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A line divided by a pause after the sixth syllable, makes an impression opposite to that first mentioned: being divided into two unequal portions, of which the shorter is last in order, it appears like a slow descending series; and the second portion being pronounced with less effort than the first, the diminished effort prepares the mind for rest. And this preparation for rest is still more sensibly felt where the pause is after the seventh syllable, as in lines of the fourth order.

To apply these observations is an easy task. A line of the first order is of all the most spirited and lively the accent, being followed instantly by a pause, makes an illustrious figure: the elevated tone of the accent elevates the mind: the mind is supported in its elevation by the sudden unprepared pause, which rouses and animates; and the line itself, representing by its unequal division an ascending series, carries the mind still higher, making an impression similar to that of going upward. The second order has a modulation sensibly sweet, soft, and flowing: the accent is not so sprightly as in the former, because a short syllable intervenes between it and the pause: its elevation, by the same means, vanisheth instantaneously; the mind, by a falling voice, is gently prepared for a stop: and the pleasure of uniformity from the division of the line into two equal parts, is calm and sweet. The third order has a modulation not so easily expressed in words: it in part resembles the first order, by the liveliness of an accent succeeded instantly by a full pause; but then the elevation

occasioned by this circumstance, is balanced in some degree by the remitted effort in pronouncing the second portion, which remitted effort has a tendency to rest. Another circumstance distinguisheth it remarkably its capital accent comes late, being placed on the sixth syllable; and this circumstance bestows on it an air of gravity and solemnity. The last order resembles the second in the mildness of its accent, and softness of its pause; it is still more solemn than the third, by the lateness of its capital accent: it also possesses in a higher degree than the third, the tendency to rest; and by that circumstance is of all the best qualified for closing a period in the completest

manner.

But these are not all the distinguishing characters of the different orders. Each order, also, is distinguished by its final accent and pause: the unequal division in the first order, makes an impression of ascending; and the mind at the close is in the highest elevation, which naturally prompts it to put a strong emphasis upon the concluding syllable, whether by raising the voice to a sharper tone, or by expressing the word in a fuller tone. This order accordingly is of all the least proper for concluding a period, where a cadence is proper and not an accent. The second order being destitute of the impression of ascent, cannot rival the first order in the elevation of its concluding accent, nor consequently in the dignity of its concluding pause; for these have a mutual influence. This order, however, with respect to its close, maintains

a superiority over the third and fourth orders: in these, the close is more humble, being brought down by the impression of descent, and by the remitted effort in pronouncing; considerably in the third order, and still more considerably in the last. According to this description, the concluding accents and pauses of the four orders being reduced to a scale, will form a descending series probably in an arithmetical progression.

After what is said, will it be thought refining too much to suggest, that the different orders are qualified for different purposes, and that a poet of genius will naturally be led to make a choice accordingly? I cannot think this altogether chimerical. As it appears to me, the first order is proper for a sentiment that is bold, lively, or impetuous; the third order is proper for what is grave, solemn, or lofty; the second for what is tender, delicate, or melancholy, and in general for all the sympathetic emotions; and the last for subjects of the same kind, when tempered with any degree of solemnity. I do not contend, that any one order is fitted for no other task than that assigned it; for at that rate, no sort of melody would be left for accompanying thoughts that have nothing peculiar in them. I only venture to suggest, and I do it with diffidence, that each of the orders is peculiarly adapted to certain subjects, and better quali fied than the others for expressing them. The best way to judge is by experiment; and to avoid the imputation of a partial search, I shall confine my instances to a single poem, beginning with the

First order.

On her white breast, a sparkling cross she wore,
Which Jews might kiss, and infidels adore.
Her lively looks a sprightly mind disclose,
Quick as her eyes, and as unfix'd as those:
Favours to none, to all she smiles extends;
Oft she rejects, but never once offends.
Bright as the sun, her eyes the gazers strike,
And, like the sun, they shine on all alike.
Yet graceful ease, and sweetness void of pride,
Might hide her faults, if belles had faults to hide;
If to her share some female errors fall,

Look on her face, and you'll forget 'em all.

Rape of the Lock.

In accounting for the remarkable liveliness of this passage, it will be acknowledged by every one who has an ear, that the melody must come in for a share. The lines, all of them, are of the first order; a very unusual circumstance in the author of this poem, so eminent for variety in his versification. Who can doubt, that he has been led by delicacy of taste to employ the first order preferably to the others?

Second order.

Our humble province is to tend the fair,
Not a less pleasing, though less glorious care;
To save the powder from too rude a gale,
Nor let th' imprison'd essences exhale;

To draw fresh colours from the vernal flow'rs;

To steal from rainbows, ere they drop, their show'rs, &c.

Again:

Oh, thoughtless mortals! ever blind to fate,
Too soon dejected, and too soon elate.
Sudden, these honours shall be snatch'd away,
And curs'd for ever this victorious day.

Third order.

To fifty chosen sylphs, of special note,
We trust th' important charge, the petticoat.

Again:

Oh say what stranger cause, yet unexplor'd,
Could make a gentle belle reject a lord?

A plurality of lines of the fourth order, would not have a good effect in succession; because, by a remarkable tendency to rest, their proper office is to close a period. The reader, therefore, must be satisfied with instances where this order is mixed with others.

Not louder shrieks to pitying Heaven are cast,

When husbands, or when lapdogs, breathe their last.

Again:

Steel could the works of mortal pride confound;
And hew triumphal arches to the ground.

Again:

She sees, and trembles at the approaching ill,
Just in the jaws of ruin, and codille.

Again:

With earnest eyes, and round unthinking face,
He first the snuff-box open'd, then the case.

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