I take the liberty to add here a speculation, which, though collateral only, arises naturally from the subject, and shall be discussed in a few words. Many attempts have been made to introduce Hexameter verse into the living languages, but without success. The English language, I am inclined to believe, is not susceptible of this melody; and my reasons are these. First, the polysyllables in Latin and Greek are finely diversified by long and short syllables, a circumstance that qualifies them for the melody of Hexameter verse. Ours are extremely ill qualified for this service, because they superabound in short syllables. Secondly, the bulk of our monosyllables are arbitrary with regard to length, which is an unlucky circumstance in Hexameter. Custom, as observed above, may render familiar a long or short pronunciation of the same word: but the mind wavering betwixt the two sounds, cannot be so much arrested with either, as with a word that hath always the same sound; and for that reason, arbitrary sounds are ill fitted for a melody which is chiefly supported by quantity. In Latin and Greek Hexameter, invariable sounds direct and ascertain the melody: English Hexameter would be destitute of melody, unless by artful pronunciation; because of necessity the bulk of its sounds must be arbitrary. The pronunciation is easy in a simple movement of alternate short and long syllables; but would be perplexing and unpleasant in the diversified movement of Hexameter verse. * * * * * Rhyme makes so great a figure in modern poetry, as to deserve a solemn trial. I have for that reason reserved it to be examined with some deliberation; in order to discover, if possible, its peculiar beauties, and the degree of merit it is intitled to. The first view of this subject leads naturally to the following reflection, “That rhyme having no relation to sentiment, nor any effect upon the ear other than a mere jingle, ought to be banished all compositions of any dignity, as affording but a trifling and childish pleasure.” It will also be observed, “That a jingle of words hath in some measure a ludicrous effect; witness the celebrated poem of _Hudibras_, the double rhymes of which contribute no small share to its drollery; that this effect would be equally remarkable in a serious work, were it not obscured by the nature of the subject; that having however a constant tendency to give a ludicrous air to the composition, it requires more than ordinary fire to support the dignity of the sentiments against such an undermining antagonist[103].”