OF THE AFFINITY

It may, perhaps, be otherwise with the sense of Smelling. The young of all suckling animals, (of the Mammalia of Linnæus,) whether they are born with sight or without it, yet as soon as they come into the world apply to the nipple of the mother in order to suck. In doing this they are evidently directed by the Smell. The Smell appears either to excite the appetite for the proper food, or at least to direct the new-born animal to the place where that food is to be found. It may perhaps do both the one and the other.

That when the stomach is empty, the Smell of agreeable food excites and irritates the appetite, is what we all must have frequently experienced. But the stomach of every new-born animal is necessarily empty. While in the womb it is nourished, not by the mouth, but by the navel-string. Children have been born apparently in the most perfect health and vigour, and have applied to suck in the usual manner; but immediately, or soon after, have thrown up the milk, and in the course of a few hours have died vomiting and in convulsions. Upon opening their bodies it has been found that the intestinal tube or canal had never been opened or pierced in the whole extent of its length; but, like a sack, admitted of no passage beyond a particular place. It could not have been in any respect by the mouth, therefore, but altogether by the navel-string, that such children had been nourished and fed up to the degree of health and vigour in which they were born. Every animal, while in the womb, seems to draw its nourishment, more like a vegetable, from the root, than like an animal465from the mouth; and that nourishment seems to be conveyed to all the different parts of the body by tubes and canals in many respects different from those which afterwards perform the same function. As soon as it comes into the world, this new set of tubes and canals which the providential care of Nature had for a long time before been gradually preparing, is all at once and instantaneously opened. They are all empty, and they require to be filled. An uneasy sensation accompanies the one situation, and an agreeable one the other. The smell of the substance which is fitted for filling them, increases and irritates that uneasy sensation, and produces in the infant hunger, or the appetite for food.

But all the appetites which take their origin from a certain state of the body, seem to suggest the means of their own gratification; and, even long before experience, some anticipation or preconception of the pleasure which attends that gratification. In the appetite for sex, which frequently, I am disposed to believe almost always, comes a long time before the age of puberty, this is perfectly and distinctly evident. The appetite for food suggests to the new-born infant the operation of sucking, the only means by which it can possibly gratifying that appetite. It is continually sucking. It sucks whatever is presented to its mouth. It sucks even when there is nothing presented to its mouth, and some anticipation or preconception of the pleasure which it is to enjoy in sucking, seems to make it delight in putting its mouth into the shape and configuration by which it alone can enjoy that pleasure. There are other appetites in which the most unexperienced imagination produces a similar effect upon the organs which Nature has provided for their gratification.

The smell not only excites the appetite, but directs to the object which can alone gratify that appetite. But by suggesting the direction towards that object, the Smell must necessarily suggest some notion of distance and externality, which are necessarily involved in the idea of direction; in the idea of the line of motion by which the distance can best be overcome, and the mouth brought into contact with the unknown substance which is the object of the appetite. That the Smell should alone suggest any preconception of the shape or magnitude of the external body to which it directs, seems not very probable. The sensation of Smell seems to have no sort of affinity or correspondence with shape or magnitude; and whatever preconception the infant may have of these, (and it may very probably have some such preconception,) is likely to be suggested, not so much directly by the Smell, and indirectly by the appetite excited by that Smell; as by the principle which teaches the child to mould its mouth into the conformation and action of sucking, even before it reaches the object to which alone that conformation and action can be usefully applied.

The Smell, however, as it suggests the direction by which the external466body must be approached, must suggest at least some vague idea or preconception of the existence of that body; of the thing to which it directs, though not perhaps of the precise shape and magnitude of that thing. The infant, too, feeling its mouth attracted and drawn as it were towards that external body, must conceive the Smell which thus draws and attracts it, as something belonging to or proceeding from that body, or what is afterwards denominated and obscurely understood to be as a sort of quality or attribute of that body.

The Smell, too, may very probably suggest some even tolerably distinct perception of the Taste of the food to which it directs. The respective objects of our different external senses seem, indeed, the greater part of them, to bear no sort of resemblance to one another. Colour bears no sort of resemblance to Solidity, nor to Heat, nor to Cold, nor to Sound, nor to Smell, nor to Taste. To this general rule, however, there seems to be one, and perhaps but one exception. The sensations of Smell and Taste seem evidently to bear some sort of resemblance to one another. Smell appears to have been given to us by Nature as the director of Taste. It announces, as it were, before trial, what is likely to be the Taste of the food which is set before us. Though perceived by a different organ, it seems in many cases to be but a weaker sensation nearly of the same kind with that of the Taste which that announces. It is very natural to suppose, therefore, that the Smell may suggest to the infant some tolerably distinct preconception of the Taste of the food which it announces, and may, even before experience, make its mouth, as we say, water for that food.

That numerous division of animals which Linnæus ranks under the class ofworms, have, scarcely any of them, any head. They neither see nor hear, have neither eyes nor ears; but many of them have the power of self-motion, and appear to move about in search of their food. They can be directed in this search by no other sense than that of Smelling. The most accurate microscopical observations, however, have never been able to discover in such animals any distinct organ of Smell. They have a mouth and a stomach, but no nostrils. The organ of Taste, it is probable, has in them a sensibility of the same kind with that which the olfactory nerves have in more perfect animals. They may, as it were, taste at a distance, and be attracted to their food by an affection of the same organ by which they afterwards enjoy it; and Smell and Taste may in them be no otherwise distinguished than as weaker or stronger sensations derived from the same organ.

The sensations of Heat and Cold, when excited by the pressure of some body either heated or cooled beyond the actual temperature of our own organs, cannot be said, antecedently to observation and experience, instinctively to suggest any conception of the solid and resisting substance which excites them. What was said of the sense of Taste may very properly be said here. Before we can feel those sensations,467the pressure of the external body which excites them must necessarily suggest, not only some conception, but the most distinct conviction of its own external and independent existence.

It may be otherwise, perhaps, when those sensations are either of them excited by the temperature of the external air. In a calm day when there is no wind, we scarcely perceive the external air as a solid body; and the sensations of Heat and Cold, it may be thought, are then felt merely as affections of our own body, without any reference to any thing external. Several cases, however, may be conceived, in which it must be allowed, I imagine, that those sensations, even when excited in this manner, must suggest some vague notion of some external thing or substance which excites them. A new-born animal, which had the power of self-motion, and which felt its body, either agreeably or disagreeably, more heated or more cooled on the one side than on the other, would, I imagine, instinctively and antecedently to all observation and experience, endeavour to move towards the side in which it felt the agreeable, and to withdraw from that in which it felt the disagreeable sensation. But the very desire of motion supposes some notion or preconception of externality; and the desire to move towards the side of the agreeable, or from that of the disagreeable sensation, supposes at least some vague notion of some external thing or place which is the cause of those respective sensations.

The degrees of Heat and Cold which are agreeable, it has been found from experience, are likewise healthful; and those which are disagreeable, unwholesome. The degree of their unwholesomeness, too, seems to be pretty much in proportion to that of their disagreeableness. If either of them is so disagreeable as to be painful, it is generally destructive; and, that, too, in a very short period of time. Those sensations appear to have been given us for the preservation of our own bodies. They necessarily excite the desire of changing our situation when it is unwholesome or destructive; and when it is healthy, they allow us, or rather they entice us, to remain in it. But the desire of changing our situation necessarily supposes some idea of externality; or of motion into a place different from that in which we actually are; and even the desire of remaining in the same place supposes some idea of at least the possibility of changing. Those sensations could not well have answered the intention of Nature, had they not thus instinctively suggested some vague notion of external existence.

That Sound, the object of the sense of Hearing, though perceived itself as in the ear, and nowhere but in the ear, may likewise, instinctively, and antecedently to all observation and experience, obscurely suggest some vague notion of some external substance or thing which excites it, I am much disposed to believe. I acknowledge, however, that I have not been able to recollect any one instance in which this sense seems so distinctly to produce this effect, as that of Seeing, that468of Smelling, and even that of Heat and Cold, appear to do in some particular cases. Unusual and unexpected Sound alarms always, and disposes us to look about for some external substance or thing as the cause which excites it, or from which it proceeds. Sound, however, considered merely as a sensation, or as an affection of the organ of Hearing, can in most cases neither benefit nor hurt us. It may be agreeable or disagreeable, but in its own nature it does not seem to announce any thing beyond the immediate feeling. It should not therefore excite any alarm. Alarm is always the fear of some uncertain evil beyond what is immediately felt, and from some unknown and external cause. But all animals, and men among the rest, feel some degree of this alarm, start, are roused and rendered circumspect and attentive by unusual and unexpected Sound. This effect, too, is produced so readily and so instantaneously that it bears every mark of an instinctive suggestion of an impression immediately struck by the hand of Nature, which does not wait for any recollection of past observation and experience. The hare, and all those other timid animals to whom flight is the only defence, are supposed to possess the sense of Hearing in the highest degree of activeness. It seems to be the sense in which cowards are very likely to excel.

The three senses of Seeing, Hearing, and Smelling, seem to be given to us by Nature, not so much in order to inform us concerning the actual situation of our bodies, as concerning that of those other external bodies, which, though at some distance from us, may sooner or later affect the actual situation, and eventually either benefit or hurt us.

THEmeasure of the verses, of which the octave of the Italians, their terzetti, and the greater part of their sonnets, are composed, seems to be as nearly the same with that of the English Heroic Rhyme, as the different genius and pronunciation of the two languages will permit.

The English Heroic Rhyme is supposed to consist sometimes of ten, and sometimes of eleven syllables: of ten, when the verse ends with a single, and of eleven, when it ends with a double rhyme.

The correspondent Italian verse is supposed to consist sometimes of469ten, sometimes of eleven, and sometimes of twelve syllables, according as it happens to end with a single, a double, or a triple rhyme.

The rhyme ought naturally to fall upon the last syllable of the verse; it is proper likewise that it should fall upon an accented syllable, in order to render it more sensible. When, therefore, the accent happens to fall, not upon the last syllable, but upon that immediately before it, the rhyme must fall both upon the accented syllable and upon that which is not accented. It must be a double rhyme.

In the Italian language, when the accent falls neither upon the last syllable, nor upon that immediately before it, but upon the third syllable from the end, the rhyme must fall upon all the three. It must be a triple rhyme, and the verse is supposed to consist of twelve syllables:

Forsè era ver, non però credìbile,&c.

Triple rhymes are not admitted into English Heroic Verse.

In the Italian language the accent falls much more rarely, either upon the third syllable from the end of a word, or upon the last syllable, than it does upon the one immediately before the last. In reality, this second syllable from the end seems, in that language, to be its most common and natural place. The Italian Heroic Poetry, therefore, is composed principally of double rhymes, or of verses supposed to consist of eleven syllables. Triple rhymes occur but seldom, and single rhymes still more seldom.

In the English language the accent falls frequently upon the last syllable of the word. Our language, besides, abounds in words of one syllable, the greater part of which do (for there are few which do not) admit of being accented. Words of one syllable are most frequently the concluding words of English rhymes. For both these reasons, English Heroic Rhyme is principally composed of single rhymes, or of verses supposed to consist of ten syllables. Double Rhymes occur almost as rarely in it, as either single or triple do in the Italian.

The rarity of double rhymes in English Heroic Verse makes them appear odd, and awkward, and even ludicrous, when they occur. By the best writers, therefore, they are reserved for light and ludicrous occasions; when, in order to humour their subject, they stoop to a more familiar style than usual. When Mr. Pope says;

Worth makes the man, and want of it the fellow;The rest is all but leather or prunello;

he means, in compliance with his subject, to condescend a good deal below the stateliness of his diction on the Essay on Man. Double rhymes abound more in Dryden than in Pope, and in Butler’s Hudibras more than in Dryden.

The rarity both of single and of triple rhyme in Italian Heroic Verse, gives them the same odd and ludicrous air which double rhymes have470in English Verse. In Italian, triple rhymes occur more frequently than single rhymes. The slippery, or if I may be allowed to use a very low, but a very expressive word, the glib pronunciation of the triple rhyme (verso sotrucciolo) seems to depart less from the ordinary movement of the double rhyme, than the abrupt ending of the single rhyme (verso tronco e cadente), of the verse that appears to be cut off and to fall short of the usual measure. Single rhymes accordingly appear in Italian verse much more burlesque than triple rhymes. Single rhymes occur very rarely in Ariosto; but frequently in the more burlesque poem of Ricciardetto. Triple rhymes occur much oftener in all the best writers. It is thus, that what in English appears to be the verse of the greatest gravity and dignity, appears in Italian to be the most burlesque and ludicrous; for no other reason, I apprehend, but because in the one language it is the ordinary verse, whereas in the other it departs most from the movements of ordinary verse.

The common Italian Heroic Poetry being composed of double rhymes, it can admit both of single and of triple rhymes; which seem to recede from the common movement on opposite sides to nearly equal distances. The common English Heroic Poetry, consisting of single rhymes, it can admit of double; but it cannot admit of triple rhymes, which would recede so far from the common movements as to appear perfectly burlesque and ridiculous. In English, when a word accented upon the third syllable from the end happens to make the last word of a verse, the rhyme falls upon the last syllable only. It is a single rhyme, and the verse consists of no more than ten syllables: but as the last syllable is not accented, it is an imperfect rhyme, which, however, when confined to the second verse of the couplet, and even there introduced but rarely, may have a very agreeable grace, and the line may even seem to run more easy and natural by means of it:

Bùt of this fràme, the beàrings, and the tìes.The strìct connèctions, nìce depèndencies, &c.

When by a well accented syllable in the end of the first line of a couplet, it has once been clearly ascertained what the rhyme is to be, a very slight allusion to it, such as can be made by a syllable of the same termination that is not accented, may often be sufficient to mark the coincidence in the second line; a word of this kind in the end of the first line seldom succeeds so well:

Th’ inhabitants of old JerusalemWere Jebusites; the town so called from them.

A couplet in which both verses were terminated in this manner, would be extremely disagreeable and offensive.

In counting the syllables, even of verses which to the ear appear sufficiently correct, a considerable indulgence must frequently be given,471before they can, in either language, be reduced to the precise number of ten, eleven, or twelve, according to the nature of the rhyme. In the following couplet, for example, there are, strictly speaking, fourteen syllables in the first line, and twelve in the second.

And many a hŭmoŭrous, many an amorous lay,Was sung by many a bard, on many a day.

By the rapidity, however, or, if I may use a very low word a second time, by the glibness of the pronunciation, those fourteen syllables in the first line, and those twelve in the second, appear to take up the time but of ten ordinary syllables. The wordsmany a, though they plainly consist of three distinct syllables, or sounds, which are all pronounced successively, or the one after the other, yet pass as but two syllables; as do likewise these words,hŭmoŭroŭs, andamorous. The wordsheavenandgiven, in the same manner, consist each of them of two syllables, which, how rapidly so ever they may be pronounced, cannot be pronounced but successively, or the one after the other. In verse, however, they are considered as consisting but of one syllable.

In counting the syllables of the Italian Heroic Verse, still greater indulgences must be allowed: three vowels must there frequently be counted as making but one syllable, though they are all pronounced, rapidly indeed, but in succession, or the one after the other, and though no two of them are supposed to make a diphthong. In these licenses too, the Italians seem not to be very regular, and the same concourse of vowels which in one place makes but one syllable, will in another sometimes make two. There are even some words which in the end of a verse are constantly counted for two syllables, but which in any other part of it are never counted for more than one; such as the wordssuo,tuo,suoi,tuoi.

Ruscelli observes, that in the Italian Heroic Verse the accent ought to fall upon the fourth, the sixth, the eighth, and the tenth syllables; and that if it falls upon the third, the fifth, the seventh, or the ninth syllables, it will spoil the verse.

In English, if the accent falls upon any of the above-mentioned odd syllables, it equally spoils the verse.

Bow’d their stiff necks, loaden with stormy blasts,

though a line of Milton, has not the ordinary movement of an English Heroic Verse, the accent falls upon the third and sixth syllables.

In Italian frequently, and in English sometimes, an accent is with great grace thrown upon the first syllable, in which case it seldom happens that any other syllable is accented before the fourth;

Cánto l’armé pietóse e’l capitáno.

Fírst in these fiélds I trý the sýlvan stráins.

Both in English and in Italian the second syllable may be accented472with great grace, and it generally is so when the first syllable is not accented:

E in van l’ inferno a’ lui s’ oppose; e in vanoS’ armó d’ Asia, e di Libia il popol misto,&c.

Let us, since life can little more supplyThan just to look about us, and to die, &c.

Both in English and in Italian Verse, an accent, though it must never be misplaced, may sometimes be omitted with great grace. In the last of the above-quoted English Verses there is no accent upon the eighth syllable; the conjunctionandnot admitting of any. In the following Italian Verse there is no accent upon the sixth syllable:

O Musa, tu, che di caduchi allori,&c.

The prepositiondiwill as little admit of an accent as the conjunctionand. In this case, however, when the even syllable is not accented, neither of the odd syllables immediately before or behind it must be accented.

Neither in English nor in Italian can two accents running be omitted.

It must be observed, that in Italian there are two accents, the grave and the acute: the grave accent is always marked by a slight stroke over the syllable to which it belongs; the acute accent has no mark.

The English language knows no distinction between the grave and the acute accents.

The same author observes, that in the Italian Verse the Pause, or what the grammarians call the Cesura, may with propriety be introduced after either the third, the fourth, the fifth, the sixth, or the seventh syllables. The like observations have been made by several different writers upon the English Heroic Verse. Dobie admires particularly the verse in which there are two pauses; one after the fifth, and another after the ninth syllable. The example he gives is from Petrarch:

Nel dolce tempo de la prima etade,&c.

In this verse, the second pause, which he says comes after the ninth syllable, in reality comes in between the two vowels, which, in the Italian way of counting syllables, compose the ninth syllable. It may be doubtful, therefore, whether this pause may not be considered as coming after the eighth syllable. I do not recollect any good English Verse in which the pause comes in after the ninth syllable. We have many in which it comes in after the eighth:

Yet oft, before his infant eyes, would run, &c.

In which verse there are two pauses; one after the second, and the other after the eighth syllable. I have observed many Italian Verses in which the pause comes after the second syllable.

Both the English and the Italian Heroic Verse, perhaps, are not so473properly composed of a certain number of syllables, which vary according to the nature of the rhyme; as of a certain number of intervals, (of five invariably,) each of which is equal in length, or time, to two ordinary distinct syllables, though it may sometimes contain more, of which the extraordinary shortness compensates the extraordinary number. The close frequently of each of those intervals, but always of every second interval, is marked by a distinct accent. This accent may frequently, with great grace, fall upon the beginning of the first interval; after which, it cannot, without spoiling the verse, fall any where but upon the close of an interval. The syllable or syllables which come after the accent that closes the fifth interval are never accented. They make no distinct interval, but are considered as a sort of excrescence of the verse, and are in a manner counted for nothing.

THE END.BRADBURY, EVANS, AND CO., PRINTERS, WHITEFRIARS.

THE END.

BRADBURY, EVANS, AND CO., PRINTERS, WHITEFRIARS.

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