[74] See chap. 2. part 1. sect. 4. [75] Here the German _a_ is understood. [76] That the Italian tongue is rather too smooth, seems to appear from considering, that in versification vowels are frequently suppressed in order to produce a rougher and bolder tone. [77] See Swift’s proposal for correcting the English tongue, in a letter to the Earl of Oxford. [78] See the reason, chap. 8. [79] De structura perfectæ orationis, l. 2. [80] Scot’s Christian life. [81] Elements of criticism, vol. 1. p. 43. [82] Chap. 2. part 4. [83] Ibid. [84] See Gerard’s French grammar, discourse 12. [85] An argument against abolishing Christianity, Swift. [86] Letter concerning enthusiasm. Shaftesbury. [87] See chap. 8. [88] Treatise of the sublime, cap. 16. [89] Taking advantage of a declension to separate an adjective from its substantive, as is commonly practised in Latin, though it detract not from perspicuity, is certainly less neat than the English method of juxtaposition. Contiguity is more expressive of an intimate relation, than resemblance merely of the final syllables. Latin indeed has evidently the advantage when the adjective and substantive happen to be connected by contiguity as well as by the resemblance of the final syllables. [90] See chap. 1. [91] Reflections sur la poesie Françoise. [92] See chap. 2. part 1. sect. 4. [93] Poet. L. 3. l. 365.-454. [94] See chap. 2. part 4. [95] De oratore, l. 3. cap. 58. [96] De structura orationis, sect. 2. [97] From this passage, however, we discover the etymology of the Latin term for musical expression. Every one being sensible that there is no music in a continued sound; the first inquiries were probably carried no farther, than that to produce a musical expression, a number of sounds is necessary; and musical expression obtained the name of _numerus_, before it was clearly ascertained, that variety is necessary as well as number. [98] Music, properly so called, is analysed into melody and harmony. A succession of sounds so as to be agreeable to the ear, constitutes melody. Harmony is the pleasure that arises from co-existing sounds. Verse therefore can only reach melody, and not harmony.