394 Mr. Davis on the Foetry oj the Chinese. 



the spoken language consists, and the fitness of this for metrical compo- 

 sition. 2. The variation of certain tones, or accents, as prescribed by rule. 

 3. The use of poetical numbers, or measure. 4. The observance of a regu- 

 lar CEesural pause, about the middle of each verse. 5. The use of terminal 

 rhymes. 6. The rythmical effect produced by the parallelism of couplets, 

 which will be explained in its proper place. 



1. Of the sounds of the spoken language. The attention of curious per- 

 sons may perhaps be excited to ascertain, what powers of melody can be 

 possessed by a system of speech, which has been represented to contain 

 merely about four hundred monosj/Uabic sounds. They may naturally enough 

 imagine, that Chinese poetry must, in point of euphony, rank with those 

 defective verses censured by our own great poet, 



" Where ten low words oft creep in one dull line."* 

 A summary disposal of the question, by assuming, at once, that it is a 

 case in which melody is unattainable, has to be reconciled with the obvious 

 fact, tliat tiie Chinese take a passionate delight in their poetry. Is it likely 

 that so large a portion of the human race should have persisted in the 

 entliusiastic cultivation of an art, which is essentially incapable of pos- 

 sessing that very charm, which every where else forms a main element of 

 its attractiveness?! It has pretty generally gone abroad, that all the Chinese 

 words are strictly monosyllabic — which only proves that opinions, which 



* Low V)or<h, of any length, are certainly out of place in poetry: but that an English verse is 

 much the worse for consisting of ten monosyllables, does not so clearly appear; and Pope's own 

 poems abound in monosyllabic lines, as may be proved by the slightest examination. A few 

 instances occur even of couplets so distinguished : 



' Ah, if she lend not arms, as well as rules. 



What can she more than tell us we are fools '.' 



' Talk what you will of taste, my friend, you'll find 



Two of a face, as well as of a mind.' 



' — There are who have not — and, thank heav'n, there are 



Who, if they have not, think not worth their care.' 



f A writer of -the Memoires sur les Chinois asserts, tliat their poetry is susceptible of even 

 imitative harmony, and this is no doubt true : but the instance which be adduces may perhaps 

 make the reader smile. " On vantc," says he, " I'harmonie imitative d'Homere. EUe est tres- 

 familiere a la poesie Chinoise : au lieu de dire, par exeniple, on entend le bruit des tambours, 

 le Chiking dit, ' On entend le tang-tang dea tambours.' Cette citation n'est pas des plus heii- 

 reuses, mais c'est la seule qui me vienne." 



