1825.) 
othe; author's ew mottos, Give me afew 
facts; general remarks, ane, ofp little usej? 
(Febqmaylithey, be Tread with some: profit, 
“even by those, who either do not’ coineide 
‘woth [him dn, the opinions, he upholds, or 
sfgel cout little ‘interest, im the’ particular 
question to which his-arguments refer. 5 ,() 
sedThaPrineiples, of Rhythm, both in Speeck 
grdi Music ; especially; asijerhibited) in the 
Alechanism of, targlisl Verses... By the Revs 
Baguarn, Rog, 4.8. There is. much, in 
this work, to, challenge.the) attention of the 
Jnusigiany the poetyand the. elocutionist; 
and: of, ally indeed, who |\would wish to im- 
Prove the, grace,.and harmony of their Jan- 
Guages dll, Composition, ‘speech, or | song. 
"a8 the,authorrvery justly observes, 
0 aa area for \time as well as 
pk fang 5.,;and ;hence, af poets were good 
they «would, be, greater »masters of 
\gapabilities of measured, Jangnage. 
Ti,,on, the other other hand; yocal. composers 
were, well acquainted with the properties of 
¢$,,and, with; all..the «various, species 
¢ averse, they yould, be, better ;qualitied, to 
OF adapt, words to nausie.|; La. proof. of 
0G Racer ‘appeal. tothe 
instangesof Milton and, Jackson. | What 
music) in, the),verses of the former!, what 
exprt ‘dn,the.-music of ;the, latter!) It 
ie asked, . Af; Shakspeare was.a prac- 
maupicatyh £ or Handel,amechanical ver- 
Perhaps, even; they might. have been 
gain if they,.were,[had been]... We know, 
how en, that. the .specified beauties of the 
two former sprung from their cultivation. of 
both atts ‘ ; beauties, which, it, is. probable, 
y wld. sree. have never existed, and 
dingly, hold forth encouragement 
vig ei example.” 
ee of his subject, Mr. Roe 
cmc gen and a con- 
ee ledge of the principles of 
ig ly. canbe, more 
1g postulate assumed through 
ee th treatise, that in the rhythm 
5 and r: Whateyer, modifications, 
I, music, song, or bse there 
setin Sle TS “At t the same 
, We; call not into question the 
ul de; crimination of Mr, Roe’s ear, 
me a I extent of nicety he lays 
to, we eae but acknowledge, that 
in some instances, and those not a few, the 
se tat sigh bb Rea dd @ soul atuned to music, 
nfiden tly in ier from the many beau- 
ions, {0 tt, Beal prough his works : 
he either some ee edge of its prin- 
pea OF an initative Fa Able dl of the beauty of 
paves ep equally rede ee Pie mrt 
4 inical structure, a the beautifu 
Bee Tle Wosene AN hie Nid ene hasty 
af las ge That Handel (though his divine 
6 part of its charip,, by the 
5 Sarat i 4 Hetune toake words of prose) had 
= ep 
eption of poetic’ Th veaeniies may? 
ipyacg ial) bp te ao led Yretvoine om 
pas cor dati non rh Pr eeue of 
‘sit rh wreatbing ig. 
“ie Hii 8 rm anongs usie-br 
Disorteince No» 404. mao one 
silt 
Literary and: Critical Rroémium. 
357 
notation he hasused would indicate,in him, a 
habit of giving, very different quantities, in 
the pronuntiation.of certain syliables, rom 
thoseywhich we: shouldrégard)as inhetentto 
them; These-are differences ofvapplication; 
however; ; which donot interféréswithedhis 
general, (principle; +: There are- otherspomts 
upon which we \could:wish, tobeimore exi 
plicit... But this is.not aworksto: Dbecenitiz 
cized:in, a; paragraph, or «a! pages, Episothe 
result, .of much labour and :réflection}Viard 
worthy of..a deliberatecand ample lanalysisy “ 
We should observe, however;ithat:thesprim 
cipal defeets of), Mr..R’sxsystems:hikeithap 
of Joshua; Steele, or: ratherof their: devel 
lopments of the system, :(foryiim the main, 
they are both of) them right), ‘has-arisen. 
from.resting| their theory.and its)results on 
the basis of musical scien¢e: alone ;+ instead: 
of extending theitresearches:to those anaq 
tomical, and, physiological -prineiptes, from’ 
which. the; laws of musical jpropoxtionisate 
of necessity? deniveds; andy with waite lavadk 
the phenomena! of genuinesharmony, era 
ganic. or, instrumentals; fran» the wery: setulae 
of our perceptions, must inévitably¢onferm: 
Mr. Ri indeed;.from:the wantirof:-this }exa 
tended consideration; has deviated in ane 
respects, from) coriect.and efficientno 
further, thanshis predecessors) ;>Mn, - Stealea: 
distinctiom of heavy(A)and Ugit!i(o~) pithe! 
Thesis and® Mrsis*of the Greek raniifial! 
rians, falls in, as correctly, “withthe alter? 
nate’ action and ‘reaction ‘of the primary 
organ of vocal impulse, as if it had’ -béen’ 
anatomically derived; and,” although” ‘the 
terms pulsation and reniissivn would ‘have 
answered the purpose quite as’ well,—the: 
latter distinction referring to organié ‘catises, 
the former to the sensible effects, . ‘yet 
considering how important it is that“per' 
sons; treating of thé’ same: science; should’ 
make use of the samé terms, as ‘far ab*they: 
are found consistent with’ intelligible :disee 
crimination, ‘we ‘¢annot but viament! aud? 
Mr. R. did not, in this instaneeade 
them ; since, by thesmorenthah neeess 
refinement © in’ the>' discrimination of the” 
degrees and species “of pulsations, which he ) 
has substituted in their. place, he has meévi-' 
tably perplexed what before was simple and 
efficient ; and betrayed himself into some in: 
consistencies: so much 'so indeed, as to'ren-: 
der some of his illustrations apparently incon= 
gruous with his general'theory.. According to 
him the bar, or cadence, and the foot, are 6c- 
casionally to be ascertained’ by a ‘directly 
opposite mode of division, or admeasure- 
ment in the mind: the former commenting; 
always, with the stronger pulse, (the heavy 
poise) but the: latter, either with, they 
stronger: or weaker, laccording toy accident: 
in the arrangement of the ‘line or sentenee, 
While according to) the system yof Joshpa) 
Steele, and of nature} )the: bar; the cadence; 
and the | foot: are always im ‘the stitietest 
unison; the. ‘first: being) indicative of pe! 
space: or time, a apcostdiof the 
BZ } old Sent tet Ta 
vioiuds-be 
