisipondusiners.

"Antemare & tellus,& (quod tegit omnia)cœlum,

Unus erat toto naturævultusin orbe,

Quem dixerechaos:rudis indigestáquemoles,

Nec quicquam nisipondusiners.

Here areMare,Tellus,Cœlum,Vultus,Chaos,Moles, andPondus, without any one word of the Plural Number amongst them.

V. The next Particular to be taken notice of, isVirgil's uncommon Use of the ParticlesEtandQue.

"————Multum illeetterris jactatusetalto;Multa quoqueetbello passus———Etpremere, etlaxas sciret dare jussus habenas.

"————Multum illeetterris jactatusetalto;

Multa quoqueetbello passus———

Etpremere, etlaxas sciret dare jussus habenas.

And more frequently in his most finish'd Piece.

Quid tibi odorato referam sudantia ligno.Balsamaque, etBaccas——————————Quod nisietassiduis terram insectabere rastris,Etsonitu terrebis aves, etruris opaciFalce premes umbras, votisquevocaveris imbrem.Si vero viciamqueseres, vilemqueFaselum.

Quid tibi odorato referam sudantia ligno.

Balsamaque, etBaccas——————————

Quod nisietassiduis terram insectabere rastris,

Etsonitu terrebis aves, etruris opaci

Falce premes umbras, votisquevocaveris imbrem.

Si vero viciamqueseres, vilemqueFaselum.

This Manner of using these connecting Particles, gives Majesty and Strength to the Verse. It gives Majesty, because it occasions Suspense and raises the Attention. For Example:

Si vero Viciamqueseres————

Here thequehinders the Sense from being concluded, till you have read the rest of the Line,

————Vilemque Faselum.

[page 29]

But if the Poet had writ (supposing the Verse would have allowed it)

Si vero Viciam seres————

the Reader would have understood him without going any farther; and it is easily perceiv'd the Verse would have been very flat to what it is now. This double Use of the Particles gives Strength to the Verse; because, as the ExcellentErythræusobserves, the copulative Conjunctions are in Language of the same Use as Nerves in the Body, they serve to connect the Parts together; so that these Sorts of Verses which we are speaking of may be very properly called, Nervous Lines.

This ArtVirgilmost certainly learnt fromHomer: for there is nothing more remarkable inHomer's Versification, nothing to which the Majesty of it is more owing, than this very thing, and I wonder none of his Commentators (that I have seen) have taken notice of it. There are four in the 23 first Lines of the Iliad, of this Kind. I will put theLatinfor the sake of the generality of Readers.

Atridesque,rex virorum,etnobilis Achilles.Redempturusquefiliam, ferensqueinfinitum pretium liberationis,Atridæque, etalii bene ocreati Achivi,Reverendumqueesse sacerdotem,etsplendidum accipiendum pretium.Clarke'sTranslation.

Atridesque,rex virorum,etnobilis Achilles.

Redempturusquefiliam, ferensqueinfinitum pretium liberationis,

Atridæque, etalii bene ocreati Achivi,

Reverendumqueesse sacerdotem,etsplendidum accipiendum pretium.

Clarke'sTranslation.

VI. I come now to theCollocatio Verborum, of which there is no occasion to give any more than one Instance:

"Vox quoque per lucos vulgo exaudita silentesIngens.——————

"Vox quoque per lucos vulgo exaudita silentes

Ingens.——————

[page 30]

The Reader cannot but perceive that the Manner of placingIngenshas a wonderful Effect; it makes him hear the melancholy Voicegroan through the Grove.

VII. Thechanging the common Pronunciation of Words, as thus:

"Fluviŏrum Rex Eridanus.————

And

"Stridĕre apes utero & ruptis effervĕre costis.

VIII.Lines contrary to the common Measure, or rather without any Measure at all,viz.

"Quod fieri ferro, liquidove potest electro,Saxa per & scopulos & depressas convalles.

"Quod fieri ferro, liquidove potest electro,

Saxa per & scopulos & depressas convalles.

IX, X, XI. These are the three Articles formerly mentioned, namely, theAlliteratio, theAllusio Verborum, and theAssonantia Syllabarum.

1. As to theAlliteratio. This is of several Kinds, it isInitial,SingleandDouble; sometimesTreble, or more frequent. It is likewiseMix'd, that is, both in the first Letters of the Words, and in the following Syllables. It is sometimes so often repeated, that it may be term'dAssultus, or an Attack upon, or a storming of the Ear.

The following are Examples of theSingle Alliteratio.

"Quid faciat lætassegetes,quosidereterramVertere,Mæcenas,ulmisque adjungerevites,Conveniat:quæcuraboum,quicultushabendo.

"Quid faciat lætassegetes,quosidereterram

Vertere,Mæcenas,ulmisque adjungerevites,

Conveniat:quæcuraboum,quicultushabendo.

[page 31]

Again,

"————————Sedviva volareSideris in numerum.————

"————————Sedviva volare

Sideris in numerum.————

And,

"————————Asia longePulia palus.————————

"————————Asia longe

Pulia palus.————————

Of theDoubleinitialAlliteratio, this is an Example:

"Totaque thuriferis Panchaia pinguis arenis.

Of theTrebleand more frequent initialAlliteratio, this is an Instance:

"Et sola in siccâ secum spatiatur arena.

TheMix'd Alliteratio, and theAssultusare to be found in these two Lines:

"Illasducitamor trans Gargara, transque sonantemAscanium: superantmontes, & flumina tranant.

"Illasducitamor trans Gargara, transque sonantem

Ascanium: superantmontes, & flumina tranant.

In these two Lines the Vowelais repeated fourteen times, and what an Effect this has upon the Ear, the Reader cannot but perceive.

2. Of theAllusio Verborum, the following are Examples:

"Nec nocturna quidem carpentes pensa puellæ.

Again,

"Hoc metuens; molemque & montes insuper altos.

[page 32]

Again,

"Stat sonipes, ac frena ferox spumantia mandit.

Again,

"Vitavisse vices Danaum.

3. Of theAssonantia SyllabarumorRhyme, there are inVirgilthe several following Sorts.

1.The plain direct Rhyme, which is of two Kinds,SingleorDouble.

2.The intermediateorcasual plain Rhyme.

3.The scanning conclusive Rhyme. So called, because it would hardly be perceived by the Generality of Readers, unless they first scann'd the Verse; but when they have done that in three or four Lines, the Ear will afterwards make the necessary Distinction without any farther trouble.

I will explain and give Examples of all these several sorts ofRhymein their Order.

1. To treat of the plainSingledirectRhyme. The following Verses are Examples of this sort of Rhyme: But to make them more like our own, I will divide the Verse into two Parts.

"Poculaque inventisAcheloia miscuit uvis."Totaque ThuriferisPanchaia pinguis arenis."Et premere, & laxasSciret dare, jussus habenas."Atque rotis summasLevibus pellabitur undas.

"Poculaque inventisAcheloia miscuit uvis.

"Poculaque inventis

Acheloia miscuit uvis.

"Totaque ThuriferisPanchaia pinguis arenis.

"Totaque Thuriferis

Panchaia pinguis arenis.

"Et premere, & laxasSciret dare, jussus habenas.

"Et premere, & laxas

Sciret dare, jussus habenas.

"Atque rotis summasLevibus pellabitur undas.

"Atque rotis summas

Levibus pellabitur undas.

[page 33]

"O nimium cœloEt pelago confise sereno.

"O nimium cœlo

Et pelago confise sereno.

Many more of these Lines might be produced, but these are sufficient.

Of the plain directDoubleRhyme (which is the Sort of Rhyme theSpectatorspeaks of N° 60, and which the Monks were in Love with) the following are Instances.

"Hic labor extremus, longarumhæc meta viarum.

Again,

"I nunc & verbisVirtutem illude superbis.

"I nunc & verbis

Virtutem illude superbis.

Again,

"Cornua veletarumObvertimus Antennarum.

"Cornua veletarum

Obvertimus Antennarum.

2.Of the intermediate plain Rhyme, the following are Examples.

"Imposuit,regemquededit,qui fœdere certo.

And,

"Descendo, ac ducenteDeoflammam inter & hostes.

In this PassageVirgilusesDeusin speaking of aGoddess, for no other Reason imaginable but to enrich his Verse with Rhyme.

[page 34]

3. Of thescanning conclusive Rhymethe following are Instances.

"Sylvestrem tenui musam medi—taris ā—venā.

"Nudus in ignota pali—nure jā—cebis ā—renā.

From whence it appears thatVirgil's Poetry is almost all Rhyme of one kind or other; and it is evident beyond Dispute that he generally concludes his strong, sounding, majestick Paragraphs with a full Rhyme, for which I refer to that fine Line already more than once mentioned, which sums up the Praises ofItaly.

"Totaque thuriferis Panchaia pinguis arenis.

And to the Conclusion of his finest work.

"Hic vero subitum, ac dictu mirabile monstrumAspiciunt: liquefacta boum per viscera totoStridere apes utero, & ruptis effervere costis,Immensasque trahi nubes; jamque arbore summaConfluere, & lentis uvam demittere ramis.

"Hic vero subitum, ac dictu mirabile monstrum

Aspiciunt: liquefacta boum per viscera toto

Stridere apes utero, & ruptis effervere costis,

Immensasque trahi nubes; jamque arbore summa

Confluere, & lentis uvam demittere ramis.

And to this I will add the last Line of the Epilogue to theGeorgicks.

"Tytyre te patulæ cecini sub tegmine fagi.

Where the two several Hemisticks or Parts of the Verse Rhyme each to itself.

I would observe here that bothOvidandLucan, for want of Judgment, begin with a full Rhyme; the consequence of which is, that the Conclusion of the Paragraph is less sonorous than the Beginning, which must needs have a bad Effect.

[page 35]

"In nova fert animus mutatasdiscere formas.Ovid.

"In nova fert animus mutatasdiscere formas.

Ovid.

"Bella per Æmathiosplus quam Civilia Campos.Lucan.

"Bella per Æmathiosplus quam Civilia Campos.

Lucan.

But a modern Writer, and a much better Composer ofLatinVerses than eitherOvidorLucan, has with great Judgment taken care to followVirgil's Example in this and many other Particulars. I meanVanerius. There are a great Number of Lines in hisPrædium Rusticumwhich are worthy ofVirgilhimself: I shall entertain you with some of them.

In his Kitchen-Garden, the following Passage is a Description of all the numerous Family of Colworts, or the Cabbage-kind.

"Quid dicam quanta jactat se Brassica laude?Sive volubilibus redit in se frondibus, OrbesqueOrbibus agglomerans, capitis sub mole laborat;Tornato similes Ebori seu candida FloresEdiderit, seu Coniacas imitata Cupressus,Seque suas plicat in frondes, & acumen in albumDesinit, & tenui venit haud ingloria Mensæ.Sive hieme in media cum cætera frigore torpentLœta viret, Boreamque trucem, Caurosque malignosDespiciens, vacuis ultro Dominatur in hortis."

"Quid dicam quanta jactat se Brassica laude?

Sive volubilibus redit in se frondibus, Orbesque

Orbibus agglomerans, capitis sub mole laborat;

Tornato similes Ebori seu candida Flores

Ediderit, seu Coniacas imitata Cupressus,

Seque suas plicat in frondes, & acumen in album

Desinit, & tenui venit haud ingloria Mensæ.

Sive hieme in media cum cætera frigore torpent

Lœta viret, Boreamque trucem, Caurosque malignos

Despiciens, vacuis ultro Dominatur in hortis."

In his Description of the Farm-yard, he paints the following several Sorts of Fowls in this Manner:

"Se pictæ cervicisAnas |& GarulusAnserTarda mole movent: | habituGallinamodestoProgreditur: | CaudamGallusCristasque rubentesErigit, | & motis sibi plaudit Lætior alis."

"Se pictæ cervicisAnas |& GarulusAnser

Tarda mole movent: | habituGallinamodesto

Progreditur: | CaudamGallusCristasque rubentes

Erigit, | & motis sibi plaudit Lætior alis."

[page 36]

And I cannot omit this most charming Verse which describes the Courtship of a Pigeon.

"Sæpe solum verrens Pennâ pendente rotator.""Oft with his trailing Wing the wanton DoveBrushes the Ground, and wheels about his Love.

"Sæpe solum verrens Pennâ pendente rotator."

"Oft with his trailing Wing the wanton DoveBrushes the Ground, and wheels about his Love.

"Oft with his trailing Wing the wanton Dove

Brushes the Ground, and wheels about his Love.

Such Verse as this must please in all Ages, and in all Countries, where the Readers have any Taste and Delicacy of Ear. All the Beauties ofVirgil's Poetry are in these Lines; and you may observe in the four last mentioned,

1. How curiously thePauseis varied.

In the first Line it is upon the first Syllable of the fourth Foot.

In the second Line it is upon the first Syllable of the third Foot.

In the third Line it is upon the first Syllable of the second Foot.

In the fourth Line it is upon the last Syllable of the first Foot.

2. Observe theinitial Alliterationin the first, second and third Lines.

In the first,AnasandAnser.

In the second,Mole,Movent, andModesto.

In the third,Caudam,Cristasque.

The mixt Alliteration in the first Line whereGarrulusis placed betwixtAnserandAnas, makes the Verse very sonorous; but the mixt Alliteration in the last Line where the Voweliis repeated eight times in seven Words, is a very masterly Stroke;

"Erigit, & motis sibiplaudit lœtior alis.

[page 37]

————Ille hinc concentusin omniCarmine Divinivatis.————————

————Ille hinc concentusin omni

Carmine Divinivatis.————————

WhichextemporeRemark is itself an Instance of what I am taking notice of as imitated fromVirgil.

3. You will perceive theAllusio Verborumto have a very good Effect in the second Line.

"Tarda mole movent, habitu gallina modesto."

4. The mixing the singular and plural Numbers in the third Line is very judicious.

"CaudamCristasquerubentes.

Ovidwould have said,

"CaudamCristamque————

Lastly, The full Rhyme in the fourth Line makes the whole Paragraph very harmonious. It is not improper to produce here the Conclusion of the Description ofÆolus's Cave, which is one of the finest Passages in theÆneid.

"Sed pater omnipotens speluncisabdidit atrisHoc metuens, molemque &montis insuper altosImposuit,regemque dedit,qui fœdere certoEt premere, & laxassciret dare jussus habenas.

"Sed pater omnipotens speluncisabdidit atris

Hoc metuens, molemque &montis insuper altos

Imposuit,regemque dedit,qui fœdere certo

Et premere, & laxassciret dare jussus habenas.

Would not any body think thatVaneriusintended to vie withVirgilin this Place?

October 2. 1736.

I am,Sir,&c.

[page 38]

The Examples I have given in this Letter ofplain direct Rhymeare only inlongorheroicVerse, but I might have instanc'd inLyric Lines.Horaceabounds in Rhyme. In the first Ode we find

Metaque fervidisEvitata rotisPalmaque nobilisIllum si proprioCondidit horreo

Metaque fervidis

Evitata rotis

Palmaque nobilis

Illum si proprio

Condidit horreo

and several others.

In two of his finest Odes the following Lines are as full Rhymes as can possibly be made,

Nec venenatisGravida sagittisPone me PigrisUbi nulla campisArbor æstivaRecreatur AuraAut in umbrosisHeliconis OrisAut super PindoGelidove in Hæmo.

Nec venenatis

Gravida sagittis

Pone me Pigris

Ubi nulla campis

Arbor æstiva

Recreatur Aura

Aut in umbrosis

Heliconis Oris

Aut super Pindo

Gelidove in Hæmo.

The two last are doubly rhym'd.

[page 39]

SIR,

Am now to considerMilton's Versification under the same Heads as I have consideredVirgil's, so far as there is Opportunity of doing it.

I. To begin withThe Varying of the Pause, which is the Soul of all Versification in all Languages. Verse is Musick, and Musick is more or less pleasing as the Notes are more or less varied, that is, raised or sunk, prolonged or shortned.

In order to judge of the varying ofEnglishVersification, I first endeavour'd (as I have already said, with respect to theLatin) to find out the common Pause inEnglishVerse, that is, where the Voice naturally makes some sort of Stop when a Verse is read. To this purpose I look'd into Mr.Cowley'sDavideis(for it would be of no use to quote such Authors asQuarlesandOgilby, who never had any Reputation for Poetry; but this Gentleman has been stil'd, and is at present recorded inWestminster-Abbey, asAnglorum Pindarus,Maro,Flaccus) and there I soon found the common Pause to be upon the last Syllable of the second Foot. For Example:

[page 40]

"I sing the Man | whoJudah's Sceptre bore

In that Right-hand, | which held the Crook before;

Who from best Poet, | best of Kingsdidgrow:

The two chief Gifts | Heav'n could on Man bestow.

Much Dangers first, | much Toil did he sustain,

WhilstSauland Hell | crost his strong Fate in vain.

Nor did his Crown | less painful Work afford—

Here we have seven Lines, and all of them, except the third, paus'd in the same place.

Thus I discovered fromCowleyinEnglishwhat I perceived fromOvidinLatin. I then turned to theParadise Lost, and there I foundMiltoneven surpassesVirgilin this particular.Virgiluses the common Pause at the fifth Line of theGeorgicks, butMiltondoes not use it till he comes to the sixth Line in hisParadise Lost.

"Of Man's first Disobedience | and the Fruit

Of that forbidden Tree | whose mortal Taste

Brought Death into the World | and all our Woe,

With Loss ofEden| 'till one greater Man

Restore us | and regain the blissful Seat,

Sing Heavenly Muse |—————————

It would be needless to produce more Examples to this purpose; and I believe I may venture to affirm that the Verse is varied at least with as much Skill in theParadise Lost, as even in theGeorgickitself: I am inclinable to think with more, because in this respect theEnglishLanguage surpasses theLatin, by reason of its Monosyllables, of which I have said enough for any body at all versed in these Matters, to be able to make out what is here advanc'd. But before I quit this Article, I will observe that it is to the artful and uncommon varying the Pause, that the Harmony is owing in those two[page 41]celebrated Lines of SirJohn Denham.

"Tho' deep | yet clear; | tho' gentle | yet not dull.

Strong | without Rage, | without o'erflowing | full.

This is one of those Mysteries in Versification which the late Duke ofBuckswould not suffer Mr.Drydento communicate to the Publick. To the same Art is owing the Delicacy of two of the finest Lines in all theLatinTongue.

"Te | dulcis conjux | te | solo in littore | secum,

Te | veniente die | te | decedente | canebat.

Of the same Nature are many Lines inMilton, of which this is one:

"Him first | Him last | Him midst | and without End.

II. I come now to the second Particular:The Inversion of the Phrase. Every Page affords Instances of this Nature.

"———————Him the Almighty Pow'rHurl'd headlong flaming from the ethereal Sky.

"———————Him the Almighty Pow'r

Hurl'd headlong flaming from the ethereal Sky.

Again,

"———Up stood the Corny ReedEmbattell'd in her Field.————

"———Up stood the Corny Reed

Embattell'd in her Field.————

Again,

"————————Him the most HighRapt in a balmy Cloud with winged SteedsDid, as thou saw'st, Receive.

"————————Him the most High

Rapt in a balmy Cloud with winged Steeds

Did, as thou saw'st, Receive.

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And in one ofMilton's juvenile Poems we have

"Trip the pert Fairies.———————

And,

"Revels the spruce jocund Spring.Comus.

"Revels the spruce jocund Spring.

Comus.

III. The third thing to be consider'd, is,The adapting the Sound to the Sense.

Who does not hear the Warbling of aBrook, the Rustling ofWings, the rough Sound ofTrumpetsandClarions, and the soft one ofFlutesandRecordersin the following Lines?

"Fountains, and ye that warble as ye flowMelodious Murmur warbling, tune his Praise.

"Fountains, and ye that warble as ye flow

Melodious Murmur warbling, tune his Praise.

Again,

"———————But Chief the spacious HallThick swarm'd, both on the Ground and in the Air,Brush'd with the Hiss of rustling Wings.

"———————But Chief the spacious Hall

Thick swarm'd, both on the Ground and in the Air,

Brush'd with the Hiss of rustling Wings.

Again,

"Then strait commands, that at the warlike SoundOfTrumpetsloud andClarions, be uprear'dHis mighty Standard.—————

"Then strait commands, that at the warlike Sound

OfTrumpetsloud andClarions, be uprear'd

His mighty Standard.—————

Again,

"———Nor with less Dread, the loudEthereal Trumpet from on High'gan blow.

"———Nor with less Dread, the loud

Ethereal Trumpet from on High'gan blow.

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Again,

"———————————Thus theyBreathing united Force with fixed ThoughtMov'd onin Silence to soft Pipes.

"———————————Thus they

Breathing united Force with fixed Thought

Mov'd onin Silence to soft Pipes.

Who does not see Porpoises and Dolphins tumbling about in the Ocean when he reads this Line?

"———————————On smooth the Seal,And bended Dolphins play: part huge of Bulk,Wallowing unwieldy, enormous in their Gate,Tempest the Ocean.———————

"———————————On smooth the Seal,

And bended Dolphins play: part huge of Bulk,

Wallowing unwieldy, enormous in their Gate,

Tempest the Ocean.———————

How variously the Rivers run in these Verses?

"——————————So the watry ThrongWave rowling after Wave, where way they found,If steep, with Torrent rapture, if through plainSoft Ebbing.——————————

"——————————So the watry Throng

Wave rowling after Wave, where way they found,

If steep, with Torrent rapture, if through plain

Soft Ebbing.——————————

How is the Verse extended where the Whale lies at length upon the Ocean!

"—————————There LeviathanHugest of living Creatures, on the DeepStretch'd like a Promontory sleeps.———

"—————————There Leviathan

Hugest of living Creatures, on the Deep

Stretch'd like a Promontory sleeps.———

How does the Line labour when the Elephant is working himself through the stiff Clay, whilst the lesser Animals sprout up as it were in an Instant!

"————————Scarce thro' his MouldBehemoth, biggest born of Earth, upheav'dHis Vastness.——————————

"————————Scarce thro' his Mould

Behemoth, biggest born of Earth, upheav'd

His Vastness.——————————

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And,

"———Fleec'd the Flocks and bleating, roseAs Plants.————

"———Fleec'd the Flocks and bleating, rose

As Plants.————

But I shall have occasion to take notice of this Subject hereafter.

IV. The fourth thing to be enquir'd into is,The mixing of singular and plural Numbers, in whichMiltonexcels.

"———————Flowers were the CouchPansies, and Violets, andAsphodel,AndHyacinth, Earth's freshest softest Lap.

"———————Flowers were the Couch

Pansies, and Violets, andAsphodel,

AndHyacinth, Earth's freshest softest Lap.

Again,

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