On RYTHMICAL MEASURES. 105 



nity to the movement, which it could not poflefs, if the combi- 

 nations were always diftinct and equal ; and the frequent oc- 

 currence of lines, in which the meafure of the verfe is clearly 

 marked, prevents the hearer from lofing fight of it, and alfo 

 communicates additional pleafure from the contraft. This 

 mode of compofition feems thus to unite the freedom, variety 

 and energy of profe, with the foftnefs and elegance of verfe. 



In lines of fuch uniform cadence, there is no means more 

 fimple, or more effectual for giving the impreflion of regular 

 combination, than the return of fimilar founds. When two 

 contiguous verfes, of equal times, are terminated by one or 

 more fyllables of the fame or nearly the fame found, the hearer 

 can find no difficulty in adopting and going along with fuch 

 combinations. This contrivance has been called rhyme. It is 

 faid to have had its rife from a corrupted tafte during the ages 

 of ignorance and barbarifm. It Hill continues, however, to be 

 practifed by the belt poets, who write in the modern languages ? 

 and perhaps the conftitution of fuch languages does not afford 

 a better means of conftruc~ting regular verfes* 



In poetry, verfes may be formed according to the model of 

 what I called regular and perfect rythm, fo as to give the im- 

 preflion, not only of equal parcels and combinations, but alfo 

 of diftincl aggregates of thofe combinations. When fuch ag- 

 gregates confift of two fingle combinations, they are called 

 couplets, when of more than two, they get the name of flanzas. 

 We are led to form fuch aggregates by the fame means, by 

 which we are led to form the fingle combinations, namely, by 

 the return of like cadences, by paufes and by rhyme. When 

 two contiguous lines rhyme together, we have the impreflion 

 of a couplet j when the alternate lines rhyme together, we 

 form a combination of four. The fame impreflions may alfo 

 be conveyed by other means more purely rythmical. When 

 the lines are all equal, and made up of the fame or equal 

 timed feet, and the flanzas confift uniformly of four or eight 



Vol. II. O lines, 



