Complete Essays, Literary Criticism, Cryptography, Autography, Translations & Letters. Эдгар Аллан По

source of the infinity of “short metre” by which modern poetry, if not distinguished, is at least disgraced. It would require a high degree, indeed, both of cultivation and of courage on the part of any versifier to enable him to place his rhymes, and let them remain at unquestionably their best position, that of unusual and unanticipated intervals.

      On account of the stupidity of some people, or (if talent be a more respectable word), on account of their talent for misconception — I think it necessary to add here, first, that I believe the “processes” above detailed to be nearly, if not accurately, those which did occur in the gradual creation of what we now can verse; secondly, that, although I so believe, I yet urge neither the assumed fact nor my belief in it as a part of the true propositions of this paper, thirdly, that in regard to the aim of this paper, it is of no consequence whether these processes did occur either in the order I have assigned them, or at all; my design being simply, in presenting a general type of what such processes might have been and must have resembled, to help them, the “some people,” to an easy understanding of what I have further to say on the topic of Verse.

      There is one point, which, in my summary of the processes, I have purposely forborne to touch; because this point, being the most important of all on account of the immensity of error usually involved in its consideration, would have led me into a series of detail inconsistent with the object of a summary.

      Every reader of verse must have observed how seldom it happens that even any one line proceeds uniformly with a succession, such as I have supposed, of absolutely equal feet; that is to say, with a succession of iambuses only, or of trochees only, or of dactyls only, or of anapaests only, or of spondees only. Even in the most musical lines we find the succession interrupted. The iambic pentameters of Pope, for example, will be found on examination, frequently varied by trochees in the beginning, or by (what seem to be) anapaests in the body of the line.

      oh thou / whate / ver ti / tle please / thine ear /

       Dean Dra / pier Bick / erstaff / or Gull / iver /

       Whether / thou choose / Cervan / tes’ / se / rious air /

       or laugh / and shake / in Rab / elais’ ea / sy chair /

      Were any one weak enough to refer to the Prosodies for the solution of the difficulty here, he would find it solved as usual by a rule, stating the fact (or what it, the rule, supposes to be the fact), but without the slightest attempt at the rationale. “By a synaeresis of the two short syllables,” say the books, “an anapaest may sometimes be employed for an iambus, or dactyl for a trochee. . . . In the beginning of a line a trochee is often used for an iambus.”

      Blending is the plain English for synaeresis — but there should be no blending; neither is an anapaest ever employed for an iambus, or a dactyl for a trochee. These feet differ in time, and no feet so differing can ever be legitimately used in the same line. An anapaest is equal to four short syllables — an iambus only to three. Dactyls and trochees hold the same relation. The principle of equality, in verse, admits, it is true, of variation at certain points, for the relief of monotone, as I have already shown, but the point of time is that point which, being the rudimental one, must never be tampered with at all.

      To explain:— In further efforts for the relief of monotone than those to which I have alluded in the summary, men soon came to see that there was no absolute necessity for adhering to the precise number of syllables, provided the time required for the whole foot was preserved inviolate. They saw, for instance, that in such a line as

      or laugh / and shake / in Rab / elais ea / sy chair /

      the equalisation of the three syllables elais ea with the two syllables composing any of the other feet could be readily effected by pronouncing the two syllables elais in double quick time. By pronouncing each of the syllables e and lais twice as rapidly as the syllable sy, or the syllable in, or any other short syllable, they could bring the two of them, taken together, to the length, that is to say to the time, of any one short syllable. This consideration enabled them to effect the agreeable variation of three syllables in place of the uniform two. And variation was the object-variation to the ear. What sense is there, then, in supposing this object rendered null by the blending of the two syllables so as to render them, in absolute effect, one? Of course, there must be no blending. Each syllable must be pronounced as distinctly as possible (or the variation is lost), but with twice the rapidity in which the ordinary short syllable is enunciated. That the syllables elais ea do not compose an anapaest is evident, and the signs of their accentuation are erroneous. The foot might be written with inverted crescents expressing double quick time; and might be called a bastard iambus.

      Here is a trochaic line:

      See the / delicate-footed / rain-deer.

      The prosodies — that is to say the most considerate of them — would here decide that “delicate” is a dactyl used in place of a trochee, and would refer to what they call their “rule, for justification. Others, varying the stupidity, would insist upon a Procrustean adjustment thus (del’cate) an adjustment recommended to all such words as silvery, murmuring, etc., which, it is said, should be not only pronounced but written silv’ry, murm’ring, and so on, whenever they find themselves in trochaic predicament. I have only to say that “delicate,” when circumstanced as above, is neither a dactyl nor a dactyl’s equivalent; that I think it as well to call it a bastard trochee; and that all words, at all events, should be written and pronounced in full, and as nearly as possible as nature intended them.

      About eleven years ago, there appeared in “The American Monthly Magazine” (then edited, I believe, by Messrs Hoffman and Benjamin,) a review of Mr. Willis’s Poems; the critic putting forth his strength, or his weakness, in an endeavor to show that the poet was either absurdly affected, or grossly ignorant of the laws of verse; the accusation being based altogether on the fact that Mr. W. made occasional use of this very word “delicate,” and other similar words, in “the Heroic measure, which every one knew consisted of feet of two syllables.” Mr. W. has often, for example, such lines as

      That binds him to a woman’s delicate love-

       In the gay sunshine, reverent in the storm

       With its invisible fingers my loose hair.

      Here of course, the feet licate love, verent in and sible fin, are bastard iambuses; are not anapaests and are not improperly used. Their employment, on the contrary, by Mr. Willis, is but one of the innumerable instances he has given of keen sensibility in all those matters of taste which may be classed under the general head of fanciful embellishment.

      It is also about eleven years ago, if I am not mistaken, since Mr. Horne (of England,) the author of “Orion,” one of the noblest epics in any language, thought it necessary to preface his “Chaucer Modernized” by a very long and evidently a very elaborate essay, of which the greater portion was occupied in a discussion of the seemingly anomalous foot of which we have been speaking. Mr. Horne upholds Chaucer in its frequent use; maintains his superiority, on account of his so frequently using it, over all English versifiers; and indignantly repelling the common idea of those who make verse on their fingers — that the superfluous syllable is a roughness and an error — very chivalrously makes battle for it as a “grace.” That a grace it is, there can be no doubt; and what I complain of is, that the author of the most happily versified long poem in existence, should have been under the necessity of discussing this grace merely as a grace, through forty or fifty vague pages, solely because of his inability to show how and why it is a grace — by which showing the question would have been settled in an instant.

      About the trochee used for an iambus, as we see in the beginning of the line,

      Whether thou choose Cervantes’ serious air,

      there is little that need be said. It brings me to the general proposition that, in all rhythms, the prevalent or distinctive feet may be varied at will and nearly at random, by the occasional introduction of feet — that is to say, feet the sum of whose syllabic times is equal to the sum of the syllabic times of the distinctive feet. Thus, the trochee, whether is equal, in the sum of the times of its syllables, to the iambus, thou choose, in the sum of the times of its syllables; each foot being in time equal to three short syllables.