No More Learning

But to come to some other ancient instances. Warner rhymes _bounds_ with
_crowns_, _grounds_ with _towns_, _text_ with _sex_, _worst_ with
_crust_, _interrupts_ with _cups_; Drayton, _defects_ with _sex_;
Chapman, _amends_ with _cleanse_; Webster, _defects_ with _checks_; Ben
Jonson, _minds_ with _combines_; Marston, _trust_ and _obsequious_,
_clothes_ and _shows_; Dryden gives the same sound to _clothes_, and has
also _minds_ with _designs_. Of course, I do not affirm that their ears
may not have told them that these were imperfect rhymes (though I am by
no means sure even of that), but they surely would never have tolerated
any such had they suspected the least vulgarity in them. Prior has the
rhyme _first_ and _trust_, but puts it into the mouth of a landlady.
Swift has _stunted_ and _burnt_ it, an intentionally imperfect rhyme, no
doubt, but which I cite as giving precisely the Yankee pronunciation of
_burned_. Donne couples in unhallowed wedlock _after_ and _matter_, thus
seeming to give to both the true Yankee sound; and it is not uncommon to
find _after_ and _daughter_. Worse than all, in one of Dodsley's Old
Plays we have _onions_ rhyming with _minions_,--I have tears in my eyes
while I record it. And yet what is viler than the universal _Misses_
(_Mrs. _) for _Mistress_? This was once a vulgarism, and in 'The Miseries
of Inforced Marriage' the rhyme (printed as prose in Dodsley's Old Plays
by Collier),

'To make my young _mistress_
Delighting in _kisses_,'

is put into the mouth of the clown. Our people say _Injun_ for _Indian_.
The tendency to make this change where _i_ follows _d_ is common. The
Italian _giorno_ and French _jour_ from _diurnus_ are familiar examples.
And yet _Injun_ is one of those depravations which the taste challenges
peremptorily, though it have the authority of Charles Cotton--who rhymes
'_Indies_' with '_cringes_'--and four English lexicographers, beginning
with Dr. Sheridan, bid us say _invidgeous_.
Yet after all it is no worse
than the debasement which all our terminations in _tion_ and _tience_
have undergone, which yet we hear with _resignashun_ and _payshunce_,
though it might have aroused both _impat-i-ence_ and _in-dig-na-ti-on_
in Shakespeare's time. When George Herbert tells us that if the sermon
be dull,

'God takes a text and preacheth patience,'

the prolongation of the word seems to convey some hint at the
longanimity of the virtue. Consider what a poor curtal we have made of
Ocean. There was something of his heave and expanse in _o-ce-an_, and
Fletcher knew how to use it when he wrote so fine a verse as the second
of these, the best deep-sea verse I know,--

'In desperate storms stem with a little rudder
The tumbling ruins of the ocean. '

Oceanus was not then wholly shorn of his divine proportions, and our
modern _oshun_ sounds like the gush of small-beer in comparison. Some
other contractions of ours have a vulgar air about them. _More 'n_ for
_more than_, as one of the worst, may stand for a type of such. Yet our
old dramatists are full of such obscurations (elisions they can hardly
be called) of the _th_, making _whe'r_ of _whether_, _where_ of
_whither_, _here_ of _hither_, _bro'r_ of _brother_, _smo'r_ of
_smother_, _mo'r_ of _mother_, and so on. And dear Brer Rabbit, can I
forget him? Indeed, it is this that explains the word _rare_ (which has
Dryden's support), and which we say of meat where an Englishman would
use _underdone_. I do not believe, with the dictionaries, that it had
ever anything to do with the Icelandic _hrar_ (_raw_), as it plainly has
not in _rareripe_, which means earlier ripe,--President Lincoln said of
a precocious boy that 'he was a _rareripe_. ' And I do not believe it,
for this reason, that the earliest form of the word with us was, and the
commoner now in the inland parts still is, so far as I can discover,
_raredone_. Golding has 'egs reere-rosted,' which, whatever else it
mean, cannot mean _raw_-roasted, I find _rather_ as a monosyllable in
Donne, and still better, as giving the sound, rhyming with _fair_ in
Warner. There is an epigram of Sir Thomas Browne in which the words
_rather than_ make a monosyllable;--

'What furie is't to take Death's part
And rather than by Nature, die by Art! '

The contraction _more'n_ I find in the old play 'Fuimus Troes,' in a
verse where the measure is so strongly accented as to leave it beyond
doubt,--

'A golden crown whose heirs
More than half the world subdue. '

It may be, however, that the contraction is in 'th'orld.