Edgar Allan Poe

“ There is an appreciation, first, of the equality between the several dactyls or anapaests, and secondly, of that between the long syllable and the two short conjointly. But here it may be said, that step after step would have been taken, in continuation of this routine, until all the feet of the Greek Prosodies became exhausted. Not so; these remaining feet have no existence except in the brains of the scholiasts. It is needless to imagine men inventing these things, and folly to explain how and why they invented them, until it shall be first shown that they are actually invented. ”

“ It is sufficient that the fact is undeniable–the fact that man derives enjoyment from his perception of equality. Let us examine a crystal. We are at once interested by the equality between the sides and between the angles of one of its faces; the equality of the sides pleases us, that of the angles doubles the pleasure. ”

“ What we start from in the very beginning of all idea on the topic of verse, is quantity, length. Thus when we enunciate an independent syllable it is long, as a matter of course. If we enunciate two, dwelling on both we express equality in the enunciation, or length, and have a right to call them two long syllables. If we dwell on one more than the other, we have also a right to call one short, because it is short in relation to the other. ”

“ To divert attention from the real matter in hand by any further reference to these works is unnecessary, and would be weak. I cannot call to mind at this moment one essential particular of information that is to be gleaned from them, and I will drop them here with merely this one observation,–that employing from among the numerous "ancient" feet the spondee, the trochee, the iambus, the anapaest, the dactyl, and the caesura alone, I will engage to scan correctly any of the Horatian rhythms, or any true rhythm that human ingenuity can conceive. ”

“ But how are we to reconcile all this with a definition of versification which describes it as "the art of arranging words into lines of correspondent length so as to produce harmony by the regular alternation of syllables differing in quantity"?
It may be urged, however, that our prosodist's intention was to speak of the English metres alone, and that, by omitting all mention of the spondee and pyrrhic, he has virtually avowed their exclusion from our rhythms. A grammarian is never excusable on the ground of good intentions. We demand from him, if from any one, rigorous precision of style. ”

“ In corroboration of this idea, again, we should look to find the penultimate spondee most usual in the most ancient verse, and, accordingly, we find it more frequent in the Greek than in the Latin hexameter.
But besides all this, spondees are not only more prevalent in the heroic hexameter than dactyls, but occur to such an extent as is even unpleasant to modern ears, on account of monotony. What the modern chiefly appreciates and admires in the Greek hexameter is the melody of the abundant vowel sounds. ”

“ Out of a hundred readers of "Christabel," fifty will be able to make nothing of its rhythm, while forty-nine of the remaining fifty with some ado, fancy they comprehend it, after the fourth or fifth perusal. The one out of the whole hundred who shall both comprehend and admire it at first sight–must be an unaccountably clever person–and I am by far too modest to assume, for a moment, that that very clever person is myself. ”

“ The spondee, as I observed, is the theme of the Greek line. Most of the ancient hexameters begin with spondees, for the reason that the spondee is the theme, and the ear is filled with it as with a burden. Now the Feltonian dactylics have, in the same way, dactyl for the theme, and most of them begin with dactyls–which is all very proper if not very Greek–but unhappily, the one point at which they are very Greek is that point, precisely, at which they should be nothing but Feltonian. They always close with what is meant for a spondee. To be consistently silly they should die off in a dactyl. ”

“ But if we dwell on both equally, and with a tripping voice, saying to ourselves here are two short syllables, the query might well be asked of us–"in relation to what are they short?" Shortness is but the negation of length. To say, then, that two syllables, placed independently of any other syllable, are short, is merely to say that they have no positive length, or enunciation–in other words, that they are no syllables–that they do not exist at all. ”

“ The genius of the people, rather than the structure of the tongue, declares that their words are for the most part enunciated with a uniform dwelling on each syllable. For example we say "syllabification." A Frenchman would say syl-la-bi-fi-ca-ti-on, dwelling on no one of the syllables with any noticeable particularity. Here again I put an extreme case in order to be well understood, but the general fact is as I give it–that, comparatively, the French have no accentuation; and there can be nothing worth the name of verse without. ”

“ We enunciate them with only half the rapidity we employ in enunciating the three final syllables of the quick trochee–which latter is a rare foot. The "flowers ever," on the contrary, is as common in the dactylic rhythm as is the bastard trochee in the trochaic, or the bastard iambus in the iambic. We may as well accent it with the curve of the crescent to the right and call it a bastard dactyl. A bastard anapaest, whose nature I now need be at no trouble in explaining, will of course occur now and then in an anapaestic rhythm. ”

“ The exceptions are found in the spondee "twine And," and the dactyl "smile on such." Both feet are false in point of melody. In "twine And" to make out the rhyme we must force "And" into a length which it will not naturally bear. We are called on to sacrifice either the proper length of the syllable as demanded by its position as a member of a spondee, or the customary accentuation of the word in conversation. There is no hesitation, and should be none. We at once give up the sound for the sense, and the rhythm is imperfect. ”

“ The perception of pleasure in the equality of sounds is the principle of Music. Unpractised ears can appreciate only simple equalities, such as are found in ballad airs. While comparing one simple sound with another they are too much occupied to be capable of comparing the equality subsisting between these two simple sounds taken conjointly, and two other similar simple sounds taken conjointly. ”

“ But scientific music has no claim to intrinsic excellence; it is fit for scientific ears alone. In its excess it is the triumph of the physique over the morale of music. The sentiment is overwhelmed by the sense. ”

“ Of the Greek hexameter the intentional basis is spondaic. The dactyls are the variation of the theme. It will be observed that there is no absolute certainty about their points of interposition. The penultimate foot, it is true, is usually a dactyl but not uniformly so, while the ultimate, on which the ear lingers, is always a spondee. Even that the penultimate is usually a dactyl may be clearly referred to the necessity of winding up with the distinctive spondee. ”

“ One is heard and appreciated from itself, the other is heard by the memory, and the instant glides into and is confounded with the secondary appreciation. Highly cultivated musical taste in this manner enjoys not only these double equalities, all appreciated at once, but takes pleasurable cognizance, through memory, of equalities the members of which occur at intervals so great that the uncultivated taste loses them altogether. ”

“ The spondee is improperly rejected, as I shall presently show. The pyrrhic is rightfully dismissed. Its existence in either ancient or modern rhythm is purely chimerical, and the insisting on so perplexing a nonentity as a foot of two short syllables, affords, perhaps, the best evidence of the gross irrationality and subservience to authority which characterise our Prosody. ”

“ 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. Good versifiers who happen to be also good poets, contrive to relieve the monotony of a series of feet by the use of equivalent feet only at rare intervals, and at such points of their subject as seem in accordance with the startling character of the variation. ”

“ 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. ”

“ Besides the natural spondees of the Greek and Latin, numerous artificial ones arise in the verse of these tongues, on account of the tendency which inflection has to throw full accentuation on terminal syllables, and the preponderance of the spondee is further ensured by the comparative infrequency of the small prepositions which we have to serve us instead of case, and also the absence of the diminutive auxiliary verbs with which we have to eke out the expression of our primary ones. ”

“ Verse originates in the human enjoyment of equality, fitness. To this enjoyment, also, all the moods of verse, rhythm, metre, stanza, rhyme, alliteration, the refrain, and other analagous effects, are to be referred. As there are some readers who habitually confound rhythm and metre, it may be as well here to say that the former concerns the character of feet (that is arrangements of syllables) while the latter has to do with the number of these feet. ”

“ The rudiment of verse may possibly be found in the spondee. ”

“ Even when these men have precisely the same understanding of a sentence, they differ, and often widely, in their modes of enunciating it. Any one who has taken the trouble to examine the topic of emphasis (by which I here mean not accent of particular syllables, but the dwelling on entire words) , must have seen that men emphasize in the most singularly arbitrary manner. There are certain large classes of people, for example, who persist in emphasizing their monosyllables. ”

“ In chemistry, the best way of separating two bodies is to add a third; in speculation, fact often agrees with fact and argument with argument until an additional well-meaning fact or argument sets everything by the ears. ”

“ They pretend to no analysis; they propose nothing like system; they make no attempts at even rule; everything depends upon "authority." They are confined, in fact, to mere exemplification of the supposed varieties of English feet and English lines–although in no work with which I am acquainted are these feet correctly given or these lines detailed in anything like their full extent. Yet what has been mentioned is all–if we except the occasional introduction of some pedagogue-ism, such as this borrowed from the Greek Prosodies: "When a syllable is wanting the verse is said to be catalectic ”

“ But farther these Grammars spoke not. The inquirers, therefore, in spite of their sense of harmony in the lines, when considered without reference to scansion, fell upon the idea that the "Are" was a blunder–an excess for which the poet should be sent to Coventry–and, striking it out, they scanned the remainder of the line as follows:
–emblems of / deeds that are / done in their / clime. ”

“ The false lines, consisting sometimes of a single caesura, which are seen in mock Pindaric odes, are, of course, "rhythmical" only in connection with some other line, and it is this want of independent rhythm, which adapts them to the purposes of burlesque alone. ”

“ 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. ”

“ In one case out of a hundred a point is excessively discussed because it is obscure; in the ninety-nine remaining it is obscure because excessively discussed. ”

“ but in fact the subject is exceedingly simple; one-tenth of it, possibly, may be called ethical; ”