îsdem_; _eisdem_, indeed, would have been more grammatical, but not sufficiently harmonious; and _iisdem_ would have sounded still worse.
But we are allowed by custom even to dispense with the rules of etymology to improve the sweetness of our language; and I would therefore rather than _mehercules_. For the same reason _non scire_ would now be deemed a barbarism, becaule _nescire_ has a smoother sound; and we have likewise substituted _meridiem_ for _medidiem_, because the latter was offensive to the ear. Even the preposition _ab_, which so frequently occurs in our compound verbs is preserved entire only in the formality of a Journal, and, indeed, not always there: in every other sort of language it is frequently altered. Thus we say _amovit_, _abegit_, and _abstulit_; so that you can scarcely determine whether the primitive preposition should be _ab_ or _abs_. We have likewise rejected even _abfugit_, and _abfer_, and introduced _aufugit_ and _aufer_ in their stead;--thus forming a new preposition, which is to be found in no other verb but these. _Noti_, _navi_, and _nari_, have all been words in common use: but when they were afterwards to be compounded with the preposition _in_, it was thought more harmonious to say _ignoti_, _ignavi_, and _ignari_, than to adhere strictly to the rules of etymology. We likewise say _ex usu_, and _e Republicâ_; because, in the former case, the preposition is followed by a vowel, and, in the latter, it would have sounded harshly without omitting the consonant; as may also be observed in _exegit, edixit, refecit, Sometimes the preposition alters or otherwise affects the first letter of the verb with which it happens to be compounded; as in _subegit, summutavit_, and _sustutit_. At other times it changes one of the subsequent letters; as when we say _insipientem_ for _insapientem_, _concaesum_: and from hence some have ventured to say _pertisum_ for _pertaesum_, which custom has never warranted.
But what can be more delicate than our changing even the natural quantity of our syllables to humour the ear? Thus in the adjectives _inclytus_, and _inhumanus_, the first syllable after the preposition is short, whereas _insanus_ and _infelix_ have it long; and, in general, those words whose first letters are the same as in _sapiens_ and _felix_, have their first syllable long in composition, but all others have the same syllable short, as _composuit, consuevit, concrepuit, confecit_. Examine these liberties by the strict rules of etymology, and they must certainly be condemned; but refer them to the decision of the ear, and they will be instantly approved.--What is the reason? Your ear will inform you they have an easier sound; and every language must submit to gratify the ear. I myself, because our ancestors never admitted the aspirate, unless where a syllable began with a vowel, used to say _pulcros, Cetegos, triumpos_, and _Cartaginem_: but some time afterwards, though not very soon, when this grammatical accuracy was wrested from me by the censure of the ear, I resigned the mode of language to the vulgar, and reserved the theory to myself. But we still say, without any hesitation, _Orcivios, Matones, Otones, coepiones, sepulcra, coronas_, and _lacrymas_, because the ear allows it. _Ennius_ always uses _Burrum_, and never _Pyrrhum_; and the ancient copies of the same author have not _Phryges_; because the Greek vowel had not then been adopted, though we now admit both that and the aspirate:--and, in fact, when we had afterwards occasion to say _Phrygum_ and _Phrygibus_, it was rather absurd to adopt the Greek letter without adopting their cases, [Footnote: This passage, as it stands in the original, appears to me unintelligible: I have therefore taken the liberty to give it a slight alteration.] or at least not to confine it to the nominative; and yet (in the accusative) we say _Phryges_, and _Pyrrhum_, to please the ear. Formerly it was esteemed an elegancy, though it would now be considered as a rusticism, to omit the _s_ in all words which terminate in _us_, except when they were followed by a vowel; and the same elision which is so carefully avoided by the modern Poets, was very far from being reckoned a fault among the ancient: for they made no scruple to say, _Qui est OMNIBU' princeps_, not, as we do, OMNIBUS princeps; and, _Vitâ illâ DIGNU' locoque_, not _dignus_.
But if untaught custom has been so ingenious in the formation of agreeable sounds, what may we not expect from the improvements of art and erudition?
I have, however, been much shorter upon this subject, than I should have been if I had written upon it professedly: for a comparison of the natural and customary laws of language would have opened a wide field for speculation: but I have already enlarged upon it sufficiently, and more, perhaps, than the nature of my design required.
To proceed then;--as the choice of proper matter, and of suitable words to express it, depends upon the judgment of the Speaker, but that of agreeable sounds, and harmonious numbers, upon the decision of the ear; and because the former is intended for information, and the latter for pleasure; it is evident that reason must determine the rules of art in one case, and mere sensation in the other. For we must either neglect the gratification of those by whom we wish to be approved, or apply ourselves to invent the most likely methods to promote it.
There are two things which contribute to gratify the ear,--agreeable _sounds_, and harmonious _numbers_. We shall treat of numbers in the sequel, and at present confine ourselves to _sound_.--Those words, then, as we have already observed, are to have the preference which sound agreeably;--not such as are exquisitely melodious, like those of the Poets, but such as can be found to our purpose in common language.--_Quà Pontus Helles_ is rather beyond the mark:--but in the verse glitters with a moderate harmony of expression; whereas the next, as ending with a letter which is remarkably flat, is unmusical, _Frugifera et ferta arva Alfiae tenet_, Let us, therefore, rather content ourselves with the agreeable mediocrity of our own language, than emulate the splendor of the Greeks; unless we are so bigotted to the latter as to hesitate to say with the poet, _Quà tempestate Paris Helenam, &c_.
we might even imitate what follows, and avoid, as far as possible, the smallest asperity of sound, _habeo istam ego PERTERRICREPAM_; or say, with the same author, in another passage, But our words must have a proper _compass_, as well as be connected together in an agreeable manner; for this, we have observed, is another circumstance which falls under the notice of the ear. They are confined to a proper compass, either by certain rules of composition, as by a kind of natural pause, or by the use of particular forms of expression, which have a peculiar _concinnity_ in their very texture; such as a succession of several words which have the same termination, or the comparing similar, and contrasting opposite circumstances, which will always terminate in a measured cadence, though no immediate pains should be taken for that purpose. Gorgias, it is said, was the first Orator who practised this species of _concinnity_. The following passage in my Defence of _Milo_ is an example.
"Est enim, Judices, haec non _scripta_, fed _nata_ Lex; quam non _didicimus, accepimus, legimus_, verum ex Naturâ ipsâ _arripuimus, hausimus, expressimus_; ad quam non _docti_, sed _facti_; non _instituti_, sed _imbuti_ simus."
"For this, my Lords, is a law not written upon tables, but impressed upon our hearts;--a law which we have not learned, or heard, or read, but eagerly caught and imbibed from the hand of Nature;--a law to which we have not been train'd, but originally form'd; and with the principles of which we have not been furnished by education, but tinctured and impregnated from the moment of our birth."
In these forms of expression every circumstance is so aptly referred to some other circumstance, that the regular turn of them does not appear to have been studied, but to result entirely from the sense. The same effect is produced by contrasting opposite circumstances; as in the following lines, where it not only forms a measured sentence, but a verse: _Eam, quam nihil accusas, damnas,_ Her, whom you ne'er accus'd, you now condemn; (in prose we should say _condemnas_) and again, _Bene quam meritam esse autumas, dicis male mereri_, Her merit, once confess'd, you now deny; and, _Id quod scis, prodest nihil; id quod nescis, obest_, From what you've learnt no real good accrues, But ev'ry ill your ignorance pursues.
Here you see the mere opposition of the terms produces a verse; but in prosaic composition, the proper form of the last line would be, _quod scis nihil prodest; quod nescis multum obest_. This contrasting of opposite circumstances, which the Greeks call an Antithesis, will necessarily produce what is styled _rhetorical metre_, even without our intending it.
The ancient Orators, a considerable time before it was practised and recommended by _Isocrates_, were fond of using it; and particularly _Gorgias_, whose measured cadences are generally owing to the mere _concinnity_ of his language. I have frequently practised it myself; as, for instance, in the following passage of my fourth Invective against _Verres_: cum _illius_ Imperatoris _Victoriâ_;--hujas _Cohortem impuram_, cum illius qui cepit _conditas_; ab hoc, qui constitutas accepit, _captas_ dicetis Syracusas."
"Compare this detestable _peace_ with that glorious _war_,--the _arrival_ of this governor with the _victory_ of that commander,--his _ruffian guards_, with the _invincible forces_ of the other;--the brutal luxury of the former, with the modest temperance of the latter;--and you will say, that Syracuse was really _founded_ by him who _stormed_ it, and _stormed_ by him who received it already _founded_ to his hands."--So much, then, for that kind of measure which results from particular forms of expression, and which ought to be known by every Orator.
We must now proceed to the third thing proposed,--that _numerous_ and well-adjusted style; of the beauty of which, if any are so insensible as not to feel it, I cannot imagine what kind of ears they have, or what resemblance of a human Being! For my part, my ears are always fond of a complete and full-measured flow of words, and perceive in an instant what is either defective or redundant. But wherefore do I say _mine_? I have frequently seen a whole assembly burst into raptures of applause at a happy period: for the ear naturally expects that our sentences should be properly tuned and measured. This, however, is an accomplishment which is not to be met with among the ancients. But to compensate the want of it, they had almost every other perfection: for they had a happy choice of words, and abounded in pithy and agreeable sentiments, though they had not the art of harmonizing and completing their periods. This, say some, is the very thing we admire. But what if they should take it into their heads to prefer the ancient _peinture_, with all its poverty of colouring, to the rich and finished style of the moderns? The former, I suppose, must be again adopted, to compliment their delicacy, and the latter rejected. But these pretended connoisseurs regard nothing but the mere _name_ of antiquity. It must, indeed, be owned that antiquity has an equal claim to authority in matters of imitation, as grey hairs in the precedence of age.
I myself have as great a veneration for it as any man: nor do I so much upbraid antiquity with her defects, as admire the beauties she was mistress of:--especially as I judge the latter to be of far greater consequence than the former. For there is certainly more real merit in a masterly choice of words and sentiments, in which the ancients are allowed to excell, than in those measured periods with which they were totally unacquainted. This species of composition was not known among the Romans till lately: but the ancients, I believe, would readily have adopted it, if it had then been discovered: and we accordingly find, that it is now made use of by all Orators of reputation. "But when _number_, or (as the Greeks call it) prosaic _metre_, is professedly introduced into judicial and forensic discourses, the very name, say they, has a suspicious sound: for people will conclude that there is too much artifice employed to sooth and captivate their ears, when the Speaker is so over-exact as to attend to the harmony of his periods." Relying upon the force of this objection, these pretenders are perpetually grating our ears with their broken and mutilated sentences; and censure those, without mercy, who have the presumption to utter an agreeable and a well-turned period. If, indeed, it was our design to spread a varnish over empty words and trifling sentiments, the censure would be just: but when the matter is good, and the words are proper and expressive, what reason can be assigned why we should prefer a limping and imperfect period to one which terminates and keeps pace with the sense? For this invidious and persecuted _metre_ aims at nothing more than to adapt the compass of our words to that of our thoughts; which is sometimes done even by the ancients,--though generally, I believe, by mere accident, and often by the natural delicacy of the ear; and the very passages which are now most admired in them, commonly derive their merit from the agreeable and measured flow of the language.
This is an art which was in common use among the Greek Orators, about four hundred years ago, though it has been but lately introduced among the Romans. Ennius, therefore, when he ridicules the inharmonious numbers of his predecessors, might be allowed to say, "_Such verses as the rustic Bards and Satyrs sung_:" But I must not take the same liberty; especially as I cannot say with him, (meaning himself:) nor, as he afterwards exults to the same purpose, for I have both read and heard several who were almost complete masters of the numerous and measured style I am speaking of: But many, who are still absolute strangers to it, are not content to be exempted from the ridicule they deserve, but claim a right to our warmest applause. I must own, indeed, that I admire the venerable patterns, of which those persons pretend to be the faithful imitators, notwithstanding the defects I observe in them: but I can by no means commend the folly of those who copy nothing but their blemishes, and have no pretensions even to the most distant resemblance in what is truly excellent.
But if their own ears are so indelicate and devoid of taste, will they pay no deference to the judgment of others, who are universally celebrated for their learning? I will not mention _Isocrates_, and his two scholars, _Ephorus_ and _Naucrates_; though they may claim the honour of giving the richest precepts of composition, and were themselves very eminent Orators.
But who was possessed of a more ample fund of erudition?--who more subtle and acute?--or who furnished with quicker powers of invention, and a greater strength of understanding, than _Aristotle_? I may add, who made a warmer opposition to the rising fame of _Isocrates_? And yet _he_, though he forbids us to versify in prose, recommends the use of _numbers_. His hearer _Theodectes_ (whom he often mentions as a polished writer, and an excellent artist) both approves and advises the same thing: and _Theophrastus_ is still more copious and explicit. Who, then, can have patience with those dull and conceited humourists, who dare to oppose themselves to such venerable names as these? The only excuse that can be made for them is, that they have never perused their writings, and are therefore ignorant that they actually recommend the prosaic _metre_ we are speaking of. If this is the case with them (and I cannot think otherwise) will they reject the evidence of their own sensations? Is there nothing which their ears will inform them is defective?--nothing which is harsh and unpolished?--nothing imperfect?--nothing lame and mutilated?--nothing redundant? In dramatic performances, a whole theatre will exclaim against a verse which has only a syllable either too short or too long: and yet the bulk of an audience are unacquainted with _feet_ and _numbers_, and are totally ignorant what the fault is, and where it lies: but Nature herself has taught the ear to measure the quantity of sound, and determine the propriety of its various accents, whether grave, or acute.
Do you desire, then, my Brutus, that we should discuss the subject more fully than those writers who have already elucidated this, and the other parts of rhetoric? Or shall we content ourselves with the instructions which _they_ have provided for us? But wherefore do I offer such a question, when your elegant letters have informed me, that this is the chief object of your request? We shall proceed, therefore, to give an account of the commencement, the origin, and the nature and use of _prosaic numbers_.
The admirers of Isocrates place the first invention of numbers among those other improvements which do honour to his memory. For observing, say they, that the Orators were heard with a kind of sullen attention, while the Poets were listened to with pleasure, he applied himself to introduce a species of metre into prose, which might have a pleasing effect upon the ear, and prevent that satiety which will always arise from a continued uniformity of sound. This, however, is partly true, and partly otherwise; for though it must be owned that no person was better skilled in the subject than _Isocrates_; yet the first honour of the invention belongs to _Thrasymachus_, whose style (in all his writings which are extant) is _numerous_ even to a fault. But _Gorgias_, as I have already remarked, was the original inventor of those measured forms of expression which have a kind of spontaneous harmony,--such as a regular succession of words with the same termination, and the comparing similar, or contracting opposite circumstances: though it is also notoriously true that he used them to excess. This, however, is one of the three branches of composition abovementioned. But each of these authors was prior to _Isocrates_: so that the preference can be due to _him_ only for his _moderate use_, and not for the _invention_ of the art: for as he is certainly much easier in the turn of his metaphors, and the choice of his words, so his numbers are more composed and sedate. But _Gorgias_, he observed, was too eager, and indulged himself in this measured play of words to a ridiculous excess.
He, therefore, endeavoured to moderate and correct it; but not till he had first studied in his youth under the same _Gorgias_, who was then in Thessaly, and in the last decline of life. Nay, as he advanced in years (for he lived almost a hundred) he corrected _himself_, and gradually relaxed the over-strict regularity of his numbers; as he particularly informs us in the treatise which he dedicated to Philip of Macedon, in the latter part of his life; for he there says, that he had thrown off that servile attention to his numbers, to which he was before accustomed:--so that he discovered and corrected his _own_ faults, as well as those of his predecessors.
Having thus specified the several authors and inventors, and the first commencement of prosaic harmony, we must next enquire what was the natural source and origin of it. But this lies so open to observation, that I am astonished the ancients did not notice it: especially as they often, by mere accident, threw out harmonious and measured sentences, which, when they had struck the ears and the passions with so much force, as to make it obvious that there was something particularly agreeable in what chance alone had uttered, one would imagine that such a singular species of ornament would have been immediately attended to, and that they would have taken the pains to imitate what they found so pleasing in themselves. For the ear, or at least the mind by the intervention of the ear, has a natural capacity to measure the harmony of language: and we accordingly feel that it instantly determines what is either too short or too long, and always expects to be gratified with that which is complete and wellproportioned. Some expressions it perceives to be imperfect, and mutilated; and at these it is immediately offended, as if it was defrauded of it's natural due. In others it discovers an immoderate length, and a tedious superfluity of words; and with these it is still more disgusted than with the former; for in this, as in most other cases, an excess is always more offensive than a proportional defect. As versification, therefore, and poetic competition was invented by the regulation of the ear, and the successive observations of men of taste and judgment; so in prose (though indeed long afterwards, but still, however, by the guidance of nature) it was discovered that the career and compass of our language should be adjusted and circumscribed within proper limits.
So much for the source, or natural origin of prosaic harmony. We must next proceed (for that was the third thing proposed) to enquire into the nature of it, and determine it's essential principles;--a subject which exceeds the limits of the present essay, and would be more properly discussed in a professed and accurate system of the art. For we might here inquire what is meant by prosaic _number_, wherein it consists, and from whence it arises; as likewise whether it is simple and uniform, or admits of any variety, and in what manner it is formed, for what purpose, and when and where it should be employed, and how it contributes to gratify the ear.
But as in other subjects, so in this, there are two methods of disquisition;--the one more copious and diffusive, and the other more concise, and, I might also add, more easy and comprehensible. In the former, the first question which would occur is, whether there is any such thing as _prosaic number_: some are of opinion there is not; because no fixed and certain rules have been yet assigned for it, as there long have been for poetic numbers; and because the very persons, who contend for it's existence, have hitherto been unable to determine it. Granting, however, that prose is susceptible of numbers, it will next be enquired of what kind they are;--whether they are to be selected from those of the poets, or from a different species;--and, if from the former, which of them may claim the preference; for some authors admit only one or two, and some more, while others object to none. We might then proceed to enquire (be the number of them to be admitted, more or less) whether they are equally common to every kind of style; for the narrative, the persuasive, and the didactic have each a manner peculiar to itself; or whether the different species of Oratory should be accommodated with their different numbers. If the same numbers are equally common to all subjects, we must next enquire what those numbers are; and if they are to be differently applied, we must examine wherein they differ, and for what reason they are not to be used so openly in prose as in verse. It might likewise be a matter of enquiry, whether a _numerous_ style is formed entirely by the use of numbers, or not also in some measure by the harmonious juncture of our words, and the application of certain figurative forms of expression; --and, in the next place, whether each of these has not its peculiar province, so that number may regard the time or _quantity_, composition the _sound_, and figurative expression the _form_ and _polish_ of our language,--and yet, in fact, composition be the source and fountain of all the rest, and give rise both to the varieties of _number_, and to those figurative and luminous dashes of expression, which by the Greeks, as I have before observed, are called ([Greek: _schaemaia_],) _attitudes_ or _figures_. But to me there appears to be a real distinction between what is agreeable in _sound_, exact in _measure_, and ornamental in the mode of _expression_; though the latter, it must be owned, is very closely connected with _number_, as being for the most part sufficiently numerous without any labour to make it so: but composition is apparently different from both, as attending entirely either to the _majestic_ or _agreeable_ sound of our words. Such then are the enquiries which relate to the _nature_ of prosaic harmony.
From what has been said it is easy to infer that prose is susceptible of _number_. Our sensations tell us so: and it would be excessively unfair to reject their evidence, because we cannot account for the fact. Even poetic metre was not discovered by any effort of reason, but by mere natural taste and sensation, which reason afterwards correcting, improved and methodized what had been noticed by accident; and thus an attention to nature, and an accurate observation of her various feelings and sensations gave birth to art. But in verse the use of _number_ is more obvious; though some particular species of it, without the assistance of music, have the air of harmonious prose, and especially the lyric poetry, and that even the best of the kind, which, if divested of the aid of music, would be almost as plain and naked as common language. We have several specimens of this nature in our own poets [Footnote: It must here be remarked, that the Romans had no lyric poet before _Horace_, who did not flourish till after the times of _Cicero_.]; such as the following line in the tragedy of _Thyestes_, "_Quemnam te esse dicam? qui in tardâ senectute_; "Whom shall I call thee? who in tardy age," &c.; which, unless when accompanied by the lyre, might easily be mistaken for prose. But the iambic verses of the comic poets, to maintain a resemblance to the style of conversation, are often so low and simple that you can scarcely discover in them either number or metre; from whence it is evident that it is more difficult to adapt numbers to prose than to verse.
There are two things, however, which give a relish to our language,--wellchosen words, and harmonious _numbers_. Words may be considered as the _materials_ of language, and it is the business of _number_ to smooth and polish them. But as in other cases, what was invented to serve our necessities was always prior to that which was invented for pleasure; so, in the present, a rude and simple style which was merely adapted to express our thoughts, was discovered many centuries before the invention of _numbers_, which are designed to please the ear. Accordingly _Herodotus_, and both his and the preceding age had not the least idea of prosaic _number_, nor produced any thing of the kind, unless at random, and by mere accident:--and even the ancient masters of rhetoric (I mean those of the earliest date) have not so much as mentioned it, though they have left us a multitude of precepts upon the conduct and management of our style. For what is easiest, and most necessary to be known, is, for that reason, always first discovered. Metaphors, therefore, and new-made and compounded words, were easily invented, because they were borrowed from custom and conversation: but _number_ was not selected from our domestic treasures, nor had the least intimacy or connection with common language; and, of consequence, not being noticed and understood till every other improvement had been made, it gave the finishing grace, and the last touches to the style of Eloquence.
As it may be remarked that one sort of language is interrupted by frequent breaks and intermissions, while another is flowing and diffusive; it is evident that the difference cannot result from the natural sounds of different letters, but from the various combinations of long and short syllables, with which our language, being differently blended and intermingled, will be either dull and motionless, or lively and fluent; so that every circumstance of this nature must be regulated by _number_. For by the assistance of _numbers_, the _period_, which I have so often mentioned before, pursues it's course with greater strength and freedom till it comes to a natural pause. It is therefore plain that the style of an Orator should be measured and harmonized by _numbers_, though entirely free from verse; but whether these numbers should be the same as those of the poets, or of a different species, is the next thing to be considered.
In my opinion there can be no sort of numbers but those of the poets; because they have already specified all their different kinds with the utmost precision; for every number may be comprized in the three following varieties:--_viz_. a _foot_ (which is the measure we apply to numbers) must be so divided, that one part of it will be either equal to the other, or twice as long, or equal to three halves of it. Thus, in a _dactyl_ (breve-macron-macron) (long-short-short) the first syllable, which is the former part of the foot, is equal to the two others, in the _iambic_ (macron-breve)(short-long) the last is double the first, and in the short-short-long, or long-short-short-short) one of its parts, which is the long syllable, is equal to two-thirds of the other. These are feet which are unavoidably incident to language; and a proper arrangement of them will produce a _numerous_ style.
But it will here be enquired, What numbers should have the preference? To which I answer, They must all occur promiscuously; as is evident from our sometimes speaking verse without knowing it, which in prose is reckoned a capital fault; but in the hurry of discourse we cannot always watch and criticise ourselves. As to _senarian_ and _hipponactic_ [Footnote: Verses chiefly composed of iambics] verses, it is scarcely possible to avoid them; for a considerable part, even of our common language, is composed of _iambics_. To these, however, the hearer is easily reconciled; because custom has made them familiar to his ear. But through inattention we are often betrayed into verses which are not so familiar;--a fault which may easily be avoided by a course of habitual circumspection. _Hieronymus_, an eminent Peripatetic, has collected out of the numerous writings of Isocrates about thirty verses, most of them senarian, and some of them anapest, which in prose have a more disagreeable effect than any others.
But he quotes them with a malicious partiality: for he cuts off the first syllable of the first word in a sentence, and annexes to the last word the first syllable of the following sentence; and thus he forms what is called an _Aristophanean_ anapest, which it is neither possible nor necessary to avoid entirely. But, this redoubtable critic, as I discovered upon a closer inspection, has himself been betrayed into a senarian or iambic verse in the very paragraph in which he censures the composition of _Isocrates_.
Upon the whole, it is sufficiently plain that prose is susceptible of _numbers_, and that the numbers of an Orator must be the same as those of a Poet. The next thing to be considered is, what are the numbers which are most suitable to his character, and, for that reason, should occur more frequently than the rest? Some prefer the _Iambic_ (macron-breve)(shortlong) as approaching the nearest to common language; for which reason, they say, it is generally made use of in fables and comedies, on account of it's resemblance to conversation; and because the dactyl, which is the favourite number of hexameters, is more adapted to a pompous style.
_Ephorus_, on the other hand, declares for the paeon and the dactyl; and rejects the spondee and the trochee (long short). For as the paeon has three short syllables, and the dactyl two, he thinks their shortness and celerity give a brisk and lively flow to our language; and that a different effect would be produced by the trochee and the spondee, the one consisting of short syllables, and the other of long ones;--so that by using the former, the current of our words would become too rapid, and too heavy by employing the latter, losing, in either case, that easy moderation which best satisfies the ear. But both parties seem to be equally mistaken: for those who exclude the paeon, are not aware that they reject the sweetest and fullest number we have. Aristotle was far from thinking as they do: he was of opinion that heroic numbers are too sonorous for prose; and that, on the other hand, the iambic has too much the resemblance of vulgar talk:--and, accordingly, he recommends the style which is neither too low and common, nor too lofty and extravagant, but retains such a just proportion of dignity, as to win the attention, and excite the admiration of the hearer. He, therefore, calls the _trochee_ (which has precisely the same quantity as the _choree_) _the rhetorical jigg_ [Footnote: _Cordacem appellat_. The _cordax_ was a lascivious dance very full of agitation.]; because the shortness and rapidity of it's syllables are incompatible with the majesty of Eloquence. For this reason he recommends the _paeon_, and says that every person makes use of it, even without being sensible when he does so. He likewise observes that it is a proper medium between the different feet above-mentioned:--the proportion between the long and short syllables, in every foot, being either sesquiplicate, duple, or equal.
The authors, therefore, whom I mentioned before attended merely to the easy flow of our language, without any regard to it's dignity. For the iambic and the dactyl are chiefly used in poetry; so that to avoid versifying in prose, we must shun, as much as possible, a continued repetition of either; because the language of prose is of a different cast, and absolutely incompatible with verse. As the paeon, therefore, is of all other feet the most improper for poetry, it may, for that reason be more readily admitted into prose. But as to _Ephorus_, he did not reflect that even the _spondee_, which he rejects, is equal in time to his favourite dactyl; because he supposed that feet were to be measured not by the quantity, but the number of their syllables;--a mistake of which he is