distinguuntur, notare possumus.” Falling drops, whether with equal or unequal intervals, are certainly not musical. We begin then only to be sensible of a musical expression, when the notes are varied. And this also was probably the opinion of the author cited, though his expression be a little unguarded[97]. It will probably occur, that modulation, so far as connected with long and short syllables combined in a sentence, may be found in prose as well as in verse; considering especially, that in both, particular words are accented or pronounced in a higher tone than ordinary; and therefore that the difference betwixt them cannot consist in modulation merely. The observation is just; and it follows, that the distinction betwixt prose and verse, since it depends not on modulation merely, must arise from the difference of the modulation. This is precisely the case, though the difference cannot with any accuracy be explained in words. Verse is more musical than prose; and of the former, the modulation is more perfect than of the latter. The difference betwixt verse and prose, resembles the difference in music properly so called betwixt the song and the recitative. And the resemblance is not the less complete, that these differences, like the shades of colours, approximate sometimes so nearly as scarce to be discernible. A recitative in its movement approaches sometimes to the liveliness of a song; which on the other hand degenerates sometimes toward a plain recitative. Nothing is more distinguishable from prose, than the bulk of Virgil’s hexameters. Many of those composed by Horace, are very little removed from prose. Sapphic verse has a very sensible modulation. That on the other hand of an Iambic, is extremely faint[98]. This more perfect modulation of articulate sounds, is what distinguisheth verse from prose. Verse is subjected to certain inflexible laws. The number and variety of the component syllables are ascertained, and in some measure the order of succession. Such restraint makes it a matter of difficulty to compose in verse; a difficulty that is not to be surmounted but by a singular genius. Useful lessons of every sort convey’d to us in verse, are agreeable by the union of music with instruction. But are we for that reason to reject knowledge offered in a plainer dress? This would be ridiculous; for knowledge may be acquired without music, and music is entertaining independent of knowledge. Many there are, not less willing than capable to instruct us, who have no genius for verse. Hence the use of prose, which, for the reason now given, is not confined to precise rules. There belongs to it, a certain modulation of an inferior kind, which, being extremely ornamental, ought to be the aim of every writer. But to succeed in it, practice is necessary more than genius. Nor are we rigid on this article. Provided the work answer its chief end of instruction, we are the less solicitous about its dress.