406“ Whether Music is necessary to the Orator,— 
Contents. 
Pyrrhic me 
Trochee: ..°". re Iambus .. 
DIMERS on eiet ie f CE Spondee .. 
Anapest .. .. Cer Amphibrach .. [ f c 
Molossus .. .. r f r Tribrach ( C C never. 
Cretic [ t Po. never Bacchic: os. f re 
Antibacchic ff fi 
to which may be added the following polysyllabical feet :— 
2d Pxon £f ££ ; 3d Peon £££; Choriambus f C Ef; Ionicus 
A majore f [ £ £ 3 lonicus 4 minore F Cf fs lst Epitrite al re; 
4th Epitrite [ fff, and Dispondeus fff f. 
Now, of all the trisyllabical feet, as appears by the foregoing 
table, the Cretic and the Tribrach alone are denied admission ;— 
the latter, besides its ¢r7ple-time character, possessing too much 
lightness * for the sober dignity of an epic poem, and the+for- 
mer, though in itself perhaps sufficiently dignified, being too ir- 
regular, in consequence of its prominently quintuple character, 
for an alliance with the more equable dactyl and the spondee: 
Nevertheless, in the recitation of Hexameter, the unavoidable ir- 
regularity of language must occasionally present the Cretic to our 
ear—not the perfectCretic indeed, whose proportions are as 4, 2, 
4, but the zmperfect Cretic — = — the result of an irregular Mo- 
lossus ; or certain imperfect Cretics in some degree analogous to 
the triple-time movements [*ff  f f f°, and which by proso- 
dial notation may be represented thus — vo — ; » —, the ne- 
cessary consequence of irregular Dactyls and irregular Anapests. 
Having thus rescued the Hexameter from the unfounded ac- 
cusations of uninformed grammarians, J shall now offer to my 
reader a complete musical analysis of the different combinations 
which characterize the prose of antiquity when delivered as it 
ought ; considering myself, as I already observed, too incompetent 
to decide whether and how far these combinations are or may be 
introduced into our native tongue. 
Universal Table of Combinations in the Greek and Roman Lan- 
guages in various species of Poetry as well as in PRosE. 
[The short syllable or guaver in the following table is repre- 
Cf 
x dy 
* In the penultimate bar of ‘‘God save the King” the tribrach or triplet 
ff? which by way of grace has been substituted in our present copies 
for the original crotchet, and assigned to the word “ God,” has much con- 
tributed to the degradation of the piece. The composer was evidently a 
chaster musician than his pretended embellisher.  ~ 
sented, 
a 
