50

55

60

65

70

75

80

And, ever and anon, he beat

The doubling drum with furious heat:

And though, sometimes, each dreary pause between,
Dejected Pity at his side

Her soul-subduing voice applied,

Yet still he kept his wild unaltered mien,

While each strained ball of sight-seemed bursting from his head.

Thy numbers, Jealousy, to nought were fixed;

Sad proof of thy distressful state!

Of differing themes the veering song was mixed :

And, now it courted Love; now, raving, called on Hate.

With eyes upraised, as one inspired,

Pale Melancholy sat retired;

And, from her wild sequestered seat,

In notes, by distance made more sweet,

Poured through the mellow horn her pensive soul,

And, dashing soft from rocks around,

Bubbling runnels joined the sound;

Through glades and glooms, the mingled measure stole
Or o'er some haunted stream, with fond delay,
Round a holy calm diffusing,

Love of peace, and lonely musing,

In hollow murmurs died away.

But, oh, how altered was its sprightlier tone!
When Cheerfulness, a nymph of healthiest hue,
Her bow across her shoulder flung,

Her buskins gemmed with morning dew,

Blew an inspiring air, that dale and thicket rung,

The hunter's call, to Faun and Dryad known.

The oak-crowned Sisters, and the chaste-eyed Queen
Satyrs and sylvan Boys were seen,

Peeping from forth their alleys green;

Brown Exercise rejoiced to hear;

And Sport leaped up and seized his beechen spear.

Last, came Joy's ecstatic trial:

He with viny crown advancing,

First to the lively pipe his hand addressed

But soon he saw the brisk awakening viol; Whose sweet entrancing voice he loved the best. 85 They would have thought who heard the strain They saw in Tempe's vale, her native maids, Amidst the festal-sounding shades,

90

95

100

105

110

115

To some unwearied minstrel dancing:
While, as his flying fingers kissed the strings,
Love framed with Mirth a gay fantastic round.
Loose were her tresses seen, her zone unbound,
And he, amidst his frolic play,

As if he would the charming air repay,
Shook thousand odors from his dewy wings.

O Music, sphere-descended maid,
Friend of Pleasure, Wisdom's aid,
Why, goddess, why, to us denied,
Layest thou thy ancient lyre aside?
As in that loved Athenian bower
You learned in all-commanding power,
Thy mimic soul, O nymph endeared,
Can well recall what then it heard.
Where is thy native simple heart,
Devote to Virtue, Fancy, Art?
Arise, as in the elder time,
Warm, energic, chaste, sublime!
Thy wonders, in that godlike age
Fill thy recording sister's page-
'Tis said, and I believe the tale,

Thy humblest reed could more prevail,
Had more of strength, diviner rage,

Than all which charms this laggard age,
Even all at once together found,
Cecilia's mingled world of sound-
Oh, bid our vain endeavors cease,
Revive the just designs of Greece;
Return in all thy simple state;
Confirm the tales her sons relate!

Collins.

SECTION VII.

OF CADENCE.

In treating of the Melodies of the Voice, it was remarked, that the falling tritone, when it occurs at the close of a sentence, constitutes the Cadence, and is called the Triad of the Cadence; though we may now remark, that except in a single case the fall is confined wholly to the last two constituents. This suggests the peculiarity which characterizes the close of sentences, indicating to the ear that the sense is finished; which is, a fall from the radical point of the syllable which precedes the Cadence through three tones, and terminating with a downward vanish. This is all that is essential to the full Cadence. The only practical questions which here arise for discussion are,-Where should the Cadence be given? has it different forms? and if so, what are they? and by what principle is a preference given to the one or the other, in practice?

The Cadence always accompanies the period or full close, except when overruled by the emphasis of the rising intervals or of the inverted waves; and often accompanies the Exclamation, the Indirect question, and the shorter rests usually marked by the dash, the colon, or even the semicolon.

The form of the Cadence varies with the structure of the sentence, and with the sentiment; and particularly with the quantity of the syllables of which it is constituted, and the degree of emphasis given to them. The Cadence may consist of three constituents, but more frequently has but two, or only one. For the sake of distinction, these are called the Triad, the Duad, and the Monad forms; and under these divisions, are found variations, which, though they

possess different degrees of perfection, yet add much to the harmony and variety of spoken language. The following schedule, it is believed, presents even to the eye all the different forms of the Cadence authorized by the best usage; and it will be found most convenient, in general, to refer to them as first, second, third, fourth, &c., in the order in which they are here enumerated. In the following diagrams, the bar separates from the rest of the line the constituents which form the Cadence.

I. THE TRIAD.

1. The first form, or falling triad, has three constituents, with each the downward vanish. This produces the most perfect repose of the voice, next to the Prepared Cadence.

NOTE. When three or even four of the last syllables of a period are unaccented, this fall, which commences with the accented syllable, may be extended to all that follow it; as, Thus did Job con-tin-u-al-ly. We soon lost our confidence in his dis-in-ter-ested-ness.

II. THE DUAD FORMS.

2. In this form of the Cadence, the first tone is passed over by a discrete downward movement; and each of the two constituents takes the downward vanish.

3. The third form differs from the second, only in

giving the first constituent the rising vanish instead of the falling.

The spirit can ·

not always sleep in dust.

4. The fourth form appropriates a concrete fall of two tones to the first constituent; and terminates by a downward vanish on the second.

5. This form passes over the first tone discretely, and appropriates the fall through the last two tones to a single syllable.

Descent and fall to us is ad

verse.

6. This form of the Monad cadence appropriates the entire concrete fall to a single long syllable.

7. The seventh form of the cadence passes over the first two tones of the fall by a discrete skip; and is called the False Cadence.

Of wiles more un

ex - pert, I boast

not.