We may therefore class it among the list of probable, that is, of uncertain, opinions, that rhyme was at first a religious appendage1 or ceremony; for after all, it is possible that verses and songs might be addressed by a man to his mistress before they were addressed by him to his deities2; and highly impassioned lovers indeed will say that the cases are precisely3 the same.
A rabbi who gave a general view of the Hebrew language, which I never was able to learn, once recited to me a number of rhymed psalms4, which he said we had most wretchedly translated. I remember two verses, which are as follows:
Hibbitu clare vena haru
Ulph nehem al jeck pharu.
“They looked upon him and were lightened, and their faces were not ashamed.”
No rhyme can be richer than that of those two verses; and this being admitted, I reason in the following manner:
The Jews, who spoke5 a jargon6 half Ph?nician and half Syriac, rhymed; therefore the great and powerful nations, under whom they were in slavery, rhymed also. We cannot help believing, that the Jews — who, as we have frequently observed, adopted almost everything from their neighbors — adopted from them also rhyme.
All the Orientals rhyme; they are steady and constant in their usages. They dress now as they have dressed for the long series of five or six thousand years. We may, therefore, well believe that they have rhymed for a period of equal duration.
Some of the learned contend that the Greeks began with rhyming, whether in honor of their gods, their heroes, or their mistresses; but, that afterwards becoming more sensible of the harmony of their language, having acquired a more accurate knowledge of prosody7, and refined upon melody, they made those requisite8 verses without rhyme which have been transmitted down to us, and which the Latins imitated and very often surpassed.
As for us, the miserable9 descendants of Goths, Vandals, Gauls, Franks, and Burgundians — barbarians10 who are incapable11 of attaining12 either the Greek or Latin melody — we are compelled to rhyme. Blank verse, among all modern nations, is nothing but prose without any measure; it is distinguished13 from ordinary prose only by a certain number of equal and monotonous14 syllables15, which it has been agreed to denominate “verse.”
We have remarked elsewhere that those who have written in blank verse have done so only because they were incapable of rhyming. Blank verse originated in an incapacity to overcome difficulty, and in a desire to come to an end sooner.
We have remarked that Ariosto has made a series of forty-eight thousand rhymes without producing either disgust or weariness in a single reader. We have observed how French poetry, in rhyme, sweeps all obstacles before it, and that pleasure arose even from the very obstacles themselves. We have been always convinced that rhyme was necessary for the ears, not for the eyes; and we have explained our opinions, if not with judgment16 and success, at least without dictation and arrogance17.
But we acknowledge that on the receipt at Mount Krapak of the late dreadful literary intelligence from Paris, our former moderation completely abandons us. We understand that there exists a rising sect18 of barbarians, whose doctrine19 is that no tragedy should henceforward be ever written but in prose. This last blow alone was wanting, in addition to all our previous afflictions. It is the abomination of desolation in the temple of the muses20. We can very easily conceive that, after Corneille had turned into verse the “Imitation of Jesus Christ,” some sarcastic21 wag might menace the public with the acting22 of a tragedy in prose, by Floridor and Mondori; but this project having been seriously executed by the abbé d’Aubignac, we well know with what success it was attended. We well know the ridicule23 and disgrace that were attached to the prose “?dipus” of De la Motte Houdart, which were nearly as great as those which were incurred24 by his “?dipus” in verse. What miserable Visigoth can dare, after “Cinna” and “Andromache,” to banish25 verse from the theatre? After the grand and brilliant age of our literature, can we be really sunk into such degradation26 and opprobrium27! Contemptible28 barbarians! Go, then, and see this your prose tragedy performed by actors in their riding-coats at Vauxhall, and afterwards go and feast upon shoulder of mutton and strong beer.
What would Racine and Boileau have said had this terrible intelligence been announced to them? “Bon Dieu”! Good God! from what a height have we fallen, and into what a slough29 are we plunged30!
It is certain that rhyme gives a most overwhelming and oppressive influence to verses possessing mere31 mediocrity of merit. The poet in this case is just like a bad machinist, who cannot prevent the harsh and grating sounds of his wires and pulleys from annoying the ear. His readers experience the same fatigue32 that he underwent while forming his own rhymes; his verses are nothing but an empty jingling33 of wearisome syllables. But if he is happy in his thoughts and happy also in his rhyme, he then experiences and imparts a pleasure truly exquisite34 — a pleasure that can be fully35 enjoyed only by minds endowed with sensibility, and by ears attuned36 to harmony.
点击收听单词发音
1 appendage | |
n.附加物 | |
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2 deities | |
n.神,女神( deity的名词复数 );神祗;神灵;神明 | |
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3 precisely | |
adv.恰好,正好,精确地,细致地 | |
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4 psalms | |
n.赞美诗( psalm的名词复数 );圣诗;圣歌;(中的) | |
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5 spoke | |
n.(车轮的)辐条;轮辐;破坏某人的计划;阻挠某人的行动 v.讲,谈(speak的过去式);说;演说;从某种观点来说 | |
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6 jargon | |
n.术语,行话 | |
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7 prosody | |
n.诗体论,作诗法 | |
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8 requisite | |
adj.需要的,必不可少的;n.必需品 | |
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9 miserable | |
adj.悲惨的,痛苦的;可怜的,糟糕的 | |
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10 barbarians | |
n.野蛮人( barbarian的名词复数 );外国人;粗野的人;无教养的人 | |
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11 incapable | |
adj.无能力的,不能做某事的 | |
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12 attaining | |
(通常经过努力)实现( attain的现在分词 ); 达到; 获得; 达到(某年龄、水平、状况) | |
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13 distinguished | |
adj.卓越的,杰出的,著名的 | |
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14 monotonous | |
adj.单调的,一成不变的,使人厌倦的 | |
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15 syllables | |
n.音节( syllable的名词复数 ) | |
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16 judgment | |
n.审判;判断力,识别力,看法,意见 | |
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17 arrogance | |
n.傲慢,自大 | |
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18 sect | |
n.派别,宗教,学派,派系 | |
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19 doctrine | |
n.教义;主义;学说 | |
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20 muses | |
v.沉思,冥想( muse的第三人称单数 );沉思自语说(某事) | |
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21 sarcastic | |
adj.讥讽的,讽刺的,嘲弄的 | |
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22 acting | |
n.演戏,行为,假装;adj.代理的,临时的,演出用的 | |
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23 ridicule | |
v.讥讽,挖苦;n.嘲弄 | |
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24 incurred | |
[医]招致的,遭受的; incur的过去式 | |
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25 banish | |
vt.放逐,驱逐;消除,排除 | |
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26 degradation | |
n.降级;低落;退化;陵削;降解;衰变 | |
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27 opprobrium | |
n.耻辱,责难 | |
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28 contemptible | |
adj.可鄙的,可轻视的,卑劣的 | |
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29 slough | |
v.蜕皮,脱落,抛弃 | |
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30 plunged | |
v.颠簸( plunge的过去式和过去分词 );暴跌;骤降;突降 | |
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31 mere | |
adj.纯粹的;仅仅,只不过 | |
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32 fatigue | |
n.疲劳,劳累 | |
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33 jingling | |
叮当声 | |
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34 exquisite | |
adj.精美的;敏锐的;剧烈的,感觉强烈的 | |
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35 fully | |
adv.完全地,全部地,彻底地;充分地 | |
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36 attuned | |
v.使协调( attune的过去式和过去分词 );调音 | |
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