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cide in the same passage, the concordance of sound and sense is delightful: the reader is conscious not only of pleasure from the two climaxes separately, but of an additional pleasure from their concordance, and from finding the sense so justly imitated by the sound. In this respect, no periods are more perfect than those borrowed from Cicero in the first section.

The concord between sense and sound is no less agreeable in what may be termed an anticlimax, where the progress is from great to little; for this has the effect to make diminutive objects appear still more diminutive. Horace affords a striking example :

Parturiunt montes, nascetur ridiculus mus.

The arrangement here is singularly artful: the first place is occupied by the verb, which is the capital word by its sense as well as sound: the close is reserved for the word that is the meanest in sense as well as in sound. And it must not be overlooked, that the resembling sounds of the two last syllables give a ludicrous air to the whole.

Reviewing the foregoing examples, it appears to me, contrary to expectation, that, in passing from the strongest resemblances to those that are fainter, every step affords additional pleasure. Renewing the experiment again and again, I feel no wavering, but the greatest pleasure constantly from the faintest resemblances. And yet how can this be? for if the pleasure lie in imitation, must not the strongest resemblance afford the greatest pleasure? From this vexing dilemma I am happily relieved, by reflecting on a doctrine established in the chapter of resemblance and contrast, that the pleasure of resemblance is the greatest, where it is least expected, and where the objects compared are in their capital circumstances widely different. Nor will VOL. II. K

this appear surprising, when we descend to familiar examples. It raiseth no degree of wonder to find the most perfect resemblance between two eggs of the same bird: it is more rare to find such resemblance between two human faces; and upon that account such an appearance raises some degree of wonder: but this emotion rises to a still greater height, when we find in a pebble, an agate, or other natural production, any resemblance to a tree or to any organised body. We cannot hesitate a moment, in applying these observations to the present subject: what occasion of wonder can it be to find one sound resembling another, where both are of the same kind? it is not so common to find a resemblance between an articulate sound and one not articulate; which accordingly affords some slight pleasure. But the pleasure swells greatly, when we employ sound to imitate things it resembles not otherwise than by the effects produced in the mind.

I have had occasion to observe, that to complete the resemblance between sound and sense, artful pronunciation contributes not a little. Pronunciation therefore may be considered as a branch of the present subject; and with some observations upon it the section shall be concluded.

In order to give a just idea of pronunciation, it must be distinguished from singing. The latter is carried on by notes, requiring each of them a different aperture of the windpipe: the notes properly belonging to the former, are expressed by different apertures of the mouth, without varying the aperture of the windpipe. This however doth not hinder pronunciation to borrow from singing, as one sometimes is naturally led to do, in expressing a vehement passion.

In reading, as in singing, there is a key-note: above this note the voice is frequently elevated, to

make the sound correspond to the elevation of the subject: but the mind in an elevated state, is disposed to action; therefore, in order to a rest, it must be brought down to the key-note. Hence the term cadence.

The only general rule that can be given for directing the pronunciation, is, To sound the words in such a manner as to imitate the things they signify. In pronouncing words signifying what is elevated, the voice ought to be raised above its ordinary tone; and words signifying dejection of mind, ought to be pronounced in a low note. To imitate a stern and impetuous passion, the words ought to be pronounced rough and loud; a sweetand kindly passion, on the contrary, ought to be imitated by a soft and melodions tone of voice: in Dryden's ode of Alexander's Feast, the line Faln, faln, faln, faln, represents a gradual sinking of the mind; and therefore is pronounced with a falling voice by every one of taste, without instruction. In general, words that make the greatest figure ought to be marked with a peculiar emphasis. Another circumstance contributes to the resemblance between sense and sound, which is slow or quick pronunciation for though the length or shortness of the syllables with relation to each other, be in prose ascertained in some measure, and in verse accurately; yet taking a whole line or period together, it may be pronounced slow or fast. A period accordingly ought to be pronounced slow, when it expresses what is solemn or deliberate; and ought to be pronounced quick, when it expresses what is brisk, lively, or impetuous.

The art of pronouncing with propriety and grace, being intended to make the sound an echo to the sense, scarce admits of any other general rule than that above mentioned. It may indeed be branched out into many particular rules and observations:

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but without much success; because no language furnisheth words to signify the different degrees of high and low, loud and soft, fast and slow. Before these differences can be made the subject of regular instruction, notes must be invented, resembling those employed in music. We have reason to believe, that in Greece every tragedy was accompanied with such notes, in order to ascertain the pronunciation; but the moderns hitherto have not thought of this refinement. Cicero, indeed,* without the help of notes, pretends to give rules for ascertaining the various tones of voice that are proper in expressing the different passions; and it must be acknowledged, that in this attempt he hath exhausted the whole power of language. At the same time, every person of discernment will perceive, that these rules avail little in point of instruction the very words he employs, are not intelligible, except to those who beforehand are acquainted with the subject.

To vary the scene a little. I propose to close with a slight comparison, between singing and pronouncing. In this comparison, the five following circumstances relative to articulate sound, must be kept in view. 1st, A sound or syllable is harsh or smooth. 2d, It is long or short. 3d, It is pronounced high or low. 4th, It is pronounced loud or soft. And, lastly, A number of words in succession, constituting a period or member of a period, are pronounced slow or quick. Of these five the first depending on the component letters, and the second being ascertained by custom, admit not any variety in pronouncing. The three last are arbitrary, depending on the will of the person who pronounces; and it is chiefly in the artful management of these that just pronunciation consists. With

* De Oratore, 1. iii. eap. 58.

respect to the first circumstance, music has evidently the advantage; for all its notes are agreeable to the ear; which is not always the case of articulate sounds. With respect to the second, long and short syllables variously combined, produce a great variety of feet; yet far inferior to the variety that is found in the multiplied combinations of musical notes. With respect to high and low notes, pronunciation is still more inferior to singing; for it is observed by Dionysius of Halicarnassus,* that in pronouncing, i. e. without altering the aperture of the windpipe, the voice is confined within three notes and a half: singing has a much greater compass. With respect to the two last circumstances, pronunciation equals singing.

In this chapter, I have mentioned none of the beauties of language but what arise from words taken in their proper sense. Beauties that depend on the metaphorical and figurative power of words, are reserved to be treated, Chapter XX.

SECTION IV.

Versification.

THE music of verse, though handled by every grammarian, merits more attention than it has been honoured with. It is a subject intimately connected with human nature; and to explain it thoroughly, several nice and delicate feelings must be employed. But before entering upon it, we must see what verse is, or, in other words, by what mark it is distinguished from prose; a point not so easy as may at first be apprehended. It is true, that the construction of verse is governed by precise rules;

* De Structura Orationis, sect, 2.

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