that it is part of a verse. This rule in the old hexameter might be easily observed, but in English will very frequently be in danger of violation; for the order and regularity of accents cannot well be perceived in a succession of fewer than three syllables, which will confine the English poet to only five pauses; it being supposed, that, when he connects one line with another, he should never make a full pause at less distance than that of three syllables from the beginning or end of a verse.
That this rule should be universally and indispensably established, perhaps cannot be granted; something may be allowed to variety, and something to the adaptation of the numbers to the subject; but it will be found generally necessary, and the ear will seldom fail to suffer by its neglect.
Thus when a single syllable is cut off from the rest, it must either be united to the line with which the sense connects it, or be sounded alone. If it be united to the other line, it corrupts its harmony; if disjoined it must stand alone, and with regard to musick be superfluous; for there is no harmony in a single sound, because it has no proportion to another.
Defaming as impure what God declares
Pure; and commands to some, leaves free to all.
When two syllables likewise are abscinded from the rest, they evidently want some associate sounds to make them harmonious.
————more wakeful than to drouze,
Charm'd with Arcadian pipe, the past'ral reed
