ceived in a succession of fewer than three syllables, which will confine the English poet to only five pauses; it being supposed that, when he connects one line with another, he should never make a full pause at less distance than that of three syllables from the beginning or end of a verse. That this rule should be universally and indispensably established, perhaps cannot be granted; something may be allowed to variety, and something to the adaptation of the numbers to the subject; but it will be found generally necessary, and the ear will seldom fail to suffer by its neglect. Thus when a single syllable is cut off from the rest, it must either be united to the line with which the sense connects it, or be sounded alone. If it be united to the other line, it corrupts its harmony; if disjoined it must stand alone, and with regard to music be superfluous; for there is no harmony in a single sound, because it has no proportion to another. Hypocrites austerely talk, Defaming as impure what God declares Pure; and commands to some, leaves free to all. When two syllables likewise are abscinded from the rest, they evidently want some associate sounds to make them harmonious. -Eyes -more wakeful than to drouze, Charm'd with Arcadian pipe, the pastoral reed Of Hermes, or his opiate rod. Meanwhile To resalute the world with sacred light Leucothea wak'd. He ended, and the sun gave signal high First in the east his glorious lamp was seen, His longitude through heaven's high road; the gray Shedding sweet influence. The same defect is perceived in the following line, where the pause is at the second syllable from the beginning. The race Of that wild rout that tore the Thracian bard When the pause falls upon the third syllable or the seventh, the harmony is better preserved; but as the third and seventh are weak syllables, the period leaves the ear unsatisfied, and in expectation of the remaining part of the verse. He, with his horrid crew, Lay vanquish'd, rolling in the fiery gulf, Torments him. God,-with frequent intercourse, It may be, I think, established as a rule, that a pause which concludes a period should be made for the most part upon a strong syllable, as the fourth and sixth; but those pauses which only suspend the sense may be placed upon the weaker. Thus the rest in the third line of the first passage satisfies the ear better than in the fourth, and the close of the second quotation better than of the third. The evil soon Drawn back, redounded (as a flood) on those -What we by day Lop overgrown, or prune, or prop, or bind, The paths and bowers doubt not but our joint hands As we need walk, till younger hands ere long Assist us. The rest, in the fifth place, has the same inconve nience as in the seventh and third, that the syllable is weak. Beast now with beast 'gan war, and fowl with fowl, The noblest and most majestic pauses which our versification admits are upon the fourth and sixth syllables, which are both strongly sounded in a pure and regular verse, and at either of which the line is so divided that both members participate of harmony. But now at last the sacred influence Of light appears, and from the walls of heaven A glimmering dawn; here nature first begins But far above all others, if I can give any credit to my own ear, is the rest upon the sixth syllable, which taking in a complete compass of sound, such as is sufficient to constitute one of our lyric measures, makes a full and solemn close. Some passages which conclude at this stop I could never read without some strong emotions of delight or admiration. Before the hills appear'd, or fountains flow'd, Or other worlds they seem'd, or happy isles, He blew His trumpet, heard in Oreb since, perhaps If the poetry of Milton be examined, with regard to the pauses, and flow of his verses into each other, it will appear, that he has performed all that our language would admit; and the comparison of his numbers with those who have cultivated the same manner of writing will show that he excelled as much in the lower as the higher parts of his art, and that his skill in harmony was not less than his invention or his learning. No. 91. TUESDAY, JAN. 29, 1751. Dulcis inexpertis cultura potentis amíci, HOR. To court the great ones and to sooth their pride, CREECH. THE Sciences having long seen their votaries labouring for the benefit of mankind, without reward, put up their petition to Jupiter for a more equitable distribution of riches and honours. Jupiter was moved at their complaints, and touched with the approaching miseries of men, whom the Sciences, wearied with perpetual ingratitude, were now threatening to forsake, and who would have been reduced by their departure to feed in dens upon the mast of trees, to hunt their prey in deserts, and to perish under the paws of animals stronger and fiercer than themselves. A synod of the celestials was therefore convened, in which it was resolved, that Patronage should descend to the assistance of the Sciences. Patronage was the daughter of Astrea, by a mortal father, and had been educated in the school of Truth, by the Goddesses whom she was now appointed to protect. She had from her mother that dignity of aspect, which struck terror into false merit, and from her mistress that reserve, which made her only accessible to those whom the Sciences brought into her presence. She came down, with the general acclamation of all the powers that favour learning. Hope danced before her, and Liberality stood at her side, ready |