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Updated: May 1, 2025
But how torturing it was to road, to listen to these pathetic and measured Alexandrines from the "Henriade," while perchance in this same hour a new Alexander was placing the crown upon his young and noble head! In fact, but little was heard of these harmonious verses. All looked stealthily toward the window, and listened breathlessly to every sound that came from the road.
Twenty thousand long Alexandrines are filled with admirable descriptions of scenery, natural productions, and historical events, but how many of us in these days have time to read and inwardly digest twenty thousand Alexandrine verses? I fear that the specialist is apt to hold his intelligent reader or hearer too cheap.
The blank verse has this advantage, that its tone may be elevated or lowered; it admits of approximation to the familiar style of conversation, and never forms such an abrupt contrast as that, for example, between plain prose and the rhyming Alexandrines.
The poetry of Queen Anne's time and thereabouts, I judge to have been at the lowest bathos of badness; all satyrs, and swains, fulsome flattery of titles, and foolish adoration of painted shepherdesses: poor weak hobbling lines, eked out by 'eds and expletives, often terminated by false rhymes, and made lamer by triplets and dreary Alexandrines; ill-selected subjects, laboured, indelicate, or impossible similes, passions frigid as Diana, wit's weapons dull as lead.
I understood least of comedy; because it was spoken rapidly, and related to the affairs of common life, of the phrases of which I knew nothing. Tragedy was not so often played; and the measured step, the rhythm of the Alexandrines, the generality of the expression, made it more intelligible to me in every way.
"Why, I have his works, printed at Bologna, in my room!" "I don't deny that, I am only talking about the metre used by Martelli. What you are thinking of must be verses of fourteen syllables; without alternative masculine and feminine rhymes. However, I confess that he thinks he has imitated the French Alexandrines, and his preface made me explode with laughter. Did you read it?" "Read it?
Could we tolerate tragedy in rhymed alexandrines, instead of blank verse? The whole life of Rousseau is pitched on this heroic key, and for the most trivial occasion he must be ready with the sublime sentiments that are supposed to suit him rather than it. It is one of the most curious features of the sentimental ailment, that, while it shuns the contact of men, it courts publicity.
"He taught me to speak French in less than two years, and as a mark of my gratitude I translated his Radamiste into Italian Alexandrines. I am the first Italian who has dared to use this metre in our language." "The first? I beg your pardon, as that honour belongs to my friend Pierre Jacques Martelli." "I am sorry to be obliged to tell you that you are making a mistake."
He sketched several tragedies after the French rules, and executed several scenes in Alexandrines, but has succeeded with none: it would appear that he had not the requisite facility for so difficult a metre. Even his Miss Sara Sampson is a familiar tragedy in the lachrymose and creeping style, in which we evidently see that he had George Barnwell before his eyes as a model.
He was well acquainted with all the petty vanities and affectations of the poetaster, but was not aware that these foibles were united with all the talents and vices which lead to success in active life, and that the unlucky versifier who pestered him with reams of middling Alexandrines was the most vigilant, suspicious, and severe of politicians.
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