Chapter XLI: Part III (3)

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, that {468} of 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.

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OF THE AFFINITY

BETWEEN CERTAIN

ENGLISH AND ITALIAN VERSES.

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THE measure 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 of {469} ten, 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 have {470} in 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 Jerusalem
Were 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, {471} before 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 h[)u]mo[)u]rous, 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 words _many 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, _h[)u]mo[)u]ro[)u]s_, and _amorous_. The words _heaven_ and _given_, 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 words _suo_, _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 accented {472} with 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 vano
S' armó d' Asia, e di Libia il popol misto,_ &c.

Let us, since life can little more supply
Than 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 conjunction _and_ not 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 preposition _di_ will as little admit of an accent as the conjunction _and_. 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 so {473} properly 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.

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Transcriber's Note

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Most footnotes in the text are indicated by an asterisk. Here they are numbered within each work and placed at the end of paragraph in which they occur. One footnote in the first essay is numbered; it is here given as 1*.

Diacritics

The only sign needing special mention is the breve used in the last essay to indicate short syllables. On a "u", it is transcribed [)u].

Spelling Corrections

The following changes have been made to the printed text (usually with reference to earlier editions). Corrected words are marked with two asterisks preceding.

Page Printed text Correction

Biographical Notice 1757 1759 (by reference to Stewart's full note) 8 The page numbers for the first essay are out by two (so e.g. 327-328 325-326 [not marked in text] Of the Affinity etc. begins on 435, not 434 as in printed text 55 advantange advantage 88 acomplish accomplish 190 resposibility responsibility 224 the the the 243 acccording according 272 unpon upon 281 suppposed supposed 318 object objects 319 insteads instead 319 venisitis venistis 335 dis-disposed disposed 342 Democratus Democritus 343 such sphere such a sphere 353 same fame 356 perfector perfecter