• Choose a category
• All
• Classic-Fiction

By Root 15585 0

accentuation of the word in conversation. There is no hesitation, and should be none. We at once give up the sound for the sense, and the rhythm is imperfect. In this instance it is very slightly so, not one person in ten thousand could by ear detect the inaccuracy. But the perfection of verse as regards melody, consists in its never demanding any such sacrifice as is here demanded. The rhythmical must agree thoroughly with the reading flow. This perfection has in no instance been attained, but is unquestionably attainable. "Smile on such," a dactyl, is incorrect, because "such," from the character of the two consonants ch cannot easily be enunciated in the ordinary time of a short syllable, which its position declares that it is. Almost every reader will be able to appreciate the slight difficulty here, and yet the error is by no means so important as that of the "And" in the spondee. By dexterity we may pronounce "such" in the true time, but the attempt to remedy the rhythmical deficiency of the And by drawing it out, merely aggrevates the offence against natural enunciation by directing attention to the offence.

My main object, however, in quoting these lines is to show that in spite of the Prosodies, the length of a line is entirely an arbitrary matter. We might divide the commencement of Byron's poem thus:-

Know ye the / land where the /

or thus:

Know ye the / land where the / cypress and /

or thus:

Know ye the / land where the / cypress and / myrtle are /

or thus:

Know ye the / land where the / cypress and / myrtle are / emblems of

In short, we may give it any division we please, and the lines will be good, provided we have at least two feet in a line. As in mathematics two units are required to form number, so rhythm (from the Greek arithmos, number) demands for its formation at least two feet. Beyond doubt, we often see such lines as

Know ye the-

Land where the-

lines of one foot, and our Prosodies admit such, but with impropriety, for common sense would dictate that every so obvious division of a poem as is made by a line, should include within itself all that is necessary for its own comprehension, but in a line of one foot we can have no appreciation of rhythm, which depends upon the equality between two or more pulsations. The false lines, consisting sometimes of a single caesura, which are seen in mock Pindaric odes, are, of course, "rhythmical" only in connection with some other line, and it is this want of independent rhythm, which adapts them to the purposes of burlesque alone. Their effect is that of incongruity (the principle of mirth), for they include the blankness of prose amid the harmony of verse.

My second object in quoting Byron's lines was that of showing how absurd it often is to cite a single line from amid the body of a poem for the purpose of instancing the perfection or imperfection of the lines rhythm. Were we to see by itself

Know ye the land where the cypress and myrtle,

we might justly condemn it as defective in the final foot, which is equal to only three, instead of being equal to four short syllables. In the foot "flowers ever" we shall find a further exemplification of the principle of the bastard iambus, bastard trochee, and quick trochee, as I have been at some pains in describing these feet above. All the Prosodies on English verse would insist upon making elision in "flowers," thus (flow'rs), but this is nonsense. In the quick trochee (many Are the) occurring in Mr. Cranch's trochaic line, we had to equalize the time of the three syllables (ny, are, the) to that of the one short syllable whose position they usurp. Accordingly each of these syllables is equal to the third of a short syllable, that is to say, the sixth of a long. But in Byron's dactylic rhythm, we have to equalize the time of the three syllables (ers, ev, er) to that of the one long syllable whose position they usurp, or (which is the same thing) of the two short. Therefore the value of each of the syllables (ers, ev, and er) is the third of a long. We enunciate them with only half the rapidity we