2. When the pause occurs after the fifth syllable, dividing the line into equal portions, the melody is sensibly altered; and the verse loses that brisk and sprightly air, which it had in the former case, and becomes more smooth, gentle, and flowing. EXAMPLE. Eternal sunshine || of the spotless mind, Each prayer accepted || and each wish resigned. 3. When the pause follows the sixth syllable, the verse becomes more solemn and grave. It moves with a more slow and measured расе, than in either of the former cases. EXAMPLE. The wrath of Peleus' a sons, || the direful spring Of all the Grecian woes, || O goddess, sing! 4. The grave, solemn cadence becomes still more sensible when the pause occurs after the seventh syllable, which is as near the end of the line as it ordinarily falls. EXAMPLES. 1. And in the smooth description || murmur still. 2. Long-loved, adored ideas, || all adieu. 2. Demi-Casural Pause. The Demi-Casural pause must be slight, in order to avoid any thing like a sing-song tone in reading. It is marked thus (│). EXAMPLE. Warms in the sun, || refreshes | in the breeze, Glows in the stars, || and blossoms | in the trees; Peleus is said to have been king of Acquina, a Grecian island in the Sardinian Gulf. QUESTIONS. What is the effect when the pause occurs after the fifth syllable? When it occurs after the sixth syllable? When it occurs after the seventh? What is said of the demi-cæsural pause? Lives through all life, I extends | through all extent, 3. Final Pause. The Final pause occurs at the end of a line, both in rhyme and blank-verse, and thus enables the hearer, more readily, to distinguish the latter from prose. It is marked thus (..). 2: EXAMPLES. 1. When Science from Creation's face.. What lovely visions yield their place.. To cold, material laws ! Whence Adam soon repealed.. Led on, yet sinless, with desire to know.. RULE. Harmonic pauses increase the beauty of verse, and should be regarded when they do not injure the sense. In the following verse, harmony requires the cæsural pause after the word sad, but the sense requires a pause after sit, where it must be made, even at the sacrifice of harmony. EXAMPLE. Incorrect marking. I sit, with sad || civility I read. Correct marking. I sit, with sad civility I read.. QUESTIONS. Where does the final pause occur? What is its use? How is it marked? What is the rule for harmonic pauses? MISCELLANEOUS EXAMPLES. 1. In adamantine chains || shall death be bound, 4. When, mad with tempests || all the billows rise.. And mild as opening beams || of promised heaven. And with loud cries || the sounding | palace shook. 7. There is a land || of every land the pride, Beloved by Heaven || o'er all the world beside; 8. So, in the field || with Ceres' a beauty spread, Th' unwearied blaze || incessant streams supplies, • Ceres, in mythology, the goddess of corn, or the name of corn, deified. 10. The dumb shall sing, || the lame | his crutch forego, SECTION IV. Metrical Accent. METRICAL ACCENT is a stress laid upon certain syllables in verse, recurring at regular intervals, and generally corresponding with the common accent, but not always. 1. In iambic measure, it falls on the last syllable of each foot. EXAMPLE. How loved | how val | ŭed once | ăvaîls | thee nōt; To whōm | rělāt | ĕd, ōr | by whōm | běgōt; A heap of dust | alone | remains | of thee; "T is all thou art, | and all | the proud | shall be. 2. In trochaic measure, the accent falls on the first syllable of each foot. EXAMPLE. Māy each mōrn that | în suc | cession, Of my debt, for | ever | growing. QUESTIONS. What is metrical accent? Where does it fall in iambic measure ? Where, in trochaic measure 3. In anapestic measure, the accent falls on the last syllable of each foot. EXAMPLE. Măy I gov | ěrn mỹ pās | sions with āb | sÖlüte sway; 4. In dactylic measure, the accent falls on the first syllable of each foot. The first line in the following example, ends with a trochee, and the second, with an additional long syllable. EXAMPLE. Brightest and best of thě | sōns of thě | morning, RULE. The metrical accent should be observed when it will not impair the sense, or so much derange the customary accent as to be harsh and unpleasant to the ear. It would too much impair the sense, as well as do violence to every ear of any refinement, to read the following example strictly in accordance with the metrical accent, as it is marked. EXAMPLE. Falso el | Ŏquence, | like thē | prismāt | Ic glāss, Its gaudy colors spreads in every place. NOTE. In the following examples, and in others of a similar character, in which there is an unpleasant harshness produced by the conflict of the common and the metrical accents, a compromise may be made, and both syllables may be accented nearly alike. EXAMPLES. 1. Oŭr sū | préme fōe | în time | măy mũch | rělēnt. 2. Encamp their lē | gions, ōr | with ōb | scúre wing. QUESTIONS. Where does the accent fall in anapestic measure? Where does it fall in dactylic measure? What is the rule for metrical accent? What may be done when it conflicts with the common accent? |