whoso- | ever | liveth, and be- | lieveth in | me, | ♬ shall | never die. 919 that my Re- | deemer | liveth, I know and that he shall stand | | at the | latter | day | upon the|earth, |99|9 and though worms de- | stroy this | body, || yet in my | flesh shall I | see | God." | 1991 3. — Sentiment, in Didactic Style. "Writers of | every | age | that | pleasure | is in | us, | [Goldsmith.] have en- | deavored to show and | not in the | objects |▼ If the soul be ▼ | offered for our amusement. happily dis- | posed, everything | be- | comes | capable | | | of af- fording | enter- tainment; and dis- | tress | will almost want a name. |99|99| Every oc- | currence | passes in re- | view like the | figures of a pro- | cession; || some may be | awkward, || others | ▼ill | dressed; but | none but a | fool | is for | this, | en | raged | with the master of the ceremonies. ||| 4.- Splendor and Pathos. [Burke's Description of Marie Antoinette.] "It is now, sixteen or | seventeen | years since I | saw the Queen of France, then the | Dauphiness, | Яat Ver-| saillesand | surely | never | lighted on this | orb, | which she | hardly | seemed to ❘ touch, a more de- | lightful vision. 999|1| saw her | just a- | bove the ho- | rizon, decorating and | cheering the | elevated | sphere | she just be- gan to ❘ move in : glittering, |▾like the| morning | star; || full of | life,|and | splendor, | and | joy.91 | Oh! | what a | revo- | lution! || and | what a | heart◄| must I have, to con- | template with- | out e- | motion, | that elevation and that | fall."9991991 5. Oratorical Declamation. "I cannot, │my | Lords, | gratulation on mis- | fortune This my lords, [Lord Chatham.] I will not, | join in con and dis- grace. is a perilous and tre-mendous play, ruin 66 darkness | in this | time for | adu- | lation: || in the language of truth. | if possible, dis- | pel the de- | lu which envelope it; | in its | full | danger | and | genuine | colors, which is | brought to our doors."|99| and dis-I 6. Sentiment, in Didactic Style. [Addison.] I know but | one | way of | forti- | fying my soul | gainst gloomy | presages and | terrors of | mind; that is, by se- | curing to my- | self and pro-tection of that | Being | vents and governs fu- | turity. who the | a- | and | the friendship | dis- | poses of eHe sees at | one view, the whole | thread of my ex- | istence, | not only that | part of it | which I have al- | ready | passed | through, | but that which runs | forward | into all the I | depths of e- | ternity. | When I lay me | down to | sleep, I recom- | mend myself to his | care; when I a- | wake, I give myself | up to his di- | rection. Amidst | all the | evils that | threaten me, I will look up to him for | help; | will either a- | vert them, tage. and question not but he or | turn them | to my ad- | van Though I know | neither the time nor the | | manner of the | death | I am to | die, I am not at all so- | licitous a- | bout it; | he knows them | both, | | comfort and sup- | port me | under them." | be- | cause I am sure that and that he will not | fail to "Kindness is pre- | served by a | constant | recipro- | cation of benefits or interchange of pleasures; but | such | benefits only | can be be- | stowed, as others are | capable of receiving, and | such pleasures im- parted, as | others are qualified to en- | joy. ||99| By this de- | scent from the pinnacles of | art |no| honor will be lost; for the conde- | scensions of | learning are always | over- | paid by | gratitude. | An | elevated | genius | em- | ployed in little | things,| to | use the | simile of Lon- | ginus, | 1 ap- | pears, like the and | sun in his | evening | decli- | nation : || he re- | mits his | splendor, but re- | tains his | magnitude; | ། pleases | more, though he | dazzles | less." | The difference of effect in "rhythmical accent," it will be perceived, on closely examining the style of the preceding passages, is greatly dependent on the number of syllables included within each "bar," and, not less, on the pauses, which are also included in the "rhythm," and therefore enclosed within the bars; since the "time" of the voice necessarily includes its rests and intermissions as well as its sounds. 66 Rhythm "depends farther on the position of the accented syllable which takes on the emphasis of a phrase, as well as on the different species of accent, as "radical," 66 concrete," or "temporal." Compare, particularly, the contents of the "bars" in the last few lines of the last two examples. They will be found to imbody the expressive genius of each author, and "clothe his thought in fitting sound." The meek and quiet spirit of Addison, breathes in the plain, conversational, and comparatively uniform style of "rhythm," in the close of the paragraph quoted from him; and the noble soul, but mechanical ear, of Johnson, are equally expressed in the sweeping "rhythm" of "quantity " and pause, and measured antiphony, in the cadence of the last sentence extracted from the Rambler. The limits of an elementary work like the present, will not admit the details of analysis by which the peculiar character of each of the authors quoted might be verified by his peculiar "rhythm." But in the statements already made on quantity," "movement, 66 accent," and "rhythm," the implements of analysis have been furnished; and the exercise of applying them may be left to the teacher and the student. 66 pause," · Prosodial Accent or Metre. 66 66 The term "metre," or measure," is applied, in prosody and in elocution, to that exact gauge of " rhythm," which is furnished in the process of prosodial analysis termed "scanning,' by which a verse, or line of poetry, is resolved into its constituent "quantities" and "accents." 66 66 Metre," as a branch of prosody, comprehends, in our language, both "quantity " and "accent." The ancient languages, and those of modern Europe, generally, are less favorable than ours, to this union. The Greek and the Latin seem to have leaned chiefly on quantity"; and we discern a similar tendency, though in an inferior degree, in the European continental languages, particularly those of the South. A language abounding in long "quantities" of various sound, needs less aid from 66 accent, "whether for distinctive enunciation or expression of feeling, than one redundant, like the English, in the number and force of its consonants. The racy energy of English enunciation is owing to the comparative force, spirit, and brilliancy of its accent, which strikes so instantaneously on the ear, with a bold "radical movement" and absorbing power, that compel the attention to the determining syllable of every word. It bespeaks at once the practical and energetic character of the people with whom it originated. Other modern languages seem to distribute the accent among all the syllables of a word, and to leave the ear doubtful to which it is meant to apply, unless in the case of long vowels, in which they greatly excel, as regards the uses of music and of 66 expressive speech, or impassioned modes of voice. In emphatic utterance, however, the firm grasp which our numerous hard consonants allow to the organs, in the act of articulation, gives a peculiar percussive force of explosion to the vowels that follow them in accented syllables; and the comparatively short duration of our unaccented sounds, causes those which are accented, when they possess long "quantity," to display it with powerful effect in the utterance of "expressive" emotion. Our poets sometimes, turn this capability of the language to great account; and none abounds more in examples than Milton, whose ear seems to have detected and explored every element of expressive effect which his native tongue could furnish. Syllables have been classed, in prosody, as long or short, accented or unaccented; and the prosodial characters, (long,) and (short,) have been used to designate them to the eye. The same marks have been arbitrarily used to denote accented and unaccented syllables The "rhythm" of verse, as measured by "long" and "short" or by "heavy," (accented,) and "light," (unaccented,) syllables, has the following metrical designations. This form of verse takes its name from the circumstance of its being constituted by the foot, or sequence of syllables, called an "iambus." The words "foot" and "feet" are arbitrarily used in prosody, to express a group of syllables constituting distinct and separable portion of verse. The "iambus" is a "" foot " consisting of two syllables: the first, short, or unaccented, or both; the second, long, or accented, or both; as in the word repeal. or "Iambic "metre is exemplified in " epic "heroic " poetry, whether in the form of "blank verse," so called from its not furnishing rhymes, and its consequent blank effect on the ear, as in Milton's Paradise Lost, or of rhyming "couplets,' SO called from the lines rhyming in couples, -as in Pope's transla tion of Homer. Each line, in "blank verse and the "heroic couplet," contains five "iambuses," or ten syllables, alternating from short to long, or from unaccented to accented; as in the following examples. "Blank" Verse. “ Advānced | în viēw, | they stānd, | ǎ hōr | rid frōnt | Ŏf dread | ful length, | ănd daz | zling arms, in guise Ŏf warriors ōld, | with ōr | děred spear | and shield. "Heroic Couplet.” "Like leaves on trees | the life | of man | is fōund; | (* 1.) Now green | in youth, | (* 2.) nōw with | (* 3.) ĕring on the ground; | Another race | the fōl | (* 4.) lowing spring | supplies: "Iambic " verse is exemplified, also, in octosyllabic lines, in rhyming 'couplets," and in quatrain, or four-line 66 The following are examples. Octosyllabic Couplet. "The way was lōng, | the wind | was cold; | The minstrel was | infirm | ănd ōld : " Quatrain Stanza: Octosyllabic Couplets. "The spacious fir | măment | on high | With all the blūe | ĕthē | real skỹ, | And spangled hēavens, | ǎ shin | ing fiame, | stanzas." Quatrain Stanza: Octosyllabic Lines, rhyming alternately. "The heavens | declare | thỹ glō | rỹ, Lōrd, | in ev | ěry stār | thỹ wīs | dom shīnes; | But when our eyes | běhōld | thy word, We read thy nă.ne | în fair | ĕr līnes." | *Irregular feet used as substitutes for the "iambus," according to the "license" of versification. These feet are called, (1. & 2.) the "spondee," -two long syllables; (3) the "tribrach," three short syllables; (4.) the "anapest," two short syllables, and one long; (5.) ̊ the "pyrrhic," two short syllables. |