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definition or description, any more than countenance is, but by observation-by attention to the conceptions, thoughts, sentiments, and language of the best poets. Hence, unless the thought is poetick, all the ornaments of poetick dress-the paraphernalia of numbers, arrangement, and rythm, cannot elevate it to the dignity of true poetry. We, therefore, much more frequently meet with verses than with poetry. At present, however, it is not the author's purpose to discuss the qualities and merits of poetry, but merely to make a few remarks on the

MANNER OF READING POETRY.

The foregoing directions for acquiring a just and a happy elocution, have been chiefly applied to the enunciation of prose: and, although most of them are equally applicable to the reading of poetry, yet, in the reading of verse, and particularly rhyming verse, some peculiarities arise out of the nature of the composition itself, which seem to require a brief notice.

OF POETICAL PAUSES.

There are three kinds of pauses brought into requisition in the elegant enunciation of poetry: first, Sentential or Grammatical Pauses, or those which merely mark the sense; secondly, Rhetorical Pauses, or those employed for the purpose of producing oratorical effect; and, thirdly, Harmonick Pauses, or such as are demanded by the melody and harmony of the numbers, and the peculiarity of the rythm.

Harmonick pauses are sometimes divided into the Final pause, and the Casural pause. These sometimes coincide with the sentential and the rhetorical pauses, and sometimes they are independent of them.

In rhyme, the FINAL PAUSE takes place at the end of the line, marks the measure, and shows the correspondence of sound between the rhyming syllables.

EXAMPLES.

But where to find the happiest spot below,
Who can direct, when all pretend to know?
Such is the patriot's boast, where'er we roam,
His first best country ever is at home.

Though patriots flatter, still shall wisdom find
An equal portion dealt to all mankind.

In reading these examples, it will be noticed, that the final pause, at "below" and "roam," coincides with the sentential, but that, at the word "find," it does not. The final pause is so important in rhyme, even when it does not coincide with the sentential, as to merit another example:

Save, that from yonder ivy-mantled tower,
The moping owl does to the moon complain
Of such as, wandering near her secret bower,
Molest her ancient, solitary reign.

Remark. The final pause at "complain," takes (as it always does when not in alliance with the sentential pause) the rising inflection, and, in order to produce its proper effect, must be very slight. This pause also occurs at the words "then," "bright," and "when," on page 135.

In regard to the application of the final pause in reading blank verse, nothing can betray a greater want of rhetorical taste and philosophical acumen, than the directions of Mr. Murray, and others, who recommend its adoption at the close of every line, whether it coincides with the sentential pause or not. The following is an example which they bring forward to illustrate their absurd notions on this point.

Of man's first disobedience, and the fruit

Of that forbidden tree whose mortal taste
Brought death into the world, and all our wo,
With loss of Eden, till one greater man

Restore us, and regain the blissful seat,

Sing, heavenly muse!

To say that the final pause applied to "fruit," "taste," and "man," in this example, would serve "to mark the difference be tween prose and verse," or to say that, unless we "make every line sensible to the ear," we mar the melody, and suppress the

numbers of the poet, is all nonsense. Although poetry has much to do with numbers, and feet, and melody, yet, what have these trappings of poetry, or poetry itself, to do with any particular number of lines or feet? May not four feet be just as poetick as five; or fifteen feet, as poetick as fifty? What has the ear to do, then, with any particular number of feet?

The truth is, the distinctive difference between the poetry of blank verse and prose, depends on no such slender principle as that here referred to; but it rests on a much stronger, and a far more elevated, basis. The poetry of blank verse, like that of rhyme, depends primarily on the majesty, and beauty, and poetick character of the thought; and secondarily on the imagery and the harmony of the numbers. The application of the final pause, then, at the end of a line in blank verse, (except when it coincides with the sentential pause,) is just as absurd as it would be at the end of a line in prose; but the application of this pause in rhyme, has its peculiar and happy effect, which has been already described. By turning to page 132, and by applying this pause at the words "skill" and "offence," and by omitting it in pronouncing the words "fight," "waves," "slope," "treasures," and "me," the propriety and force of these remarks will be sufficiently apparent.

CESURAL PAUSE.

The CESURAL PAUSE divides the line into equal or unequal parts.

In heroick verse, it commonly falls on the fourth, fifth, or sixth syllable.

EXAMPLES.

The bursting heart" may pour itself in prayer.
Round broken columns" clasping ivy twined.

I have been touched with joy" when on the sea.
Outstretched he lay" on the cold ground" and oft
Looked up to heaven.

In this last example, the line is divided into three portions by two cæsuras: in the following, it is divided into four portions, by the introduction of one cæsural, and two Demi-Cæsural, pauses, which are indicated by the single acute accent ('):

Warms' in the sun" refreshes' in the breeze;

Glows' in the stars" and blossoms' in the trees;

Lives' through all life" extends' through all extent;
Spreads' undivided" operates' unspent.

The regularity and harmony of numbers, and the sameness of sound in pronouncing rhymes, strongly solicit the voice to a sameness of tone; and tone, unless directed by a judicious ear, is apt to degenerate into a song; and a song in elocution, is, to one of refined taste, of all things the most disgusting. In order to avoid this unendurable sing-song or chant, in enunciating poetry, the best precaution that can be given, is, for the reader who is guilty of it, to forget, as it were, that he is pronouncing verses, and to adopt the easy and natural style which would be just in reading prose.

PROMISCUOUS EXERCISES.

In the following examples, those words in which the tonick and subtonick elements ought to be prolonged, are distinguished by accented vowels; thus, ā, ē, ī, ō, and so forth.

The christian'..does not pray to be delivered from' . . glōry', but', from'..VAIN-glōry'.

Men will wrangle for religion'; write for it'; fight for it'; die for it'; any thing but'... LIVE for it.

We often despise a thing', because we do not know it'; and we will not KNOW it', because' .. we despise it'.

A great man in the COUNTRY', is but a small man in the CITY'.

There is nothing so bāleful to a small man', as the shade of a great one', particularly the great man of a city'.

It is an honour to a man to cease from strife'; but every fōōl'.. will be intermeddling'.

Counsel in the heart', is like dēēp water'; but a man of understanding, will draw it ōūt'.

Contemporaries'. . appreciate the MAN', rather than the MERIT'; but posterity'.. will regard the MERIT', rather than the MAN'.

Most people are mōre anxious to'. . lengthen life', than to' . .

improve it. Hence', the diurnals'.. give us ten thousand recipes to live.. lông, for one.. to live!.. well; and hence', tōō', the use of the present', which we have', is thrown away in idle schemes for abusing the future', which we may not have'. Rejoice', O young man', in thy youth'; and let thy heart'.. cheer thee in the days of thy youth', and walk in the ways of thy heart', and in the sight of thine eyes': but know thōu', that for all these things'.. God will bring thee into judgment'. Therefōre', remove sōrrow'..from thy heart', and put away ēvil'..from thy flesh'; for childhood and youth' . . are vanity'. If hinderances obstruct thy way' Tby magnanimity display',

And let thy strength be seen';
But O! if fortune'. . fill thy sail'
With more than a propitious gāle',
Take half thy canvass in'.

Alas! alas! doth hope'.. deceive us??

Shall friendship', love'-shall all those ties'
That bind a moment', and then leave us',
Be found again where nothing dies'?

Oh'! if no other bōōn were given'

To keep our hearts from wrong and stain',
Who would not try to win a'.. HEAVEN",
Where all we love', shall live again'?

Oft when yon mōōn'.. has climbed the midnight sky',
And the lone seabird' . . wakes its wildest cry',
Piled on the steep', the maniack's faggots burn'
To hail the bark that never can return';

And still she waits', but scarce forbears to wēēp',
That constant love can linger on the deep'.

The tyrant'.. has fallen': he hath met his just dōōm':
Go förth to the mount': bring the olive-branch hōme',
And rejoice', for the day of our freedom'. . is come'.

Now is the winter of our discontent

Made glorious summer by this son of York';
And all the clouds that lowered upon ōur hōuse',

In the deep bosom of the ocean' .. buried'.

Now are our brows'.. bōund with victorious wreaths';
Our brui-sed arms' . . hung up for monuments';
Our stern alarums changed to merry meetings';

Our dreadful marches to delightful measures'. *

Grim-visaged war'.. hath smoothed his wrinkled front';
And now, instead of mounting bar-bedt steeds',
To fright the souls of fearful adversaries',

He capers nimbly in a lady's chamber
To the lascivious pleasing of a lūte'.

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