2. The style and manner of reading should be in correspondence to the style and manner of the writer. Poems are written in various styles; flowery, florid, simple, nervous, and concise; vehement, animated, majestic, and sublime; didactic, pathetic, plaintive, humourous, satiric, &c. As poems are written in styles thus different and diverse, the manner of reading should be thus varied.

3. Lyre is a property pertaining to verse, which should also be observed by the reader. The word lyre is metaphorically used: a lyre is a musical instrument: verses which are melodious and adapted to the music of the harp, or lyre, are called lyric. The tuneful flow of the numbers is called the lyre. Different poems are different in the flow of their numbers, being adapted to different tunes, and are hence said to be of different lyres. Different poets also are said to write in different lyres. Some poems also are called lyric in distinction from others; they being melodious in their numbers, and better adapted to music. Others may be called oratorical, in distinction from those, as being better adapted to reading or speaking. The latter, however, may be adapted to music, and the former class to reading; but each class in a different

manner.

Reading and singing are unlike; but they have this coincidence: in each, the notes or numbers of the verse should have their just sounds, which the poet intended. The lyre, or tune, being intrinsically contained in the verse itself, should be duly observed, in reading, as also in singing. The different lyres appertaining to the different kinds of verse, with their different strains and diversity of numbers, should be observed by the reader, as he follows the poet, and should be justly sounded by correspondent modulations of the

voice.

4. The last particular which remains to be defined is movement. Different kinds of movement pertain to verse: aside from those, above mentioned, which pertain to the different orders of verse, viz. iambic movement, anapæstic movement, &c. there is another kind of movement which is different from those, and which is regulated by time. It is very observable that different poems, in their different modes of composition, as they vary in

style, airs, and accidental circumstances, have different movements attached to them, which differ in point of time. In some poems, the numbers seem to flow with a common and regular pace; in some, more slowly; in others, more rapidly, &c. Also, it is sometimes seen that those several varieties of movement occur in the same poem. Some poems contain those several varieties of movement, and are seen to be changing, in this respect, from section to section, and sometimes from paragraph to paragraph. And this circumstance, instead of diminishing, adds to the beauties of our English verse. As those several kinds of movement are contained in the verse, they should hence be observed in reading, as it is requisite that the reader should personate the poet, following him in all changes and diversifications, in movement, as also in other things.

Conclusive Remarks.

We here pause and review the subject. These several articles, viz. tones, airs, manner, style, lyre, and movement, should be necessarily understood, and have their appropriate application in reading verse, in connection with each other, and in connection with all the preceding articles.

In the right application of the foregoing rules and precepts, the subject might be more plainly illustrated by the examples of a good reader, than can be done by didactic precepts, in the silent language of the pen: nevertheless, written rules and precepts are necessary.

This subject may seem obscure and complicated, to the pupil, in consideration of the number and variety of articles, above specified, to be attended to. These several articles, however, are necessary to be attended to by the learner, and to be known and understood, as they have been severally defined; and this done, nature will assist in the due application of each, as various circumstances occur in reading.

I proceed to remark, all poetry must be read by this general rule: to give the sense to the reader, and the numbers, as they flow, their proper sounds, by which they may be distinguished from prose. Also, each piece of poetry, in reading, should have its own peculiar sounds, and peculiar appendages, of tones, airs, style, movement, &c. by which one kind of verse may be distinguished from another. On reviewing our English poems, a difference, in these respects, is plainly seen.

1. There is a difference in the different orders of verse, in their order of movement.

2. There is a difference between a lyric poem, and one adapted to oratory or speaking. They differ in their lyres, their airs, manner and other incidental circumstances.

3. There is a difference between an elegy and a drama: they differ in their airs, style, lyre, &c.

4. There is a difference between Gray's Elegy, written in a country church-yard, and Parnell's Night-piece on death: they differ in style, lyre, and movement.

5. There is a difference in the dramatic writings of Shakespeare: they differ in their airs, manner, and other incidental circumstances, as different scenes are represented, tragic, comic, &c. and different characters personated.

6. There is a difference between Young's Night Thoughts, and a humourous poem, a comedy or burlesque: they differ in airs, manner, style, &c.

7. There is a difference between Denham and Prior, in their poetry they differ in style, lyre, airs, &c. The one being majestic, nervous and sentimental: the other florid, and melodious in his numbers.

8. There is a difference between our old English ballads and those of modern composition: they differ in style, airs, manner, &c. 9. There is a difference between the lyric songs of Watts, Mrs. Carter, and others, and a Pindaric ode: they differ in style, lyre, airs, &c.

10. There is a difference between our late female bards, Mrs. More, and Mrs. Hemans: they differ in style, lyre, and other things. The one, more masculine in her air and manner, walks with a steady pace, in smooth iambics: the other moves with female gracefulness, in a spontaneous flow of tuneful and diversified numbers.

Thus, on reviewing our different bards, and different poems, we may perceive the differences which exist between them, in those respects, and which should necessarily be observed in reading.

We may also observe that a difference exists between different poems, in their movements, in point of time. Some have a quicker movement, (as was remarked above) and some slower. On this point, we may refer to examples.

It is observable that many of our poems, written in couplets of four feet metre, have a quicker movement than most other kinds of verse. Among such are Gay's Fables, and some of the poems of Swift, Parnell, Green, and others in the same metre. Poems of this kind of verse and metre are known to have a quicker pace and quicker movement than others in longer metre; or those in alternate rhymes of the same metre. We may also observe, that a difference exists, in this respect, between different poems of the same order and metre; and also between different parts of the same poem, as was hinted above.

In many of our best poems, in blank verse and rhyme, in rhyme more especially, we may observe frequent changes, and variegations in numbers, in airs and movement.

For examples of this kind, we see many of the poems of Pope, Dryden, and others; among others, we may select Pope's Windsor's Forest, and Temple of Fame; Goldsmith's Traveller, and Deserted Village.

To take a single piece for an example, by which this subject may be illustrated, we may confine our observations to Goldsmith's Traveller. This poem begins with a pensive air, and movement slow; but is seen to rise with more animated airs, and quicker movements, as different and more animating scenes present to view. And throughout this poem, we may observe those variegations in numbers and movement, which those different objects, as they pass in review, may require. In his Deserted Village, and in several other of our English poems, we may observe a similar process of variegated numbers. Each different poem, however, being unlike all others, in some peculiar traits, as the genius of the poet, the theme or argument, or some other circumstance may dictate.

These several circumstances are to be attended to in reading, together with the several articles above specified, in this chapter.

I will now close with a few remarks. As this treatise is designed for common readers, I have been prolix in descanting on this subject; aiming to embrace the several items connected with the subject, and to make it plain and intelligible to those who need the aid of rules and precepts.

But this is a subject on which rules and precepts are insufficient. For reading verse, as well as for composing, a native genius is wanting. This being a branch of science diverse from the mathe. matical branches. These latter being established on certain theses, and principles invariable, didactic rules will here fitly apply, and apply in all cases. The rules of prosody are not so: prosody is the art of poetry: poetry is the language of nature: the theses on which it is founded are as numerous and various as nature's works: too numerous to be fully explored, and too various to be precisely defined. This is a science in which nature takes the lead, and artificial rules are seen to follow; being never able to supply all deficiencies, and to portray the original, in its lights and shades, and native hues.

Rules, however, are not unnecessary: rules and precepts are necessary to bring forward the young tyro; to assist common readers, and such as have not a knowledge of the elementary and component parts of verse; and such as have not a genius to guide them aright, in the art of poetry; for art, as well as genius, is necessary to those who would excel, in composition, or in reading.

But, if rules and precepts are found to be insufficient, in addition to these, other sources of information are necessary, and others are attainable. The young scholar may improve his talent, in reading and recitation, by the living example of a good reader. He may improve by practising under the inspection of a good instructor, and occasionally without an instructor. He may also improve by perusing one or another of our poets, as fancy, or inclination, or desire for information may prompt. Sometimes you may improve

your taste and talents, in conversation with literary characters, on the belles-lettres, and subjects relating thereto.

These and similar things, in addition to written rules, you may avail yourselves of, which may conduce to your improvement, in composition or reading. If you would still persevere, and wish to excel in the art of poetry, for further directions and further instructions, take nature for your guide.

Questions and Exercises on the foregoing.

Is verse composed for reading and oratory? Are prescribed rules necessary for reading verse?

On what general principles are rules for reading verse founded? Cite a few simple rules, which embrace the fundamental principles of reading.

What is rule 2? Is this rule ever to be varied? Cite a few examples.

What is rule 1?
In what cases?
Of what use are
when to be used?
What is rule 4?

the figures, cæsura and systole, and how, and Cite examples.

What are the syntax pauses? What are their relative lengths, in point of time?

Are those rules, respecting the relative lengths of those pauses, in any cases to be varied?

In what cases may the period pause be varied? In what, the comma pause?

What is rule 5? How many, and what are the poetic pauses? Why, and in what cases are they necessary?

What is the length of those pauses? In what situations, or parts of the line, may they be used?

Cite a few examples of the manner in which they may be used. What is rule 6? Have we verse of different orders, and different movements? What are those orders?

Cite an example of the iambic order and movement. trochaic. Of the anapæstic and others.

Of the

Cite a few examples of the movements of verse of the composite and irregular orders.

What is rule 7? Is this rule often violated by common readers? In what way? How may this be avoided?

Cite a few examples of iambic verse, with the numbers diversified by other kinds of feet.

Cite a few anapæstic lines, with diversified numbers. A few trochaic lines.

What is rule 8? What are the tones of voice to be observed in reading? And what their uses?

What may be a necessary prerequisite, in reading verse, for the right application of the tones?

What other properties, pertaining to verse, in addition to those above mentioned, or alluded to in the preceding rules, are necessary to be observed in reading?