Connection obliges me here to anticipate, by observing, that the same doctrine is applicable to English heroic verse. Considering its composition merely, it is of two kinds. One is composed of five Iambi; and one of a Trochæus followed by four Iambi. But these feet afford no rule for pronouncing. The musical feet are obviously those parts of the line that are interjected betwixt two pauses. To bring out the melody, these feet must be expressed in the pronunciation; or, which comes to the same, the pronunciation must be directed by the pauses, without regard to the Iambus or Trochæus. [100] See chap. 2. part 1. sect. 4. [101] Poet. cap. 25. [102] See chap. 9. [103] Vossius, _de poematum cantu_, p. 26. says, “Nihil æque gravitati orationis officit, quam in sono ludere syllabarum.” [104] Spectator, Nº 285. [105] Preface to his _Œdipus_, and in his discourse upon tragedy, prefixed to the tragedy of _Brutus_. End of Project Gutenberg's Elements of Criticism, Volume II., by Henry Home