,a ,,practical ,,guide ,,to ,,english ,,versification4 ,,practical ,,guide ,,to ,,english ,,versification4 ,,with ,a ,,compendious ,,dictionary ,,of ,,rhymes1 ,,an ,,examination ,,of ,,classical ,,measures ,,and ,,comments ,,upon ,,burlesque ,,and ,,comic ,,verse1 ,,vers ,,de ,,soci,t1 ,,and ,,song-,,writing4 ,,by ,,tom ,,hood4 ,a ,new and ,enlarged ,edition4 ,,to ,,which ,,are ,,added1 ,,bysshe',s ,,rules ,,for ,,making ,,english,,verse1 c4 ,,london3,,john ,,hogg1 ,,paternoster ,,row4#ahgg4 ,,preface4 ,i am anxious at the first outset that the object of this work should not be misunderstood4 ,it does not assume to be a handbook for poets1 or a guide to poetry4 ,the attempt to compile such a book as is implied by either of those titles would be as absurd as pretentious4 ,a ,poet1 to paraphrase the ,latin1 is created1 not manufactured4 ,cicero's nascimur poet1 fimus oratores1 is1 with some modification1 even more to the point4 ,in a word1 poetical genius is a gift1 but education and perseverance will make almost any man a versifier4 ,all1 therefore1 that this book aims to teach is the art of ,versification4 ,that art1 like ,logic1 is ars instrumentalis1 dirigens mentem inter cognitionem rerum4 ,as ,logic does not supply you with arguments1 but only defines the mode in which they are to be expressed or used1 so ,versification does not teach you how to write poetry1 but how to construct verse4 ,it may be a means to the end1 but it does not pretend to assure its attainment4 ,versification and ,logic are to ,poetry and ,reason what a parapet is to a bridge3 they do not convey you across1 but prevent you from falling over4 ,the difference is that which exists between and 4 ,this definition is rendered necessary by the ,dogberry spirit which is now abroad1 and which insists that to be a well-favoured man is the gift of fortune1--fortune in the sense of wealth1 ,i presume1--but to write and read comes by nature2 in fact1 that to be a poet a man needs to be advantageously placed in the world1 but that any one can write poetry4 ,with this conviction1 ,i have discarded the title of a guide for ,poets1 feeling that there is much real poetry that is not in verse1 and a vast deal of verse that is not poetry2 and that therefore a hard and fast line was of the first importance to mark the boundary of my undertaking4 ,poetry is far less a question of manner than of matter1 whereas versification is purely a question of form4 ,i will even venture to say that some of our noblest poems are in prose2 and that many great poets have been but inferior versifiers4 ,but what these last wrote has possessed qualities compared with which the mere mechanism of their verse is as nothing4 ,the poet gives to the world in his sublime thoughts diamonds of the purest water4 ,it would be idle to quibble about minor points of the polishing and setting of such gems--they would lose in the process6 ,but the writer of verse does not--and should not--pretend to give us diamonds4 ,he offers paste-brilliants2 and therefore it the more behoves him to see to the perfection of the cutting1 on which their beauty depends4 ,the thoughts presented by the poet may be rough-hewn2 the fancies of the versifier must be accurately finished1 and becomingly set4 ,poetry1 therefore1 abounds in licences1 while ,versification boasts only of laws4 ,to enumerate1 explain1 and define these laws is the object of this work4 ,nor is such a task a waste of time1 as those may be inclined to think1 who argue that if one cannot write poetry1 'tis absurd to try to write verse4 ,yet versification is an elegant accomplishment to say the least--emollit mores1 nec sinit esse feros4 ,but it is something more than an elegant accomplishment--much more4 ,in the dead languages--leaving in abeyance the question of classical versus mathematical education--nothing gives such scholarly finish as the practice of ,greek and ,latin verse-writing1 nothing such an intimate knowledge and understanding of the genius of either language4 ,were ,english versification taught in our schools1 ,i believe the boys would acquire a better understanding and appreciation of their own tongue4 ,with such training1 a lad would shrink from a mispronunciation as he does from a false quantity in ,latin or ,greek4 ,he would not fall into the slipshod way of pronouncing doing as if it were spelt doin'1 again as if agen1 and written and spoken as if writtun and spokun4 ,he would not make dissyllables of words like fire and mire1 or of the trisyllable really4 ,nor would he make another mistake 7very common now1 as revealed in magazine verse where such words are put to rhyme1 before and more7 of pronouncing ure as ore1--shore and asshore for sure and assure1 of which1 of course1 the correct pronunciation is shewre1 ashewre4#a ,the purging of our pronunciation would be of general benefit4 ,at present it is shifting and uncertain--because it is never taught4 ,the dropping of the h is almost the only error in pronunciation that is ever noticed at school2 and there being no standard set up1 the pronunciation of ,english becomes every day more and more degraded by the mere force of the majority of uneducated vulgar4 ,the ,americanising of our language--which seems to me a less remote and no less undesirable possibility than the ,americanising of our institutions1 about which we hear so much--can only be checked by some such educational system4 ,surely the deterioration of our language is not a minor matter1 and when it can be removed by the encouragement of verse-writing at our schools1 strictly and clearly taught1 it seems astonishing that no effort has been made in that direction4#b ,however1 whether1 by establishing a system of ,english versifying at our schools1 we shall ever endeavour to give fixity to our pronunciation1 is a question hardly likely1 ,i fear1 to be brought to the test yet awhile4 ,that ,english versifying is a strong educational power1 ,i do not doubt1 and in that belief1 have endeavoured to render this handbook as complete as possible4 ,i have therefore laid down the most stringent rules and the clearest formul in my power4 ,verse is but the ,a ,b ,c of ,poetry1 and the student must learn his alphabet correctly4 ,we should not allow a child to arrange the letters as he chose1--,a1 ,z1 ,b1 ,g1 ,c1--nor must the beginner in verse dream of using any licences of a similar kind4 ,i should fail in my duty if ,i admitted anything of the kind2 for while it would be presumption to lay down laws for poets1 it would be incapacity to frame licences for versifiers4 ,i therefore conclude these prefatory remarks by adducing the two chief regulations for the student4 ,first1 ,that he must use such rhymes only as are perfect to the ear1 when correctly pronounced4 ,second1 ,that he must never write a line which will not sooner or later in the stanza have a line to correspond with a rhyme4 ,to these ,i may add1 as a rider1 this piece of advice 7somewhat in the style of the whist maxim1 ,when in doubt1 play a trump73 ,if you have reason to choose between two styles of versification1 select the more difficult4 ,it is only by sustaining your verse at the highest elevation that you can hope even to approach poetry4 ,be bold--be bold--but not too bold6 ,and bear in mind the words of ,sir ,philip ,sidney3--,who shootes at the midday ,sonne1 though he be sure he shall neuer hit the marke2 yet as sure he is1 he shall shoote higher than who aymes but at a bush4 ,t4 ,h4 ,,contents4 ,,chap4 ,,page ,i4 ,,verse ,,generally1 #a ,,ii4 ,,classic ,,versification1 #h ,,iii4 ,,guides ,,and ,,handbooks1 #af ,,iv4 ,,of ,,feet ,,and ,c,,sura1 #bc ,v4 ,,of ,,metre ,,and ,,rhythm1 #bg ,,vi4 ,,of ,,rhyme1 #dd ,,vii4 ,,of ,,figures1 #di ,,viii4 ,,of ,,burlesque ,,and ,,comic ,,verse1 ,,and ,,vers ,,de ,,soci,t1 #ed ,,ix4 ,,of ,,song-,,writing1 #fa ,,the ,,dictionary ,,of ,,rhymes1 #fe ,,appendix4 #a4 ,,an ,,essay ,,on ,,english ,,versification1 #aea #b4 ,,bysshe',s ,,rules ,,for ,,making ,,english ,,verse1 #bjg ,,chapter ,i4--,of the ,structure of ,english ,verses4 ,,sect4 #a4 ,of the several ,sorts of ,verses2 and1 first1 of those of ,ten ,syllables3 of the due ,observation of the ,accents1 and of the ,pause4 #bji ,,sect4 #b4 ,of the other ,sorts of ,verses that are used in our ,poetry4 #bac ,,sect4 #c4 ,several ,rules conducing to the ,beauty of our ,versification4 #bae ,,sect4 #d4 ,doubts concerning the number of ,syllables of certain ,words4 #bag ,,sect4 #e4 ,of the ,elisions that are allowed in our ,versification4 #bai ,,chapter ,,ii4--,of ,rhyme4 ,,sect4 #a4 ,what ,rhyme is1 and the ,several ,sorts of it4 #bbc ,,sect4 #b4 ,of ,double and ,treble ,rhyme4 #bbd ,,sect4 #c4 ,further ,instructions concerning ,rhyme4 #bbd ,,chapter ,,iii4--,of the ,several ,sorts of ,poems1 or ,composition in ,verse4 ,,sect4 #a4 ,of the ,poems composed in ,couplets4 #bbg ,,sect4 #b4 ,of the ,poems composed in ,stanzas2 and1 first1 of the ,stanzas consisting of ,three1 and of ,four ,verses4 #bbh ,,sect4 #c4 ,of the ,stanzas of ,six ,verses4 #bcj ,,sect4 #d4 ,of the ,stanzas of ,eight ,verses4 #bca ,,sect4 #e4 ,of the ,stanzas of ,ten and of ,twelve ,verses4 #bcc ,,sect4 #f4 ,of the ,stanzas that consist of an odd ,number of ,verses4 #bcd ,,sect4 #g4 ,of ,pindaric ,odes1 and ,poems in ,blank ,verse4 #bcf ---------------------------------------- -------------------------------- ,,chapter ,i4 ,,verse ,,generally4 ,there is no better text for this chapter than some lines from ,pope's ,essay on ,criticism3-- ,but most by numbers judge a poet's song1 ,and smooth or rough1 with them1 is right or wrong3 ,these equal syllables alone require1 ,tho' oft the ear the open vowels tire2 ,while expletives their feeble aid do join2 ,and ten low words oft creep in one dull line3 ,while they ring round the same unvaried chimes1 ,with sure returns of still recurring rhymes2 ,where'er you find 'the cooling western breeze1' ,in the next line it 'whispers through the trees3' ,if crystal streams 'with pleasing murmurs creep1' ,the reader's threaten'd--not in vain--with 'sleep4' ,then at the last and only couplet1 fraught ,with some unmeaning thing they call a thought1 ,a needless ,alexandrine ends the song1 ,that like a wounded snake1 drags its slow length along4 ,leave such to tune their own dull rhymes1 to know ,what's roundly smooth1 or languishingly slow2 ,and praise the easy vigour of a line ,where ,denham's strength1 and ,waller's sweetness join4 ,true ease in writing comes from art1 not chance1 ,as those move easiest who have learnt to dance4 ',tis not enough no harshness gives offence1 ,the sound must seem an echo to the sense4 ,soft is the strain when zephyr gently blows1 ,and the smooth stream in smoother numbers flows2 ,but when loud surges lash the sounding shore1 ,the hoarse rough verse should like the torrent roar3 ,when ,ajax strives some rock's vast weight to throw1 ,the line1 too1 labours1 and the words move slow4 ,not so1 when swift ,camilla scours the plain1 ,flies o'er th' unbending corn1 and skims along the main4 ,johnson sneers somewhat at the attempt at what he styles representative metre4 ,he quotes one of the most successful attempts1-- ,with many a weary step1 and many a groan1 ,up a high hill he heaves a huge round stone2 ,the huge round stone1 resulting with a bound1 ,thunders impetuous down and smokes along the ground4 ,after admitting that he sees the stone move slowly upward1 and roll violently back1 he says1 try the same numbers to another sense-- ,while many a merry tale and many a song ,cheer'd the rough road1 we wish'd the rough road long4 ,the rough road then returning in a round ,mock'd our impatient steps1 for all was fairy ground4 ,we have now1 says the ,doctor1 lost much of the delay and much of the rapidity4 ,truly so6--but why8 ,the choice of words has really altered the measure1 though not the number of syllables4 ,if we look at the second line of the first extract1 we see how the frequent use of the aspirate1 with a long sound after it1 gives the labour of the ascent4 ,there is nothing of this in the corresponding line1 where the r gives a run rather than a halt to the measure4 ,but ,johnson more decidedly shows how he was mistaken when he finds fault with ,pope's-- ,the varying verse1 the full resounding line1 ,the long majestic march1 and energy divine4 ,his objection to this is1 that the same sequence of syllables gives the rapid race and the march of slow-paced majesty2 and he adds1 the exact prosodist will find the line of swiftness by one time longer than that of tardiness4 ,by this it is to be presumed he alludes to the trisyllabic nature of the first foot of the first line--varying4 ,but it is just that which gives the rapidity4 ,the other half of the line is not meant to give rapidity1 but resounding4 ,the second line1 by the repetition of the a in march and majesty1 gives the tramp of the march to admiration4 ,so much for ,johnson's objections4 ,we will now see how far the lines of ,pope can guide us in the construction of verse4 ,,line ,,third indicates the necessity--which ,pope himself1 even1 did not adequately recognise--the necessity of varying the fall of the verse on the ear4 ,pope did this by graduating his accents4 ,the line should scan with an accented syllable following an unaccented one-- ,and smooth or rough1 with them1 is right or wrong4 ,pope varied this by a sort of compromise-- ,and the smooth stream in smoother numbers flows1 would be the right scansion4 ,but the accent passes in a subdued form from the to smooth1 which pleasantly modulates the line1 and gives the flow required for the figure treated of4#c ,but there was another means of varying the verse which was not in those days adopted4 ,it was not then recognised that there were some cases in which the unaccented syllable might have two beats4 ,pope wrote1 ,the gen'rous pleasure to be charm'd with wit4 ,had he written generous1 it might have stood1 and would have given a variety4 ,and this would have saved the eyesore of such lines as-- ,t' admire superior sense and doubt our own4 ,,line ,,fourth does not exactly describe the fault it commits4 ,the open vowel is no offence1 but rather a beauty1 though like all beauty it must not be too lavishly displayed4 ,the fault of the line really lies in the repetition of the same broad sound--o4 ,the same vowel-sounds should not be repeated in a line4#d ,this especially holds good where they are so associated with consonants as to form a rhyme1 or anything approaching to it4 ,,line ,,fifth points out an inelegance which no one with any ear could be guilty of--the use of do and did1 to eke out a line or help a rhyme4 ,,line ,,sixth indicates a practice which those who have studied ,latin versification would avoid without such a hint1 since the nature of the csura compels the avoidance of monosyllables4 ,,line ,,ninth1 with the following three lines1 warns against an error which naturally becomes the more frequent the longer ,english verse is written1 since rhymes become more and more hackneyed every day4 ,,line ,,sixteenth4 ,the ,alexandrine will come under discussion in its place among metres4 ,,line ,,twenty-,,first might well serve for a motto for this little treatise4 ,if a poet said this of poetry1 how much more does it apply to versification6 ,,line ,,twenty-,,fifth4 ,here1 and in the following line1 by delicate manipulation of the accent1 ,pope gets the desired effect4 ,instead of ,so soft the strain1 he attracts the ear with ,soft is1 and the unexpected word gives the key-note of the line4 ,,line ,,twenty-,,seventh4 ,it is almost needless to point out how in this1 and the next line1 the poet1 by artful management of accent and careful selection of onomatopoetic words1 gives the required assonance to the lines4 ,,line ,,twenty-,,ninth4 ,the broad vowels here give the requisite pause and deliberation to the verse4 ,in the following line1 the introduction of too--7under some circumstances it might well come under the condemnation of ,line ,fifth7--makes the line labour1 and the open o at the end of the line tires the ear4 ,,line ,,thirty-,,first4 ,here the poet gets the slide of the s to give the idea of motion4 ,in the following line by the elision and the apt introduction of short syllables he repeats the notion4 ,in my opinion the artistic skill of ,pope is peculiarly observable in the last few couplets4 ,in the first line in each instance the effect is produced by the use of a different artifice from that employed in the second4 ,these rules were of course intended by ,pope to apply only to the measure called heroic1 i4e41 decasyllabic verse4 ,but1 mutatis mutandis1 they will be equally applicable to general verse4 ,coleridge in his ,christabel struck out what he considered a new metre1 which he describes as not1 properly speaking1 irregular1 though it may seem so from its being founded on a new principle3 namely1 that of counting in each line the accents1 not the syllables4 ,though the latter may vary from seven to twelve1 yet in each line the accents will be found to be only four4 ,this was a decided step in the right direction1 being in truth a recognition of the principle that measure in ,english was not exhausted--was1 indeed1 hardly satisfied--by the old rule of thumb2 that1 in short1 it needed a compromise between accent and quantity4 ,southey in his ,thalaba essayed a new style of versification1 of which he writes as follows3-- ,it were easy to make a parade of learning by enumerating the various feet which it admits2 it is only needful to observe that no two lines are employed in sequence1 which can be read into one4 ,two six-syllable lines 7it will perhaps be answered7 compose an ,alexandrine2 the truth is1 that the ,alexandrine1 when harmonious1 is composed of two six-syllable lines4 ,one advantage this metre assuredly possesses2 the dullest reader cannot distort it into discord4444 ,i do not wish the improvisatore time1 but something that denotes the sense of harmony2 something like the accent of feeling2 like the tone which every poet necessarily gives to poetry4 ,of course1 by six syllables ,southey means six feet4 ,he was evidently struggling for emancipation from the old rule of thumb4 ,of late many eccentricities of versification have been attempted after the manner of ,mr ,whitman1 but for these1 like the ,biblical echo of ,mr ,tupper's muse1 there seem to be no perceptible rules1 even should it be desirable to imitate them4 ,i would here add a few words of advice to those who1 by the study of our greatest writers1 would endeavour to improve their own style4 ,for smoothness ,i should say ,waller1 in preference even to ,pope1 because the former wrote in far more various measures1 and may challenge comparison with ,pope1 on ,pope's own ground1 with ,the ,ode to the ,lord ,protector1 in decasyllabic verse4 ,for music--lilt is an expressive word that exactly conveys what ,i mean--they cannot do better than choose ,herrick4 ,add to these two ,george ,herbert1 and ,i think the student will have a valuable guide in small space4 ,,chapter ,,ii4 ,,classic ,,versification4 ,there is little doubt that the best and easiest way of learning ,english grammar is through the ,latin4 ,that ,english versification cannot be similarly acquired through the ,latin is due to the fact that the ,latin system depends on quantity1 and the ,english chiefly on accent and rhyme4 ,nevertheless1 a slight acquaintance with the classic measures will prove useful to the student of ,english verse4 ,in the absence of all teaching of ,english versification at our schools1 they have done good service in giving our boys some insight into the structure of verse4 ,the structure of ,latin and ,greek verse depends on the quantity--the length or shortness expressed by the forms -- 4 ,a long syllable is equal in duration to two short syllables1 which may therefore take its place 7as it may take theirs7 in certain positions4 ,the combinations of syllables are called feet1 of which there are about nine-and-twenty4 ,twelve of the most common are here given3-- ,spondee -- -- ,pyrrhic ,trochee -- ,iambus -- ,molossus -- -- -- ,tribrach ,dactyl -- ,anapst -- ,bacchic -- -- ,antibacchic -- -- ,amphimacer -- -- ,amphibrach -- ,of the styles of verse produced by combinations of these feet the most important are the ,heroic1 or ,hexameter2 the ,elegiac1 alternate ,hexameters and ,pentameters2 and the ,dramatic or ,iambic4 ,all others may be classed as ,lyrics4 ,the ,csura 7division7 is the separation of each verse into two parts by the ending of a word in the middle of a certain foot4#e ,it may be here noted that this principle 7the ending of a word in the middle of a foot7 applies generally to the verse1 it being an inelegance to construct lines of words of which each constitutes a foot4 ,the well-known line of ,virgil1 marked to show the feet1 will explain this at a glance-- ,arma virumque cano ,troj qui primus ab oris4 ,in this the csura occurs in the third foot1 between cano and ,troj4 ,but in no case is one foot composed of one word only4 ,the ,hexameter line consists of1 practically1 five dactyls and a spondee or trochee4 ,a spondee may take the place of each of the first four dactyls--and sometimes1 but very rarely1 of the fifth4 ,the csura falls in the third foot at the end of the first--and sometimes at the end of the second--syllable of the dactyl4 ,in some cases it is in the fourth foot1 after the first syllable4 ,the last word in the line should be either a dissyllable or trisyllable4 ,the ,pentameter is never used alone1 but1 with a ,hexameter preceding it in the distich1 forms ,elegiac ,verse4 ,it consists of two parts1 divided by a csura1 each part composed of two dactyls 7interchangeable with spondees7 and a long syllable4#f ,the last place in the line should be occupied by a dissyllabic word--at least it should not be a monosyllable or trisyllable4 ,the ,iambic is most commonly used in a six-foot line of iambics 7the trimeter iambic1 vide note on last paragraph74 ,in the first1 third1 and fifth place a spondee may be substituted1 and there are other licenses which we need not here enter upon1 as the measure is not of much importance for our purposes4 ,the csura occurs in the third or fourth foot4 ,the ,lyrics are1 as a rule1 compound verses2 different sorts of feet enter into the formation of the lines2 and the stanzas consist of lines of different kinds1 and are styled strophes4 ,the chief of the lyric measures are the ,sapphic and ,alcaic4 ,the ,sapphic is a combination of three ,sapphic verses with an ,adonic4 ,lines #a1 #b1 #c1 -- -- -- -- -- -- -- -- ,line #d1 -- -- -- ,the double line represents the csura1 which in rare instances falls a syllable later4 ,the ,alcaic is1 like the ,sapphic1 a four-line stanza4 ,its scheme is-- ,lines #a and #b1 -- -- -- -- -- -- -- ,line #c1 -- -- -- -- -- -- -- ,line #d1 -- -- -- -- -- ,that is to say1 it consists of two eleven-syllable1 one nine-syllable1 and one ten-syllable ,alcaic lines 7,alcaici hendeka-1 ennea-1 and deka-syllabici74 ,much of the success of the stanza depends on the flow of the third line1 which1 according to the best models1 should consist of three trisyllables 7or equivalent combinations1 e4g4 a dissyllable noun with its monosyllabic preposition74 ,when it is stated that ,horace wrote in four or five-and-twenty lyric measures1 it will be obvious that ,i cannot exhaust1 or attempt to exhaust1 the list of measures in a work like this4 ,the reader will have acquired some notion of the nature of classic versification1 from what ,i have stated of ,latin composition applying with unimportant differences to ,greek4 ,those who have the leisure or the inclination might do worse than study ,greek and ,latin poetry1 if only to see if they can suggest no novelties of metre4 ,i can recall no ,english verse that reproduces ,horace's musical measure3-- ,msrr' est nqu' mr dr ldm nqe dlc ,ml vn lvr' ut xnmr mtnts ,ptr vr br lngu4 ,greek verse seems a less promising field than ,latin at a first glance4 ,but one of the choruses in ,aristophanes's ,plutus has an exact echo in ,engish verse4 4 may fairly run in a curricle with ,a captain bold of ,halifax who lived in country quarters4 ,the great difficulty of finding a corresponding measure in ,english for ,latin or ,greek verse1 on the accepted theory that the ,english acute accent answers to the ,latin long quantity1 and the grave accent to the short1 will be found in the spondee4 ,we have no means of replacing the two longs in juxtaposition1 and are compelled to find refuge in what1 according to the accent-quantity theory1 is either an iamb or a trochee4 ,i subjoin the following attempts to render a few ,latin metres1 commencing with a translation of the ,horatian measure just alluded to3-- ,hapless lasses who in glasses may not drown those pangs of passion1 ,or disclose its bitter woes1 it's--so they tell you--not the fashion4 ,yet this1 in spite of the sub-rhymes which give the swing of the ,ionicus 7 -- -- 7 may well be read as a succession of trochees--that is to say1 according to the quantity-accent system4 ,here is an attempt at the ,sapphic3-- ,never--ah me--now1 as in days aforetime ,rises o'erwhelming memory--'tis banish'd6 ,scenes of loved childhood1 cannot ye restore time1 ,though it has vanish'd8 ,the ,alcaic measure is essayed in the following3-- ,ah woe6 the men who gallantly sallying ,strode forth undaunted1 rapidly rallying-- ,no longer advancing attack-ward1 ,rush'd a disorderly tumult backward4 ,in these1 again1 the difficulty of exactly replacing quantity by accent is great--if not insurmountable4 ,hence it is that1 as a rule1 the attempts at giving the exact reproductions of ,latin measures have failed4 ,nevertheless ,i believe that corresponding measures1 suitable to the genius of our language1 may be suggested by a study of the classics4 ,the often-quoted lines of ,coleridge on the hexameter and pentameter appear to me faulty3-- ,in the hexameter rises the fountain's silvery column-- ,in the pentameter aye falling in melody back4 ,the first feet of both lines are less dactyls than anapsts4 ,the csura of the first line is not the worthier csura4 ,in the second line the monosyllable is inadmissible in the last place4 ,here ,i may as well point out what seems to me to be a difficulty of ,english versification which has given much trouble4 ,the substitution of accent for quantity is not all that is required to make the best verse4 ,quantity enters into the consideration too4 ,a combination of consonants1 giving an almost imperceptible weight to the vowel preceding them1 goes far to disqualify it for a place as an unaccented syllable4 ,to my thinking rises a would be a better ,english dactyl than rises the1 and falls it in than falling in4 ,but no agglomeration of consonants can make such a syllable accented4 ,two lines from ,coleridge's ,mahomet will evidence this-- ,huge wasteful empires founded and hallowed slow persecution1 ,soul-withering but crush'd the blasphemous rites of the ,pagan4 ,huge wasteful is not a dactyl1 and ing but is certainly not a spondee--nor is crushed the4 ,hallowed1 by force of the broad o1 is almost perfect as a spondee1 on the other hand2 as is empires also4 ,longfellow1 in his ,evangeline1 has perhaps done the best that can be done to give an exact rendering of the ,latin hexameter2 but ,tennyson1 in portions of ,maud1 has caught its spirit1 and transfused it into an ,english form4 ,no poet1 indeed1 has done so much as the ,laureate to introduce new or revive old forms of versification1 and enrich the language with musical measure4 ,it may be well to note here that the classic poets did not forget the use of the maxim which ,pope expresses in the line-- ,the sound must seem an echo to the sense4 ,in this they were greatly assisted by the use of the quantity1 which enabled them the more readily to give rapidity or weight to their lines4 ,nothing could more admirably represent a horse's gallop than the beat of the words-- ,quadrupedante putrem sonittu quatit ungula campum4 ,the unwieldiness of the ,cyclops is splendidly shadowed in the line-- ,monstrum1 horrendum1 informe1 ingens cui lumen ademptum4 ,and again the beat of the ,cyclopean hammers is well imitated in the verse-- ,illi inter sese magn vi brachia tollunt4 ,too much stress may easily be laid on this adornment1 and some poets have carried it to excess4 ,but the beginner in verse will do well not to overlook it4 99 99 99 99 99 ,,note4--,the ,poet ,laureate1 whose mastery of metre is remarkable1 has given us alcaics in his lines to ,milton-- ,oh1 mighty-mouth'd inventor of harmonies1 ,oh1 skill'd to sing of time and eternity1 ,god-gifted organ-voice of ,england-- ,milton1 a name to resound for ages4 ,i would especially commend to those whom these remarks have interested in any way1 the perusal1 with a view to this particular object1 of ,father ,prout's ,reliques4 ,illustration ,,chapter ,,iii4 ,,guides ,,and ,,handbooks4 ,the earliest handbook of verse appears to be that of ,bysshe1 who is1 by the way1 described in the ,british ,museum ,catalogue as the ,poet4 ,the entry is the only ground ,i can find for so describing him4 ,he is1 however1 amusingly hard on simple versifiers4 ,such ,debasers of ,rhyme1 and ,dablers in ,poetry would do well to consider that a ,man would justly deserve a higher ,esteem in the ,world by being a good ,mason or ,shoe-,maker1 than by being an indifferent or second-,rate ,poet4 ,furthermore1 with touching modesty1 he says1 ,i pretend not by the following sheets to teach a man to be a ,poet in ,spight of ,fate and ,nature4 ,his ,rules for making ,english ,verse are reprinted in the ,appendix4 ,his dictionary of rhymes is better than those of his successors1--perhaps ,i should say that of his successors1 for ,walker's has been repeated with all its errors1 or nearly all1 in every subsequent handbook4 ,bysshe is to be praised for setting his face against what ,walker styles allowable rhymes1 such as haste and feast4#g ,bysshe's theory of verse was the seat of the accent1 and the pause1 as distinguished from quantity--that is1 it depended on the number of syllables4 ,as a result of this undivided devotion1 he misses much of the power to be attained by making the sound the echo of the sense1 as ,pope puts it4 ,he proposes to alter a line of ,dryden's from ,but forced1 harsh1 and uneasy unto all4 into ,but forced and harsh1 uneasy unto all4 ,one would fancy the merest tyro would see the intentional harshness of the line as ,dryden wrote it1 and its utter emasculation as ,bysshe reforms it4 ,bysshe is strongly in favour of clipping syllables1 a very pitiable error1 for the chief drawback of ,english as a poetical language is the preponderance of consonants4 ,he prefers to make beauteous dissyllabic1 and victorious trisyllabic4 ,he recommends the elision which makes bower1 ,heaven1 ,prayer and higher1 monosyllables1 and advises the use of such abortions as temp'rance1 fab'lous1 med'cine1 cov'nant1 and even wall'wing1 for wallowing6 ,to compensate for these clippings1 however1 he considers ism a dissyllable6 ,as a consequence of his narrowing verse to a question of syllable and accent only1 he vulgarises many words unnecessarily4 ,the student of verse who considers quantity as well as accent will find no difficulty in reading the following lines without eliding any vowels4 ,from diamond quarries hewn1 and rocks of gold4--,milton4 ,a violet by a mossy stone4--,wordsworth4 ,with vain but violent force their darts they threw4--,cowley4 ,his ephod1 mitre1 well-cut diadem on4--,cowley4 ,my blushing hyacinth and my bays ,i keep4--,dryden4 ,bysshe cuts down to di'mond1 vi'let1 vi'lent1 di'dem1 hy'cinth1 words which need no such debasing elision4 ,as in music two short sharp beats are equivalent to one long one 7two minims one semi-breve7 so in verse two brief vowels1 or syllables even1 are admissible--indeed1 at times desirable for the sake of variety in lieu of one4 ,among less questionable maxims of ,bysshe's is one1 avoid a concourse of vowels1 instanced by-- ,should thy ,iambics swell into a book4 ,this means1 it is to be presumed1 avoid a concourse of repetitions of one sound1 a very necessary rule4 ,some poets are careful not to get the same vowel sound twice in any line4 ,avoid ending a verse with an adjective whose substantive follows in the next line is another sound precept1 instanced by-- ,some lost their quiet rivals1 some their kind ,parents4 ,the same rule applies to the separation of a preposition from the case which it governs1 as exemplified in-- ,the daily lessening of our life shows by ,a little dying1 c4 ,with less reason ,bysshe condemns alliteration4 ,it is an artifice that can be overdone1 as is often the case in ,poe's poems1 and those of ,mr ,swinburne1#h ,following the example of the old ,gradus ad ,parnassum1 ,bysshe gives an anthology with his guide4 ,an anthology in a guide to ,english verse is worse than useless1 for it serves no purpose save to provoke plagiarism and imitation4 ,any one who wishes to write verse will do little unless he has a fair acquaintance with ,english poetry--an acquaintance for which an anthology can never be a substitute2 while it will but cripple and hamper his fancy and originality by supplying him with quotations on any given subject1 from ,april to ,woman4 ,walker's ,rhyming ,dictionary has greater faults1 but also greater merits than ,bysshe's ,art of ,poetry4 ,walker admits and defends allowable rhymes4 ,it may be objected1 he says1 that a work of this kind contributes to extend poetical blemishes1 by furnishing imperfect materials and apologies for using them4 ,but it may be answered1 that if these imperfect rhymes were allowed to be blemishes1 it would still be better to tolerate them than cramp the imagination by the too narrow boundaries of exactly similar sounds4 ,now1 it is perfectly true1 of course1 that a poet may well be allowed to effect the compromise of sacrificing a rhyme for a thought2 but the versifier 7for whom ,walker's book is meant7 must have no such license4 ,he must learn to walk before he runs4 ,yet apart from this1 ,walker's argument is singularly illogical2--there can be no need to catalogue the blemishes1 even on the ground he urges1 since the imagination would suggest the license1 not the license stimulate the imagination4 ,walker's book being simply mechanical should have been confined to the correct machinery of verse1 and imagination should have been allowed to frame for itself the licenses1 which it would not dream of seeking in a handbook4 ,but for this defect1 ,walker's ,dictionary would be the best book of the sort possible4 ,it contains1 beside an ,index in which rhymes are arranged under various terminations1 as in ,bysshe's work1 a terminational dictionary of three hundred pages2 a dictionary1 that is1 in which the words are arranged as in ordinary dictionaries1 save that the last and not the first letter of the word is that under which it is ranged4 ,walker's ,index is by no means exhaustive4 ,in arranging the index of this little book ,i have added about a hundred terminations to his list1 beside subdividing headings which have two sounds 7as ,,ash1 in cash and wash74 ,walker's ,dictionary of rhymes1 though by no means exhaustive1 is useful1 and is the only one extant4 ,his ,index of rhymes has been copied so servilely by all compilers of handbooks of poetry that1 in dismissing it now1 we dismiss all so-called rhyming dictionaries of later date4 ,of these recent books there are but two of any note or importance4 ,one claims to be a complete practical guide to the whole subject of ,english versification--an exhaustive treatise1 in which the writer1 by way of simplifying matters1 proposes to supersede the old titles of spondee1 dactyl1 c41 by the titles of march1 trip1 quick1 and revert1 and makes accents intelligible by calling them backward and forward1 with such further lucidities as hover1 main1 midabout1 and other technicalities afford4 ,its chief characteristic1 however1 is a decided condemnation of rhyme altogether1 and a suggestion of the substitution of assonance1 under which path and ways1 and pride and wife would do duty for rhyme6 ,the treatise1 though spoiled by pedantic aiming after novelties of nomenclature1 and too assertive language1 is worth perusal4 ,but as a practical guide it is at present useless1 and will remain so until ,english rhyme is disestablished and disendowed by ,act of ,parliament4 ,although its author modestly describes it as the first treatise of the kind ever completed1 and considers it will in no mean degree serve to advance the study of ,english verse1 it is to be feared that there is little danger of its setting the ,pierian spring on fire4 ,a more practical ,handbook of ,poetry is the best work of the kind ,i have met with1 but it is full of grave errors4 ,it begins with a definition of ,poetry which makes it identical with ,verse1 and it tends too much to the side of license in consequence1 from the fact of permitting to the versifier freedoms which poets only can claim4 ,on rhyme it is singularly inconsistent4 ,it pronounces as no rhyme heart and art1 which to any but a cockney ear are perfect rhymes4 ,yet1 a few paragraphs farther on1 its only objection to the coupling of childhood and wildwood as a double rhyme1 is that it is hackneyed2 whereas it is not a double rhyme at all6 ,in a chapter on ,imagery1 though metaphor is catalogued1 simile is omitted1 and both together reappear under the needless subdivision tropes4 ,an anthology is added1 and a dictionary of double and treble rhymes--as if it were possible to give anything like an exhaustive list of them in twenty pages6 ,such being the imperfections1 whether of shortcoming or excess1 of the various existing handbooks1 ,i venture to hope that this little treatise may plead some excuse for its appearance4 ,,chapter ,,iv4 ,,of ,,feet ,,and ,c,,sura4 ,the feet most often met with in ,english verse are those corresponding with the trochee and iambus1#i that is approximately4 ,the iambic is most common perhaps1 represented by two syllables with the accent on the last syllable4 ,the trochee has two syllables1 with the accent on the first4 ,an example of a line in each metre will show the difference-- ,four ,foot ,iambic4 ,to fair ,fidele's grassy tomb4 ,four ,foot ,trochaic4 ,not a single man departed4 ,dactyls 7an accented followed by two unaccented syllables7 and anapsts 7two unaccented syllables followed by an accented one7 are most frequently used in combination with the other feet-- ,anapstic4 ,or the world from the hour of her birth4 ,dactylic4 ,make no deep scrutiny ,into her mutiny4 ,it appears to me preferable to retain the classic names for these feet1 rather than to try and invent new titles for them4 ,one writer on versification has attempted to do this1 and calls the iambic march measure1 and the trochaic trip4 ,this seems to me to render the nature of the measure liable to misconstruction1 as if the former only suited elevated themes1 and the latter light ones2 whereas the metre of ,hudibras is iambic1 and ,aytoun's ballad of the ,battle of ,flodden is trochaic4 ,the truth is1 that the form of the foot has little to do with the march or trip of the verse1 for ,the ,bridge of ,sighs is written in a dactylic form2 and1 according to the authority just alluded to1 if the trochee be a trip1 the dactyl must be a jig6 ,by the combinations of these feet in certain numbers a line is constituted4 ,those in which two1 three1 and four feet occur--dimeters1 trimeters1 and tetrameters--are not so general as lines of more feet1 and in these latter a new feature has to be recognised and provided for--the csura or pause4 ,strictly1 the csura causes poetry to be written in lines1 the end of each being a csura2 but there are other csuras in the line1 one or more according to its length4 ,in the best verse they correspond with a natural pause in the sense of the words4 ,when they do not1 the artificial punctuation injures the harmony with which the sound and the sense should flow together4 ,it is by varying the fall of the csura that the best writers of blank decasyllabic verse contrive to divest it of monotony4 ,in some of the more irregular forms of verse1 especially when it is unrhymed1 the csura is all-important1 giving to the lines their rise and fall--a structure not altogether unlike what has been termed the parallelism of ,hebrew versification4 ,it is scarcely possible to lay down rules for the use of the csura1 or pause1 in ,english verse4 ,it differs from the classic csura in falling at the end of both foot and word4 ,of its possible varieties we may gain some idea when we note that1 in the decassyllabic line1 for instance1 it may fall after each foot1 and it is by the shifting of its place that in this1 as in blank verse1 monotony is avoided4 ,in shorter measures1 especially of a lyric nature1 it generally falls midway in the line4 ,the plan of giving to our accentual feet the titles given to the classical quantitative feet has been strongly condemned by some writers4 ,i venture to think they have hardly considered the matter sufficiently4 ,it must be better to use these meaningless terms 7as we use the gibberish of ,baroko and ,bramantip in logic7 than to apply new names which1 by aiming at being expressive1 may be misleading4 ,but there is something more than this to be considered4 ,there is in accent this1 in common with quantity1 that just as two shorts make a long1 and can be substituted for it1 so two unaccented syllables may take the place of one rather more accented2 or perhaps it will be found that the substitution is due less to the correspondence in accent alone1 than to correspondence of quantity as well as accent4 ,to put it briefly1 these resolutions of the foot into more syllables are--like similar resolutions in music--a question of time1 and time means quantity rather than accent4 ,as an instance of this1 ,i may give the much-quoted1 often-discussed line-- ,than tired eyelids upon tired eyes4 ,the ordinary method of scanning this is to make a dissyllable of tired1 as if it were ti-erd1 a vulgarism of which its author would never have been guilty4 ,the truth is1 that the long i and the roll of the r correspond in time to a dissyllable1 and by changing the run of the line1 carry out perfectly ,pope's notion of the sound echoing the sense4 ,these resolutions1 therefore1 need a most accurate ear1 and no slight experience4 ,the versifier will do well1 as a beginner1 to refrain from attempting them4 ,when he has gone on writing verse by rule of thumb until he begins to discover a formality in them that would be the better for variation1 he may fairly try his hand at it--but not until then4 ,before that1 his redundancy of syllables would be the result of faulty or unfinished expression1 not the studied cause of a change in run4 ,,chapter ,v4 ,,metre ,,and ,,rhythm4 ,i t was scarcely possible to explain what the feet in verse are without assuming the existence of lines1 in order to give intelligible examples of the various feet4 ,but the consideration of the construction of lines really belongs to this chapter4 ,a line is composed of a certain number of feet1 from two to almost any number short of ten or so--if indeed we may limit the number exactly1 for there is nothing to prevent a man from writing a line of twenty feet if he have ingenuity enough to maintain the harmony and beat necessary to constitute verse4 ,as a rule1 we seldom meet with more than eight feet in a line4 ,a line may consist of feet of the same description1 or of a combination of various feet4 ,and this combination may be exactly repeated in the corresponding line or lines1 or one or more of the feet may be replaced by another corresponding in time or quantity4 ,here is an instance-- ,i knew by the smoke that so gracefully curled 444 ,and ,i said 'if there's peace to be found in the world4' ,here the iambic ,i knew is resolved into the anapst1 and ,i said1#aj--or rather 7as the measure is anapstic7 the iambic takes the place of the anapst4 ,when only two feet go to a line1 it is a dimeter4 ,three form a trimeter1 four a tetrameter1 five a pentameter1 six a hexameter1 seven a heptameter1 eight an octameter1 which1 however1 is usually resolved into two tetrameters4 ,if the feet be iambics or trochees1 of course the number of syllables will be double that of the feet--thus a pentameter will be decasyllabic4 ,when dactyls or anapsts are used1 of course the number of syllables exceeds the double of the feet4 ,but there is no necessity for enlarging on this point3 ,i have given enough to explain terms1 with which the student may perhaps meet while reading up the subject of versification4 ,as he may also meet with the terms catalectic and acatalectic1 it may be as well to give a brief explanation of them also4 ,a catalectic line is one in which the last foot is not completed4 ,an acatalectic is one in which the line and the foot terminate together4 ,an extract from the ,bridge of ,sighs1 a dactylic poem1 will illustrate this4 ,make no deep scrutiny ,into her mutiny2 ,rash and undutiful1 ,past all dishonour2 ,death has left on her ,only the beautiful4 ,take her up tenderly1 ,lift her with care2 ,fashion'd so slenderly ,young and so fair4 ,here the fourth and fifth1 the eighth and tenth lines are catalectic4 ,in the first two the last foot needs one syllable1 in the others it requires two4 ,it is scarcely necessary to point out how such variations improve and invigorate the measure1 by checking the gallop of the verse4 ,we have now seen that the line may be composed of various numbers of the different feet4 ,the next step to consider is the combination of lines into stanzas4 ,stanzas are formed of two or more lines4 ,two lines are styled a couplet1 three a triplet1 and four a quatrain1 while other combinations owe their titles to those who have used them first or most1 as in the case of the ,spenserian stanza4 ,the reader will see at once that1 each of these kinds of stanzas being constructible of any of the styles of line before enumerated1 each style of line being in its turn constructible of any of the sorts of feet described in a previous chapter1 to make any attempt to give an exhaustive list of stanzas would be to enter upon an arithmetical progression alarming to think of4#aa ,i shall therefore only enumerate a few1 giving1 as seems most useful for my purpose1 examples of the most common form of a peculiar stanza1 as in the case of the decasyllabic couplet of ,pope1 and the nine-line stanza of ,spenser1 or the least common1 as when1 in the quatrain1 it appears preferable to give1 instead of the alternate-rhymed octosyllabic tetrameters which have been repeated ad nauseam1 such fresh forms as will be found in the extracts from ,the ,haunted ,house1 or ,browning's ,pretty ,woman4 ,,examples4 ,,the ,,couplet ,,or ,,distich4#ab ,dimeter 7four-syllabled74 ,here1 here ,i live ,and somewhat give4 --,herrick1 ,hesperides4 ,tetrameter 7eight-syllabled74 ,his tawny beard was th' equal grace ,both of his wisdom and his face4 --,butler1 ,hudibras4 ,tetrameter 7seven-syllabled74 ,as it fell upon a day ,in the merry month of ,may4 --,shakespeare4 ,pentameter 7ten-syllabled1 ,pope's decasyllable74 ,truth from his lips prevail'd with double sway1 ,and fools who came to scoff remained to pray4 --,goldsmith1 ,deserted ,village4 ,hexameter 7twelve-syllabled74 ,doth beat the brooks and ponds for sweet refreshing soil3 ,that serving not--then proves if he his scent may foil4 --,drayton1 ,polyolbion4 ,heptameter 7fourteen-syllabled74 ,now glory to the ,lord of ,hosts1 from whom all glories are2 ,and glory to our sovereign liege1 king ,henry of ,navarre4 --,macaulay1 ,battle of ,ivry4 ,the couplet may also be formed of two lines of irregular length4 ,belovd1 ,o men's mother1 ,o men's queen6 ,arise1 appear1 be seen4 --,swinburne1 ,ode to ,italy4 ,where the quiet-coloured end of evening smiles ,miles on miles4 --,browning1 ,love among the ,ruins4 ,morning1 evening1 noon1 and night1 ',praise ,god1' sang ,theocrite4 --,browning1 ,the ,boy and the ,angel4 ,take the cloak from his face and at first ,let the corpse do its worst4 --,browning1 ,after4 ,or for a time we'll lie ,as robes laid by4 --,herrick1 ,hesperides4 ,give me a cell ,to dwell4 --,herrick1 ,hesperides4 ,two couplets are at times linked together into a quatrain4 ,more often they are formed into six-line stanzas1 that is a couplet followed by a line which has its rhyme in another line following the second couplet4 ,but indeed the combination of stanzas is almost inexhaustible4 ,,triplets4 ,trimeter 7six-syllabled74 ,and teach me how to sing ,unto the lyric string ,my measures ravishing4 --,herrick1 ,hesperides4 ,tetrameter 7seven-syllabled74 ,o1 thou child of many prayers1 ,life hath quicksands1 life hath snares1 ,care and age come unawares4 --,longfellow1 ,maidenhood4 ,octameter 7fifteen syllabled74 ,was a lady such a lady1 cheeks so round and lips so red-- ,on her neck the small face buoyant1 like a bell-flower o'er its bed1 ,o'er the breast's superb abundance where a man might base his head4 --,browning1 ,a ,toccata4 ,the triplet pure and simple1 is not a very common form2 it is most frequently combined with other forms to make longer stanzas4 ,at times the second line1 instead of rhyming with the first or third1 finds an echo in the next triplet--sometimes in the second1 but more often in the first and third lines4 ,make me a face on the window there1 ,waiting1 as ever mute the while1 ,my love to pass below in the square4 ,and let me think that it may beguile ,dreary days1 which the dead must spend ,down in their darkness under the aisle4 --,browning1 ,the ,statue and the ,bust4 ,another species of triplet occurs in the ,pope measure 7pentameter-decasyllabic74 ,it is formed by the introduction1 after an ordinary couplet1 of a third line1 repeating the rhyme and consisting of eleven syllables and six feet4 ,dryden1 however1 and some other writers1 gave an occasional triplet without the extra foot4 ,the ,alexandrine1 i4e41 the six-foot line1 ought to close the sense1 and conclude with a full stop4 ,,the ,,quatrain4 ,of this form of stanza the name is legion4 ,of the most common styles1 the reader's memory will supply numerous examples4 ,i shall merely give a few of the rarer kinds4 ,the quatrain may consist practically of two couplets1 or of a couplet divided by a couplet1 as in ,tennyson's ,in ,memoriam4 ,but the usual rule is to rhyme the first and third1 and second and fourth4 ,the laxity which leaves the two former unrhymed1 is a practice which cannot be too strongly condemned4 ,quatrains so formed should in honesty be written as couplets1 but such a condensation would possibly not suit the views of the mob of magazine-versifiers1 who have inflicted this injury1 with many others1 upon ,english versification4 ,it may be well to note here that the rhyme of the first and third lines should be as dissimilar as possible in sound to that of the second and fourth4 ,this is1 in fact1 a part of the rule which forbids repetitions of the same vowel-sounds in a line--chief of all1 a repetition of the particular vowel-sound of the rhyme4 ,the rhymes recurring give a beat which is something like a csura1 and when therefore the rhyme-sound occurs elsewhere than at its correct post it mars the flow4 ,here follow a few examples of the quatrain4 ,i have not specified the syllables or feet1 as the reader by this time will have learned to scan for himself2 and1 owing to the varieties of measure1 such a specification would be cumbrous3-- ,the woodlouse dropp'd and roll'd into a ball1 ,touch'd by some impulse1 occult or mechanic1 ,and nameless beetles ran along the wall ,in universal panic4 --,hood1 ,haunted ,house4 ,that fawn-skin-dappled hair of hers1 ,and the blue eye1 ,dear and dewy1 ,and that infantine fresh air of hers4 --,browning1 ,a ,fair ,woman4 ,all thoughts1 all passions1 all delights1 ,whatever stirs this mortal frame2 ,all are but ministers of love1 ,and feed his sacred flame4 --,coleridge1 ,love4 ,what constitutes a state8 ,not high-raised battlement or labour'd mound1 ,thick wall1 or moated gate1 ,nor cities proud with spires and turrets crown'd4 --,jones1 ,ode4 ,whither1 midst falling dew1 ,while glow the heavens with the last steps of day1 ,far through their rosy depths1 dost thou pursue ,thy solitary way4 --,bryant1 ,to a ,waterfowl4 ,sweet day1 so calm1 so cool1 so bright1 ,the bridal of the earth and sky1 ,the dews shall weep thy fall to-night1 ,for thou must die4 --,herbert1 ,virtue4 ,,the ,,five-,,line ,,stanza4 ,i am inclined to think this one of the most musical forms of the stanza we possess4 ,it is capable of almost endless variety1 and the proportions of rhymes1 three and two1 seem to be especially conducive to harmony4 ,it would be curious to go into the question how many popular poems are in this form4 ,here are two examples--both of them from favourite pieces3-- ,go1 lovely rose1 ,tell her that wastes her time and me1 ,that now she knows ,when ,i resemble her to thee1 ,how sweet and fair she seems to be4 --,waller1 ,to a ,rose4 ,higher still and higher ,from the earth thou springest2 ,like a cloud of fire1 ,the blue deep thou wingest1 ,and singing still dost soar1 and soaring ever singest4 --,shelley1 ,the ,skylark4 ,mr ,browning frequently uses this stanza1 and with admirable effect4 ,although he has been accused of ruggedness by some critics1 there is no modern poet who has a greater acquaintance with the various forms of verse1 or can handle them more ably4 ,the following are examples of his treatment3-- ,is it your moral of life8 ,such a web1 simple and subtle1 ,weave we on earth here1 in impotent strife ,backward and forward each throwing his shuttle-- ,death ending all with a knife8 --,master ,hugues4 ,and yonder at foot of the fronting ridge1 ,that takes the turn to a range beyond1 ,is the chapel1 reach'd by the one-arch'd bridge1 ,where the water is stopp'd in a stagnant pond1 ,danced over by the midge4 --,by the ,fireside4 ,stand still1 true poet that you are6 ,i know you2 let me try and draw you4 ,some night you'll fail us2 when afar ,you rise1 remember one man saw you-- ,knew you--and named a star1 --,popularity4 ,not a twinkle from the fly1 ,not a glimmer from the worm4 ,when the crickets stopp'd their cry1 ,when the owls forbore a term1 ,you heard music--that was ,i6 --,a ,serenade4 ,when the spider to serve his ends1 ,by a sudden thread1 ,arms and legs outspread1 ,on the table's midst descends-- ,comes to find ,god knows what friends6 --,mesmerism4 ,,the ,,six-,,line ,,stanza4 ,with the increasing number of lines comes an increasing number of combinations of rhymes4 ,there is the combination of three couplets1 and there is that of two couplets1 with another pair of rhymes one line after the first1 the other after the second couplet4 ,then there is a quatrain of alternate rhymes1 and a final couplet--to mention no others4 ,fear no more the heat o' the sun1 ,nor the furious winter's rages2 ,thou thy worldly task hast done4 ,home art gone1 and ta'en thy wages-- ,golden lads and girls all must ,like chimney-sweepers come to dust4 --,shakespeare4 ,one day1 it matters not to know ,how many hundred years ago1 ,a ,spaniard stopt at a posada door2 ,the landlord came to welcome him and chat ,of this and that1 ,for he had seen the traveller here before4 --,southey1 ,st ,romuald4 ,and wash'd by my cosmetic brush1 ,how ,beauty's cheeks began to blush ,with locks of auburn stain-- ,not ,goldsmith's ,auburn1 nut-brown hair ,that made her loveliest of the fair1 ,not loveliest of the plain4 --,hood1 ,progress of ,art4 ,some watch1 some call1 some see her head emerge ,wherever a brown weed falls through the foam2 ,some point to white eruptions of the surge-- ,but she is vanish'd to her shady home1 ,under the deep inscrutable1 and there ,weeps in a midnight made of her own hair4 --,hood1 ,hero and ,leander4 ,ever drifting1 drifting1 drifting1 ,on the shifting ,currents of the restless heart-- ,till at length in books recorded1 ,they like hoarded ,household words no more depart4 --,longfellow1 ,seaweed4 ,before me rose an avenue ,of tall and sombrous pines2 ,abroad their fanlike branches grew1 ,and where the sunshine darted through1 ,spread a vapour1 soft and blue1 ,in long and sloping lines4 --,longfellow1 ,prelude4 ,the following form may be looked upon as ,burns's exclusively3-- ,wee1 modest1 crimson-tipped flower1-- ,thou'st met me in an evil hour1 ,for ,i maun crush among the stour ,thy slender stem2 ,to spare thee now is past my power1 ,thou bonnie gem4 --,to a ,mountain ,daisy4 ,,the ,,seven-,,line ,,stanza4 ,this form is not very common4 ,it may be formed of a quatrain and triplet2 of a quatrain1 a line rhyming the last of the quatrain1 and a couplet2 of a quatrain1 a couplet1 and a line rhyming the fourth line4 ,or these may be reversed4 ,,the ,,eight-,,line ,,stanza4 ,this is susceptible of endless variety1 commencing with two quatrains1 or a six-line stanza and a couplet1 or two triplets with a brace of rhyming lines1 one after each triplet4 ,thus lived--thus died she2 nevermore on her ,shall sorrow light or shame4 ,she was not made ,through years or moons the inner weight to bear1 ,which colder hearts endure till they are laid ,by age in earth2 her days and pleasures were ,brief but delightful2 such as had not staid ,long with her destiny4 ,but she sleeps well ,by the sea-shore whereon she loved to dwell4 --,byron1 ,don ,juan4 ,,the ,,nine-,,line ,,stanza4 ,of this form the most generally used is the ,spenserian1 or the following variation of it3-- ,a little1 sorrowful1 deserted thing1 ,begot of love and yet no love begetting2 ,guiltless of shame1 and yet for shame to wring2 ,and too soon banish'd from a mother's petting ,to churlish nature and the wide world's fretting1 ,for alien pity and unnatural care2 ,alas6 to see how the cold dew kept wetting ,his childish coats1 and dabbled all his hair ,like gossamers across his forehead fair4 --,hood1 ,midsummer ,fairies4 ,the ,spenserian has the same arrangement of the rhymes1 but has an extra foot in the last line4 ,the two last lines of a stanza from ,childe ,harold will illustrate this3-- ,to mingle with the universe and feel ,what ,i can ne'er express1 yet cannot all conceal4 --,byron4 ,the formation of the ten1 eleven1 twelve1 c41 line stanzas is but an adaptation of those already described4 ,a single fourteen-line stanza of a certain arrangement of rhyme is a sonnet1 but as the sonnet is scarcely versifiers' work1 ,i will not occupy space by the lengthy explanation it would require4 ,on the same grounds1 ,i am almost inclined to omit discussion of blank verse1 but will give a brief summary of its varieties4 ,the ordinary form of blank verse is the decasyllabic in which ,milton's ,paradise ,lost is written-- ,of man's first disobedience and the fruit ,of that forbidden tree whose mortal taste ,brought death into the world and all our woe4 ,this consists of ten syllables with an accented following an unaccented syllable4 ,it is preserved from monotony by the varying fall of the csura or pause4 ,it occurs but rarely after the first foot or the eighth foot1 and not often after the third and seventh4 ,elisions and the substitution of a trisyllable1 equivalent in time for a dissyllable1 are met with1 and at times the accent is shifted1 when by the change the sense of the line gains in vigour of expression1 as in-- ,once found1 which yet unfound1 most would have thought ,impossible4 ,according to scansion most wo'uld1 but by the throwing back of the accent strengthened and distinguished into most would have thought4 ,in addition to this in the blank verse of the stage1 we find occasionally additional syllables1 as-- ,or to take arms against a sea of troub7les74 ,other forms of blank verse follow3-- #a4 ,if aught of oaten stop or pastoral song ,may hope1 chaste ,eve1 to soothe thy modest ear1 ,like thy own solemn springs1 ,thy springs and dying gales4 --,collins1 ,ode to ,evening4 #b4 ,but never could ,i tune my reed ,at morn1 or noon1 or eve1 so sweet1 ,as when upon the ocean shore ,i hail'd thy star-beam mild4 --,kirke ,white1 ,shipwrecked ,solitary's ,song4 #c4 ,who at this untimely hour ,wanders o'er the desert sands8 ,no station is in view1 ,no palm-grove islanded amidst the waste1-- ,the mother and her child1 ,the widow'd mother and the fatherless boy1 ,they at this untimely hour ,wander o'er the desert sands4#ac --,southey1 ,thalaba4 #d4 ,friend of my bosom1 thou more than a brother1 ,why wast not thou born in my father's dwelling8 ,so might we talk of the old familiar faces4 --,lamb4 #e4 ,see how he scorns all human arguments ,so that no oar he wants1 nor other sail ,than his own wings between so distant shores4#ad --,longfellow1 ,translation of ,dante4 #f4 ,yet dost thou recall ,days departed1 half-forgotten1 ,when in dreamy youth ,i wander'd ,by the ,baltic4 --,longfellow1 ,to a ,danish ,song-,book4 #g4 ,all things in earth and air ,bound were by magic spell ,never to do him harm2 ,even the plants and stones1 ,all save the mistletoe1 ,the sacred mistletoe4 --,longfellow1 ,tegner's ,drapa4 #h4 ,give me of your bark1 ,o birch-tree6 ,of your yellow bark1 ,o birch-tree6 ,growing by the rushing river1 ,tall and stately in the valley4 --,longfellow1 ,hiawatha4 #i4 ,heard he that cry of pain2 and through the hush that succeeded ,whisper'd a gentle voice1 in accents tender and saintlike1 ',gabriel1 oh1 my beloved6' and died away into silence4 --,longfellow1 ,evangeline4 ,an extremely musical form of blank verse1 the trochaic1 will be found in ,browning's ,one ,word ,more3-- ,i shall never in the years remaining1 ,paint you pictures1 no1 nor carve you statues1 ,make you music that should all-express me2 ,so it seems2 ,i stand on my attainment3 ,this of verse alone one life allows me2 ,verse and nothing else have ,i to give you4 ,other heights in other loves1 ,god willing-- ,all the gifts from all the heights1 your own1 love6 ,this by no means exhausts the varieties of blank verse2 but1 as ,i have already said1 blank verse is1 on the whole1 scarcely to be commended to the student for practice1 because it is1 while apparently the easiest1 in reality the most difficult form he could attempt4 ,it is in fact particularly easy to attain the blankness--but the verse is another matter4 ,the absence of rhymes necessitates the most perfect melody and harmony1 if the lines are to be anything beyond prose chopped up into lengths4 ,there are1 ,i should mention before closing this chapter1 many more styles of stanza than ,i have named1 and many varieties of them4 ,the ode is of somewhat irregular construction1 but like the sonnet it is1 ,i consider1 beyond the scope of those for whom this book is intended1 and it needs not to be discussed on that account4 ,illustration ,,chapter ,,vi4 ,,of ,,rhyme4 ,a rhyme must commence on an accented syllable4 ,from the accented vowel of that syllable to the end1 the two or more words intended to rhyme must be identical in sound2 but the letters preceding the accented vowel must in each case be dissimilar in sound4 ,thus learn1 fern1 discern1 are rhymes1 with the common sound of ern preceded by the dissimilar sounds of l1 f1 sc4 ,possess and recess do not rhyme1 having besides the common ess the similar pronunciation of the c and the double s preceding it4 ,the letters r and l1 when preceded by other consonants1 so as practically to form new letters1 can be rhymed to the simple r and l respectively1 thus track and rack1 blame and lame1 are rhymes4 ,the same rule applies to letters preceded by s1 smile being a rhyme to mile4 ,similarly h and its compound rhyme1 e4g41 shows1 those1 chose1 and any word ending in phose with hose4 ,the aspirate to any but a ,cockney would of course pass as constituting the needful difference at the beginning of a rhyme1 as in heart and art1 hair and air4#ae ,in the case of world and whirl'd1 however1 ,i fear common usage must compel us to declare against the rhyme1 since the practice of pronouncing the h after w is daily becoming more and more uncommon4 ,rhymes are single1 double1 or treble--or more properly one-syllabled1 two-syllabled1 and three-syllabled4 ,rhymes of four or more syllables are peculiar to burlesque or comic verse4 ,indeed1 ,dryden declared that only one-syllabled rhymes were suitable for grave subjects3 but every one must have at his fingers' ends scores of proofs to the contrary1 of which ,i will instance but one--,the ,bridge of ,sighs4 ,monosyllables or polysyllables accented on the last syllable are single rhymes4 ,words accented on the penultimate or last syllable but one supply double rhymes2 e4g41 agitated1 elated4 ,when the accent is thrown another syllable back1 and falls on the antepenultimate as in arrogate1 it is in the first place a triple rhyme4 ,but as in ,english there is a tendency to alternate the acute and grave accent1 the trisyllable has practically two rhymes1 a three-syllabled and a one-syllabled--thus arrogate and ,harrogate rhyme1 but arrogate may also pair off with mate4 ,nevertheless it is necessary to be cautious in the use of words with this spurious accent--it is perhaps better still to avoid them4 ,such words as merrily1 beautiful1 purity1 ought never to be used as single-syllabled rhymes3--even such words as merited and happiness have a forced sound when so used4 ,elisions should be avoided1 though bow'r and flow'r may pass muster1 with some others4 ,ta'en1 e'er1 e'en1 and such contractions may of course be used4 ,the articles1 prepositions1 and such1 cannot in serious verse stand as rhymes1 under the same rule which condemns the separation of the adjective from its substantive in the next line4 ,it is scarcely necessary to premise that to write verse decently the student must have a thorough knowledge of grammar4 ,from ignorance on that score arise naturally blemishes enough to destroy verse1 as they would poetry1 almost4 ,i have seen verses which1 beginning by apostrophising some one as thou1 slipped in a few lines into yours and you--or1 worse still1 have said thou doeth1 or thou1 who is4 ,expletives and mean expressions also must be excluded4 ,the verse should never soar to high-falutin1 or sink to commonplace language4 ,simplicity is not commonplace1 and nobility is not high-falutin1 and they should be aimed at accordingly2--when you have acquired the one1 you will as a rule find the other in its company4 ,when three or more lines are intended to rhyme together1 the common base or accented vowel in each instance must be preceded by a different sound4 ,for example born1 corn1 and borne1 will not serve for a triplet1 because1 though the first and third are both rhymes to the second1 they are not rhymes to each other4 ,it is as well1 unless you are thoroughly acquainted with the pronunciation of foreign languages1 to abstain from using them in verse1 especially in rhymes4 ,i met with the following instance of the folly of such rhyming in a magazine1 not long ago-- ,prim ,monsieurs fresh from ,boulogne's ,bois444 ,for these the ,row's a certain draw4 ,this is about as elegant as rhyming ,boulogne and ,song4 ,it is wise--on the principle of rhyme1 the difference of sounds preceding the common base--to avoid any similarity by combination4 ,for example1 is is a good rhyme for 'tis1 but you should be careful not to let it immediately precede the is1 as it mars the necessary dissimilarity of the opening sound of the two rhymes4 ,let the beginner remember one thing3--rhyme is a fetter1 undoubtedly4 ,let him therefore refrain from attempting measures with frequent rhymes1 for experience alone can give ease in such essays4 ,only the skilled can dance gracefully in fetters4 ,moreover1 a too frequent repetition of rhyme at short intervals gives a jigginess to the verse4 ,it is on this account that the use in a line of a sound similar to the rhyme should be avoided4#af ,as a final warning1 let me entreat the writer of verses to examine his rhymes carefully1 and see that they chime to an educated ear4 ,such atrocities as morn and dawn1 more and sure1 light in and writing1 fought and sort1 are fatal to the success of verse4 ,they stamp it with vulgarity1 as surely as the dropping of the h stamps a speaker4 ,furthermore1 do not make a trisyllable of a dissyllable--as1 for instance1 by pronouncing ticklish tick-el-ish1 and if you have cause to rhyme iron1 try environ or ,byron1 not my urn1 because only the vulgar pronounce it iern1 or apron apern1 c4 ,illustration ,,chapter ,,vii4 ,,of ,,figures4 ,the figures most commonly used in verse are similes and metaphors4 ,a simile is a figure whereby one thing is likened to another4 ,it is ushered in by a like or an as4 ,like sportive deer they coursed about --,hood1 ,eugene ,aram4 ,such a brow ,his eyes had to live under1 clear as flint4 --,browning1 ,a ,contemporary4 ,resembles sorrow only ,as the mist resembles rain4 --,longfellow1 ,the ,day is ,done4 ,look how a man is lower'd to his grave 444 ,so is he sunk into the yawning wave4 --,hood1 ,hero and ,leander4 ,a metaphor is a figure whereby the one thing1 instead of being likened to the other1 is1 as it were1 transformed into it1 and is described as doing what it 7the other7 does4 ,poetry is ,the grandest chariot wherein king-thoughts ride4 --,smith1 ,life ,drama4 ,the anchor1 whose giant hand ,would reach down and grapple with the land4 --,longfellow1 ,building of the ,ship4 ,sometimes the two are united in one passage1 as in-- ,the darkness ,falls from the wings of night1 ,as a feather is wafted downward4 --,longfellow1 ,the ,day is ,done4 ,the last line is a simile1 but the wings of night is metaphorical4 ,a simile1 says ,johnson1 to be perfect1 must both illustrate and ennoble the subject2 but either of these qualities may be sufficient to recommend it4 ,alliteration1 when not overdone1 is an exquisite addition to the charm of verse4 ,the ,poet ,laureate thoroughly understands its value4 ,mr ,swinburne allows it too frequently to run riot4 ,edgar ,allan ,poe carried it to extravagance4 ,i select an example from each3-- ,the moan of doves in immemorial elms1 ,and murmur of innumerable bees4 --,tennyson4 ,the lilies and languors of virtue1 ,for the raptures and roses of vice4 --,swinburne1 ,dolores4 ,come up through the lair of the lion ,with love in her luminous eyes4 --,poe1 ,ulalume4 ,the instance from the ,poet ,laureate is a strong one--the repetition of the m is to express the sound of the bees and the elms4 ,the alternation in the others is only pleasing to the ear1 and the artifice in the last instance certainly is too obvious4 ,in the ,poet ,laureate's lines the alliteration is so ingeniously contrived that one scarcely would suppose there are as many as seven repetitions of the m4 ,in ,poe's1 one is surprised to find the apparent excess of alliteration is due to but four repetitions4 ,but the l's are identical with the strongest beats in the line1 whereas the m's in ,tennyson's line are interspersed with other letters at the beats4 ,he uses this artifice more frequently than those would suspect who have not closely examined his poems1 for he thoroughly appreciates the truth of the maxim1 ars est celare artem4 ,a few lines from ,the ,princess will illustrate this3-- ,the baby that by us1 ,half-lapt in glowing gauze and golden brede1 ,lay like a new-fall'n meteor on the grass1 ,uncared-for1 spied its mother and began ,a blind and babbling laughter1 and to dance ,its body1 and reach its falling innocent arms ,and lazy ling'ring fingers4 ,here a careful study will reveal alliteration within alliteration1 and yet the effect is perfect1 for there is no sign of labour4 ,under this category may come1 ,i think1 a description of the ,rondeau--a poem of which the first few words are repeated at the end4 ,it was at one time ruled to be of a certain number of lines1 but the restriction scarcely holds good now4 ,the best rondeau in the language is ,leigh ,hunt's3-- ,jenny kiss'd me when we met1 ,jumping from the chair she sat in2 ,time1 you thief1 who love to get ,sweets upon your list1 put that in6 ,say ,i'm weary1 say ,i'm sad2 ,say that health and wealth have miss'd me2 ,say ,i'm growing old1 but add-- ,jenny kiss'd me6 ,elision must be used with a sparing hand4 ,generally speaking1 a vowel that is so slightly pronounced that it can be elided1 as in temperance--temp'rance1 may just as well be left in1 and accounted for by managing to get the quantity to cover it4 ,where it is too strongly pronounced1 to cut it out is to disfigure and injure the line1 as in the substitution of wall'wing for wallowing4 ,that elision is often used unnecessarily may be seen in the frequency with which1 in reading verse1 we--according to most authorities--elide the y of many-- ,full many a flower is doom'd to blush unseen4 --,gray4 ,here we are told we elide the y of many1 and some would replace flower by flow'r4 ,yet to the most sensitive ear these may receive1 in reading1 their share of pronunciation1 without damage to the flow of the line1 if the reader understands quantity4 ,to is often similarly elided1 as in-- ,can he to a friend--to a son so bloody grow8 --,cowley4 ,on the other hand1 it is as well not to make too frequent use of the accented ed1 as in amazd4 ,in belovd and a few more words it is commonly used1 and does not1 therefore1 sound strange4 ,in others it gives a forced and botched air to the verse4 ,in verse some latitude is allowed in arranging the order of words in a sentence1 but it must not be indulged in too freely4 ,a study of the style of our best poets is the only means of learning what is allowable and what is not2 it is impossible to explain it within the limits of this treatise4 ,it may1 however1 be laid down1 as a first principle1 that no change in the order of words is admissible1 if it gives rise to any doubt as to their real meaning3--for example1 if you wish to say1 the dog bit the cat1 although such an inversion of construction as putting the objective before1 and the nominative after1 the verb1 is allowed in verse1 it is scarcely advisable to adopt it1 and say1 the cat bit the dog4 ,illustration ,,chapter ,,viii4 ,,of ,,burlesque ,,and ,,comic ,,verse1 ,,and ,,vers ,,de ,,soci,t4 ,i t will be as well for the reader to divest himself at once of the notion that verse of this class is the lowest and easiest form he can essay1 or that the rules which govern it are more lax than those which sway serious composition4 ,the exact contrary is the case4 ,comic or burlesque verse is ordinary verse plus something4 ,ordinary verse may pass muster if its manner be finished1 but comic verse must have some matter as well4 ,yet it does not on that account claim any license in rhyme1 for it lacks the gravity and importance of theme which may at times1 in serious poetry1 be pleaded as outweighing a faulty rhyme4 ,this style of writing needs skill in devising novel and startling turns of rhyme1 rhythm1 or construction1 and can hardly be employed by those who do not possess some articulate wit or humour--that is to say1 the power of expressing1 not merely of appreciating1 those qualities4 ,a defective rhyme is a fault in serious verse--it is a crime in comic4 ,it is no sin to be ignorant of ,greek or ,latin1 but it is worse than a blunder1 under such circumstances1 to quote them--and quote them incorrectly4 ,in the same way1 one is not compelled to write comic verse1 but if he does write it1 and cannot do so correctly1 he deserves severe handling4 ,one of the leading characteristics of this style is dexterous rhyming--and the legerdemain must be effected with genuine coin1 not dumps4 ,in the very degree that clever composite rhyming assists in making the verse sparkling and effective1 it must bear the closest scrutiny and analysation--must be real ,moet1 not gooseberry4 ,all1 then1 that has been said with regard to serious verse applies with double force to the lighter form of vers de socit4 ,according to the definition of ,mr ,frederick ,locker1 no mean authority1 vers de socit should be short1 elegant1 refined1 and fanciful1 not seldom distinguished by chastened sentiment1 and often playful4 ,the tone should not be pitched high2 it should be idiomatic1 and rather in the conversational key2 the rhythm should be crisp and sparkling1 and the rhyme frequent1 and never forced1 while the entire poem should be marked by tasteful moderation1 high finish1 and completeness3 for however trivial the subject-matter may be1--indeed1 rather in proportion to its triviality1--subordination to the rules of composition1 and perfection of execution1 should be strictly enforced4 ,let me entreat the reader to bear that italicised sentence in memory when writing any style of verse1 but most especially when he essays the comic or burlesque4 ,no precedent for laxity can be pleaded because the poets who have at times indulged in such trifling1 have therein availed themselves of the licenses which they originally took out for loftier writing4 ,non semper arcum tendit ,apollo1 and the poet may be excused for striking his lyre with careless fingers4 ,but we1 who do not pretend to possess lyres1 must be careful about the fingering of our kits4 ,apollo's slackened bow offers no precedent for the popgun of the poetaster4 ,as ,i have already said1 much of the merit of this style depends on the scintillations1 so to speak1 of its rhymes4 ,they must therefore be perfect4 ,when ,butler wrote the much-quoted couplet3-- ,when pulpit1 drum ecclesiastick1 ,was beat with fist instead of a stick4 he was guilty of coupling astick and a stick together as a rhyme1 which they do not constitute4 ,but he who on that account claims privilege to commit a similar offence1 not only is guilty of the vanity of demanding to be judged on the same level as ,butler1 but is illogical4 ,two wrongs cannot constitute a right1 and all the bad rhyming in the world can be no extenuation of a repetition of the offence4 ,the results of carelessness in such matters are but too apparent6 ,the slipshod that has been for so long suffered to pass for comic verse1 has brought the art into disrepute4 ,in the case of burlesque1 this is even more plainly discernible4 ,it is held in so small esteem1 that people have come to forget that it boasts ,aristophanes as its founder6 ,halting measures1 cockney rhymes1 and mere play on sound1 instead of sense1 in punning1 have gone near to being the death of what at its worst was an amusing pastime1 at its best was healthy satire4 ,the purchase of half-a-dozen modern burlesques at ,mr ,lacy's1 will account for the declining popularity of burlesque4 ,all of them will be found defaced by defective rhymes1 and cockneyisms too common to provoke a smile4 ,in the majority of them the decasyllabic metre will be found to range from six or eight syllables to twelve or fourteen6 ,most bear the same relation to real burlesque-writing1 that the schoolboy's picture of his master--a circle for head and four scratches for arms and legs--bears to genuine caricature4 ,the most telling form of rhyme in comic versification is the polysyllabic1 and the greater the number of assonant syllables in such rhymes the more effective they prove4 ,the excellence is co-extensive1 however1 with the unexpectedness and novelty1 and there is therefore but small merit in such a polysyllabic rhyme as-- ,from ,scotland's mountains down he came1 ,and straightway up to town he came4 ,this merely consists of the single rhymes down and town1 with he came as a common affix4 ,such polysyllables may be admitted here and there in a long piece1 but when they constitute the whole or even a majority of the rhymes1 the writer is imposing on his readers4 ,he is swelling his balance at his banker's by adding noughts on the right hand of the pounds' figure without paying in the cash4 ,another feature of this style of verse is the repetition of rhymes4 ,open the ,ingoldsby ,legends1#ag which may be taken as the foundation of one school of comic verse1 and you will scarcely fail to light upon a succession of rhymes1 coming one after the other1 like a string of boys at leap-frog1 as if the well-spring of rhyme were inexhaustible4 ,although punning scarcely comes within the scope of this treatise1 it may not be amiss to remind those who may desire to essay comic verse1 that a pun is a double-meaning4 ,it is not sufficient to get two words that clink alike1 or to torture by mispronunciation a resemblance in sound between words or combinations of words4 ,there must be an echo in the sense--a likeness in unlikeness in the idea4 ,proper names should not be used as rhymes4 ,the only exception is in the case of any real individual of note--a statesman1 author1 or actor1 when to find a telling rhyme to the name1 a rhyme suggestive of the habits or pursuits of the owner of that name1 has some merit1 especially if the name be long and peculiar4 ,but to introduce an imaginary name for the sake of a rhyme1 is work that is too cheap to be good4 ,a child can write such rhyme as-- ,a man of strict veracity ,was ,peter ,james ,m',assity4 ,in composite rhyming the greatest care should be taken to see that each syllable after the first is identical in sound in each line4 ,in use he was and juicy was1 the h destroys the rhyme1 and the difference in sound in the last syllable 7however carelessly pronounced7 between such words as oakum and smoke 'em has a similar disqualifying power4 ,it is scarcely necessary to refer to such inadmissible couples as protector and neglect her1 birching and urchin1 oracle and historical4 ,one trick in rhyming is often very effective1 but it must not be put into force too often4 ,in some instances1 however1 it tells with great comical effect1 by affording a rhyme to a word which at first glance the reader thinks it is impossible to rhyme4 ,canning1 in the ,anti-,jacobin1 used it with ludicrous effect in ,rogero's song1 and a few lines from that will illustrate and explain the trick ,i allude to3-- ,here doom'd to starve on water gru- -el1 never shall ,i see the ,u- -niversity of ,gottingen6 ,here the division of the words gruel and ,university has an extremely absurd effect4 ,but the artifice must be used sparingly1 and those who employ it must beware of one pitfall4 ,the moiety of the word which is carried over to begin the next line must be considered as a fresh word occupying the first foot4 ,there is a tendency to overlook it1 and count it as part of the previous line1 and that of course is a fatal error4 ,parody may be considered as a form of comic versification4 ,it is not enough that a parody should be in the same metre as the original poem it imitates4 ,nor is it sufficient that the first line or so has such a similarity as to suggest the original4 ,in the best parodies each line of the original has an echo in the parody1 and the words of the former are retained as far as possible in the latter1 or replaced by others very similar4 ,another form of parody is the parody of style1 when1 instead of selecting a particular poem to paraphrase1 we imitate1 in verse modelled on the form he usually adopts1 the mannerisms of thought or expression for which any particular writer is distinguished4 ,examples of both kinds of parody will be found in the ,rejected ,addresses of ,james and ,horace ,smith1 which should be studied together with ,hood1 ,barham1 ,wolcot1 and ,thackeray1 by those who would read the best models of humorous1 comic1 or burlesque writing4 ,i may add here that vers de socit will be best studied in the writings of ,praed1 ,prior1 and ,moore4 ,from living writers it would be invidious to single out any1 either as models or warnings4 ,illustration ,,chapter ,,ix4 ,,of ,,song-,,writing4 ,although song-writing is one of the most difficult styles of versification1 it is now held in but little repute1 owing to the unfortunate condition of the musical world in ,england4 ,any rubbish will do for music is the maxim of the music-shopkeeper1 who is practically the arbiter of the art now-a-days1 and who has the interests1 he is supposed to represent1 so little at heart that he would not scruple to publish songs1 consisting of nonsense verses--as schoolboys call them1--set to music1 if he thought that the usual artifice of paying singers a royalty on the sale for singing a song would prevail on the public to buy them4 ,another reason why any rubbish will do for music has passed into a proverb is1 that few amateur singers--and not too many professionals--understand phrasing4 ,how rarely can one hear what the words of a song are6 ,go to a musical evening and take note1 and you will see that1 in nine cases out of ten1 when a new song has been sung1 people take the piece of music and look over the words4 ,a song is like a cherry1 and ought not to require us to make two bites at it4 ,nor is the injury inflicted on music due only to the amount of rubbish which is made to do duty for songs4 ,the writings of our poets are ransacked for words1 and accompaniments are manufactured to poems which were never intended1 and are absolutely unfitted1 for musical treatment4 ,then1 because it is found that poems are not to be converted into songs so easily as people think1 the cry is not merely that any rubbish will do for songs1 but that only rubbish will do1--a cry that is vigorously taken up by interested persons4 ,the truth lies between the two extremes4 ,a peculiar style of verse is required1 marked by such characteristics1 and so difficult of attainment1 that some of our greatest poets--,byron for one--have failed as song-writers4 ,english literature reckons but few really good song-writers4 ,when you have named ,moore1 ,lover1 ,burns1 and ,barry ,cornwall1 you have almost exhausted the list4 ,there is in the last edition of the works of the lamented writer ,i have just named--,samuel ,lover--a preface in which he enters very minutely into the subject of song-writing4 ,the sum of what he says is1 that the song being necessarily of brief compass1 the writer must have powers of condensation4 ,he must possess ingenuity in the management of metre4 ,he must frame it of open vowels1 with as few guttural or hissing sounds as possible1 and he must be content sometimes to sacrifice grandeur or vigour to the necessity of selecting singing words and not reading ones4 ,he adds that the simplest words best suit song1 but simplicity must not descend to baldness4 ,there must be a thought in the song1 gracefully expressed1 and it must appeal either to the fancy or feelings1 or both1 but rather by suggestion than direct appeal2 and philosophy and didactics must be eschewed4 ,he adduces ,shelley1 with his intense poetry and exquisite sensitiveness to sweet sounds1 as an instance of a poet who failed to see the exact necessities of song-writing1 and gives a quotation from one of ,shelley's songs to prove this4 ,the line is-- ,the fresh earth in new leaves drest4 and he says very pertinently1 ,it is a sweet line1 and a pleasant image--but ,i defy any one to sing it3 nearly every word shuts up the mouth instead of opening it4 ,that last sentence is the key to song-writing4 ,i use the word song-writing in preference to lyrical writing1 because lyrical has been warped from its strict meaning1 and applied to verse which was not intended for music4 ,it is not absolutely necessary that a song-writer should have a practical knowledge of music1 but it is all the better if he have3 beyond doubt1 ,moore owed much of his success to his possession of musical knowledge4 ,illustration ,,dictionary ,,of ,,rhymes4 ,explanation of ,signs1 etc4 ,words obsolete1 antiquated1 and rare4 99 ,provincialisms1 or local terms4 ,slang1 vulgar1 or commonplace words4 ,technical or unusual words4 ,foreign words1 naturalised to some extent4 ,n4,b4--,when under one termination other spellings occur1--e4g41 under ,,irm1 term and worm1--the reader should refer to them2 i4e41 ,,erm and ,,orm4 ,a4 ,there is an uncertainty1 and therefore a choice1 as to the pronunciation of many words ending in a4 ,most are of classical or foreign derivation1 and hence may come under ,a#a1 or ,a#b2 or perhaps even under a third sound1 not exactly corresponding with either1 as for instance ,julia1 which is neither ,juliay nor ,juliah exactly4 ,here are a few3--,angelica1 ,basilica1 sciatica1 area1 ,omega 7871 assaftida1 apocrypha1 cyclopdia1 regalia1 paraphernalia1 battalia1 aurelia1 parabola1 cupola1 nebula1 phenomena1 ephemera1 amphora1 plethora1 etc4 ,a#a 7as a1 definite article#ah71 rhymes ,,ay1 ,,ey1 ,,eigh1 ,,eh1 appliqu and similar ,french words2 but ,a#b 7as in mamma71 rhymes ,,ah1 baa1 ha1 ah1 la1 papa1 mamma1 huzza1 psha4 ,,ab1 or ,,abb4 7,as in cab71 bab1 cab1 dab1 ,mab1 gab1 nab1 blab1 crab1 drab1 scab1 stab1 shab1 slab1 ,st ,abb4 7,as in squab71 see ,,ob4 ,,abe4 ,babe1 astrolabe4 ,,ac4 ,rhymes ,,ack1 zodiac1 maniac1 demoniac1 ammoniac1 almanac1 symposiac1 hypochondriac1 aphrodisiac1 crack1 lac4 ,,ace4 ,ace1 dace1 pace1 face1 lace1 mace1 race1 brace1 chace1 grace1 place1 ,thrace1 space1 trace1 apace1 deface1 efface1 disgrace1 displace1 misplace1 embrace1 grimace1 interlace1 retrace1 populace1 carapace1 base1 case1 abase1 debase1 etc4 ,,ach4 7,as in attach71 rhymes ,,atch1 attach1 detach1 batch1 match1 etc4 7,as in brach71 rhymes ,,ac1 ,,ack1 brach4 ,,ache4 7,as in ache71 rhymes ,,eak1 ,,ake1 ,,aque4 7,as in tache71 rhymes ,,ash1 tache1 patache1 panache4 ,,ack4 ,back1 brack1 hack1 jack1 lack1 pack1 quack1 tack1 sack1 rack1 black1 clack1 crack1 knack1 slack1 snack1 stack1 track1 wrack1 attack1 zodiac1 demoniac1 symposiac1 almanac1 smack1 thwack1 arrack4 ,,acs4 ,genethliacs1 rhymes ,,ax1 ,,acks1 plural of nouns1 or third person singular present of verbs in ,,ack1 ,,ac4 ,,act4 ,act1 fact1 fract1 pact1 tract1 attract1 abstract1 extract1 compact1 contract1 subact1 co-act1 detract1 distract1 exact1 protract1 enact1 infract1 subtract1 transact1 retract1 charact1 re-act1 cataract1 counteract1 the preterites and participles of verbs in ,,ack4 ,,ad1 or ,,add4 7,as in bad71 add1 bad1 dad1 gad1 fad1 had1 lad1 mad1 pad1 sad1 brad1 clad1 glad1 plaid 7871 cad1 chad1 etc4 7,as in wad71 rhymes ,,od1 ,,odd1 quad1 wad4 ,,ade4 ,cade1 fade1 made1 jade1 lade1 wade1 blade1 bade1 glade1 shade1 spade1 trade1 degrade1 evade1 dissuade1 invade1 persuade1 blockade1 brigade1 estrade1 arcade1 esplanade1 cavalcade1 cascade1 cockade1 crusade1 masquerade1 renegade1 retrograde1 serenade1 gambade1 brocade1 ambuscade1 cannonade1 pallisade1 rhodomontade1 aid1 maid1 raid1 braid1 afraid1 etc4 and the preterites and participles of verbs in ,,ay1 ,,ey1 and ,,eigh4 ,the word pomade still retains the ,french ade1 and rhymes with huzzaed1 psha'd1 baad4 ,,adge4 ,badge1 cadge1 fadge4 ,,adze4 ,adze1 rhymes plural of nouns1 or third person singular present of verbs1 in ,,ad1 ,,add4 ,,aen4 ,ta'en1 rhymes ,,ain1 ,,ane1 ,,aign1 ,,eign4 ,,afe4 ,safe1 chafe1 vouchsafe1 waif1 nafe1 naif1 etc4 ,,aff4 ,gaff1 chaff1 draff1 graff1 quaff1 staff1 distaff1 engraff1 epitaph1 cenotaph1 paragraph1 laugh1 half1 calf4 ,here varieties of pronunciation interfere1 some giving the short vowel chff1 others the long chff4 ,,aft4 ,aft1 haft1 raft1 daft199 waft1 craft1 shaft1 abaft1 graft1 draft1 ingraft1 handicraft1 draught1 and the preterites and participles of verbs in ,,aff and ,,augh1 etc4 ,,ag4 ,bag1 cag1 dag1 fag1 gag1 hag1 jag1 lag1 nag1 quag199 rag1 sag1 tag1 wag1 brag1 crag1 drag1 flag1 knag1 shag1 snag1 stag1 swag1 scrag1 ,brobdingnag4 ,,agd4 ,smaragd1 preterites and participles of verbs in ,,ag4 ,,age4 ,age1 cage1 gage1 mage1 page1 rage1 sage1 wage1 stage1 swage1 assuage1 engage1 disengage1 enrage1 presage1 appanage1 concubinage1 heritage1 hermitage1 parentage1 personage1 parsonage1 pasturage1 patronage1 pilgrimage1 villanage1 equipage1 and gauge4 ,,agm4 ,diaphragm1 rhymes ,,am1 ,,ahm4 ,,ague4 ,plague1 vague4 ,,ahm4 ,brahm1 rhymes ,,am1 ,,agm4 ,,ah4 ,ah1 bah1 pah1 rhymes ,a4 ,,ai4 ,serai1 almai1 ai1 papai1 ay4 ,,aic ,really1 a dissyllable1 haic1 caic1 alcaic1 saic4 ,see ,,ake4 ,,aid1 see ,,ade and ,,ad4 ,,aight1 see ,,ate4 ,,aign1 see ,,ane4 ,,ail4 ,bail1 brail1 fail1 grail1 hail1 jail1 mail1 nail1 pail1 quail1 rail1 sail1 shail1 tail1 wail1 flail1 frail1 snail1 trail1 assail1 avail1 detail1 bewail1 entail1 prevail1 aventail1 wassail1 retail1 countervail1 curtail1 ,abigail1 ale1 bale1 dale1 gale1 hale1 male1 pale1 sale1 tale1 vale1 wale1 scale1 shale1 stale1 swale1 whale1 wale1 impale1 exhale1 regale1 veil1 nightingale1 etc4 ,,aim1 see ,,ame4 ,,ain4 ,cain1 blain1 brain1 chain1 fain1 gain1 grain1 lain1 main1 pain1 rain1 vain1 wain1 drain1 plain1 slain1 ,spain1 stain1 swain1 train1 twain1 sprain1 strain1 abstain1 amain1 attain1 complain1 contain1 constrain1 detain1 disdain1 distrain1 enchain1 entertain1 explain1 maintain1 ordain1 pertain1 obtain1 refrain1 regain1 remain1 restrain1 retain1 sustain1 appertain1 thane1 ,dane1 bane1 cane1 crane1 fane1 ,jane1 lane1 mane1 plane1 vane1 wane1 profane1 hurricane1 etc41 deign1 arraign1 campaign1 feign1 reign1 vein1 rein1 skein1 thegn1 etc4 ,,ainst4 ,against1 rhymes abbreviated second person singular present of verbs in ,,ain1 ,,ane1 ,,aign1 ,,ein1 ,,eign ,,aique4 ,caique1 see ,,aic4 ,,aint4 ,ain't1 mayn't1 faint1 plaint1 quaint1 saint1 taint1 teint1 acquaint1 attaint1 complaint1 constraint1 restraint1 distraint1 feint4 ,,air and ,,aire1 see ,,are1 ,,ear1 ,,eir1 ,,air1 ,,ere1 ,,eer4 ,,aird4 ,laird199 rhymes preterites and participles of verbs in ,,air1 etc4 ,,airn4 ,bairn199 cairn499 ,,aise1 see ,,aze4 ,,aisle4 ,aisle1 see ,,ile4 ,,ait1 see ,,ate1 ,,eight4 ,,aith4 ,faith1 wraith1 rath1 baith499 ,,aize1 see ,,aze4 ,,ak4 ,dk1 rhymes ,,alk4 ,,ake4 ,ake1 bake1 cake1 hake1 lake1 make1 quake1 rake1 sake1 take1 wake1 brake1 drake1 flake1 shake1 snake1 stake1 strake1 spake1 awake1 betake1 forsake1 mistake1 partake1 overtake1 undertake1 bespake1 mandrake1 break1 steak1 etc4 ,see ,,aic4 ,,al4 ,shall1 pal1 mall 7871 sal1 gal1 fal-lal1 cabal1 canal1 animal1 admiral1 cannibal1 capital1 cardinal1 comical1 conjugal1 corporal1 criminal1 critical1 festival1 fineal1 funeral1 general1 hospital1 interval1 liberal1 madrigal1 literal1 magical1 mineral1 mystical1 musical1 natural1 original1 pastoral1 pedestal1 personal1 physical1 poetical1 political1 principal1 prodigal1 prophetical1 rational1 satirical1 reciprocal1 rhetorical1 several1 temporal1 tragical1 tyrannical1 carnival1 schismatical1 whimsical1 arsenal1 and many others4 ,,ald4 7,as in bald71 bald1 scald1 rhymes the preterites and participles of verbs in ,,all1 ,,aul1 and ,,awl4 7,as in emerald71 rhymes preterite and participle of cabal1 etc4 ,,ale1 see ,,ail4 ,,alf4 ,calf1 half1 behalf1 staff1 laugh1 epitaph1 etc4 ,,alk4 ,balk1 chalk1 stalk1 talk1 walk1 calk1 dk1 baulk1 caulk1 catafalque1 hawk1 auk4 ,,all4 ,all1 ball1 call1 gall1 caul1 haul1 appal1 enthral1 bawl1 brawl1 crawl1 scrawl1 sprawl1 squall4 ,,alm1 ,,alms4 ,calm1 balm1 becalm1 psalm1 palm1 embalm1 etc42 plurals and third persons singular rhyme with ,,alms1 as alms1 calms1 becalms1 etc4 ,,alp4 ,scalp1 ,alp4 ,,alque4 ,catafalque1 see ,,alk4 ,,alse4 ,false1 valse4 ,,alt4 7,as in halt71 halt1 malt1 exalt1 salt1 vault1 assault1 default1 and fault4 7,as in shalt71 asphalt1 alt1 shalt4 ,,alve4 7,as in calve71 calve1 halve1 salve4 7,as in valve71 valve1 alve4 ,,am4 ,am1 dam1 ham1 pam1 ram1 ,sam1 cram1 dram1 flam1 sham1 swam1 kam1 clam1 epigram1 anagram1 damn1 lamb4 ,,amb4 ,lamb1 jamb1 oriflamb1 am1 dam1 etc4 ,,ame4 ,blame1 came1 dame1 same1 flame1 fame1 frame1 game1 lame1 name1 prame1 same1 tame1 shame1 inflame1 became1 defame1 misname1 misbecame1 overcame1 aim1 claim1 maim1 acclaim1 declaim1 disclaim1 exclaim1 proclaim1 reclaim4 ,,amm4 ,lamm1 see ,,am4 ,,amme4 ,oriflamme1 see ,,am4 ,,amn4 ,damn1 see ,,am4 ,,amp4 7,as in camp71 camp1 champ1 cramp1 damp1 stamp1 vamp1 lamp1 clamp1 decamp1 encamp1 etc4 7,as in swamp71 swamp1 pomp1 romp4 ,,an4 7,as in ban71 ban1 can1 ,dan1 fan1 man1 ,nan1 pan1 ran1 tan1 van1 bran1 clan1 plan1 scan1 span1 than1 unman1 foreran1 began1 trepan1 courtesan1 partisan1 artisan1 pelican1 caravan1 shandydan199 barracan 7,as in wan71 wan1 swan1 on1 upon1 etc4 ,,ance4 ,chance1 dance1 glance1 lance1 trance1 prance1 intrance1 romance1 advance1 mischance1 complaisance1 circumstance1 countenance1 deliverance1 consonance1 dissonance1 extravagance1 ignorance1 inheritance1 maintenance1 temperance1 intemperance1 exorbitance1 ordinance1 concordance1 sufferance1 sustenance1 utterance1 arrogance1 vigilance1 expanse1 enhance1 ,france4 ,here the ance is pronounced differently by different people1 nce and nce4 ,,anch4 ,branch1 staunch1 launch1 blanch1 haunch1 paunch1 ganch499 ,,and4 7,as in band71 and1 band1 hand1 land1 rand1 sand1 brand1 bland1 grand1 gland1 stand1 strand1 command1 demand1 countermand1 disband1 expand1 withstand1 understand1 reprimand1 contraband1 and preterites and participles of verbs in ,,an4 7,as in wand71 wand1 fond1 bond1 etc41 and the preterites and participles of verbs in ,,on4 ,,ane1 see ,,ain4 ,,ang4 ,bang1 fang1 gang1 hang1 pang1 tang1 twang1 sang1 slang1 rang1 harangue1 swang1 stang199 lang199 chang1 clang4 ,,ange4 ,change1 grange1 range1 strange1 estrange1 arrange1 exchange1 interchange4 ,,angue4 ,harangue1 rhyme ,,ang4 ,,ank4 ,yank199 bank1 rank1 blank1 shank1 clank1 dank1 drank1 slank1 frank1 spank1 stank1 brank1 hank1 lank1 plank1 prank1 rank1 thank1 disrank1 mountebank1 etc4 ,,anse1 see ,,ance4 ,,ant4 7,as in ant71 ant1 cant1 chant1 grant1 pant1 plant1 rant1 slant1 aslant1 complaisant1 displant1 enchant1 gallant1 implant1 recant1 supplant1 transplant1 absonant1 adamant1 arrogant1 combatant1 consonant1 cormorant1 protestant1 significant1 visitant1 covenant1 dissonant1 disputant1 elegant1 elephant1 exorbitant1 conversant1 extravagant1 ignorant1 insignificant1 inhabitant1 militant1 predominant1 sycophant1 vigilant1 petulant1 etc4 7,as in can't71 can't1 shan't1 aunt1 haunt1 etc4 7,as in want71 want1 upon't1 font4 ,,ap4 7,as in cap71 cap1 dap1 gap1 hap1 lap1 map1 nap1 pap1 rap1 sap1 tap1 chap1 clap1 trap1 fap1 flap1 knap1 slap1 snap1 wrap1 scrap1 strap1 enwrap1 entrap1 mishap1 affrap1 mayhap1 etc4 7,as in swap71 swap1 top1 chop1 etc4 ,,ape4 ,ape1 cape1 shape1 grape1 rape1 scape1 scrape1 escape1 nape1 chape1 trape1 jape1 crape1 tape1 etc4 ,,aph1 see ,,aff4 ,,apse4 ,apse1 lapse1 elapse1 relapse1 perhaps1 and the plurals of nouns and third persons singular present tense of verbs in ,,ap4 ,,apt4 ,apt1 adapt1 etc4 ,rhymes1 the preterites and participles of verbs in ,,ap4 ,,aque4 ,opaque1 plaque1 make1 ache1 break4 ,,ar4 7,as in bar71 rhymes ,czar1 bar1 car1 far1 jar1 mar1 par1 tar1 spar1 scar1 star1 char1 afar1 debar1 petar1 unbar1 catarrh1 particular1 perpendicular1 secular1 angular1 regular1 popular1 singular1 titular1 vinegar1 scimetar1 calendar1 avatar1 cinnabar1 caviare1 are4 7,as in war71 rhymes for1 and perhaps bore1 pour1 etc4 ,,arb4 ,barb1 garb1 rhubarb1 etc4 ,,arce4 ,farce1 parse1 sarse1 sparse4 ,scarce has no rhyme4 ,,arch4 7,as in march71 arch1 march1 larch1 parch1 starch1 countermarch1 etc4 7,as in hierarch71 hierarch1 heresiarch1 park1 ark1 etc4 ,,ard4 7,as in bard71 bard1 card1 guard1 hard1 lard1 nard1 shard1 yard1 basilard1 bombard1 discard1 regard1 interlard1 retard1 disregard1 etc41 and the preterites and participles of verbs in ,,ar4 7,as in ward71 ward1 sward1 afford1 restored1 etc4 ,,are4 7,as in bare71 rhymes care1 dare1 fare1 gare1 hare1 mare1 pare1 tare1 ware1 flare1 glare1 scare1 share1 snare1 spare1 square1 stare1 sware1 yare1 prepare1 aware1 beware1 compare1 declare1 ensnare1 air1 vair1 fair1 hair1 lair1 pair1 chair1 stair1 affair1 debonnair1 despair1 impair1 glaire1 repair1 etc42 bear1 pear1 swear1 tear1 wear1 forbear1 forswear1 etc42 there1 were1 where1 ere1 e'er1 ne'er1 elsewhere1 whate'er1 howe'er1 howsoe'er1 whene'er1 where'er1 etc12 heir1 coheir1 their4 7,as in are71 rhymes ,,ar4 ,,ares4 ,unawares4 ,rhymes1 theirs1 and the plurals of nouns and third persons singular of verbs in are1 air1 eir1 ear4 ,,arf4 ,dwarf1 wharf4 ,,arge4 ,barge1 charge1 large1 marge1 targe1 discharge1 o'er-charge1 surcharge1 enlarge4 ,,ark4 ,ark1 bark1 cark1 clark1 dark1 lark1 mark1 park1 chark1 shark1 spark1 stark1 embark1 remark1 etc4 ,,arl4 ,carl1 gnarl1 snarl1 marl1 harl1 parle4 ,,arm4 7,as in arm71 arm1 barm1 charm1 farm1 harm1 alarm1 disarm4 7,as in warm71 warm1 swarm1 storm1 etc4 ,,arn4 7,as in barn71 barn1 yarn1 etc4 7,as in warn71 warn1 forewarn1 horn1 morn1 etc4 ,,arp4 7,as in carp71 carp1 harp1 sharp1 counterscarp1 etc4 7,as in warp71 warp1 thorp199 etc4 ,,arrh4 ,catarrh1 bar1 jar4 ,,arse1 see ,,arce4 ,,arsh4 ,harsh1 marsh1 etc4 ,,art4 7,as in art71 heart1 art1 cart1 dart1 hart1 mart1 part1 smart1 tart1 start1 apart1 depart1 impart1 dispart1 counterpart4 7,as in wart71 wart1 thwart1 quart1 swart1 port1 fort1 court1 short1 retort1 sport1 etc4 ,,arth4 ,swarth1 forth1 north4 ,,arve4 ,carve1 starve4 ,,as4 7,as in was71 was1 'cos1 poz4 7,as in gas71 gas1 lass1 ass1 alias4 7,as in has71 has1 as4 ,,ase1 see ,,ace4 ,,ash4 7,as in ash71 ash1 cash1 dash1 clash1 crash1 flash1 gash1 gnash1 hash1 lash1 plash1 bash1 pash1 brash1 rash1 thrash1 slash1 trash1 abash1 etc4 7,as in wash71 wash1 bosh1 squash1 quash1 swash4 ,,ask4 ,ask1 task1 task1 cask1 flask1 mask1 hask4 ,,asm4 ,chasm1 spasm1 miasm1 enthusiasm1 cataplasm1 phantasm4 ,,asp4 ,asp1 clasp1 rasp1 gasp1 grasp1 hasp1 wasp 7874 ,,asque4 ,casque1 mask1 etc4 ,,ass4 ,ass1 brass1 class1 grass1 lass1 mass1 pass1 alas1 amass1 cuirass1 repass1 surpass1 morass1 etc4 ,,ast4 7,as in cast71 cast1 last1 blast1 mast1 past1 vast1 fast1 aghast1 avast1 forecast1 overcast1 outcast1 repast1 the preterites and participles of verbs in ,,ass4 7,as in wast71 wast1 tost1 lost1 etc4 ,,aste4 ,baste1 chaste1 haste1 paste1 taste1 waste1 distaste1 waist1 and the preterites and participles of verbs in ,,ace1 ,,ase4 ,,at4 7,as in at71 at1 bat1 cat1 hat1 fat1 mat1 pat1 rat1 sat1 tat1 vat1 brat1 chat1 flat1 lat1 sprat1 that1 gnat4 7,as in what71 what1 spot1 not1 etc4 ,,atch4 7,as in catch71 catch1 match1 hatch1 latch1 patch1 scratch1 smatch1 snatch1 despatch1 ratch1 slatch1 swatch1 attach1 thatch4 7,as in watch71 watch1 botch1 ,scotch4 ,,ate4 ,bate1 date1 fate1 gate1 grate1 hate1 mate1 pate1 plate1 prate1 rate1 sate1 state1 scate1 slate1 abate1 belate1 collate1 create1 debate1 elate1 dilate1 estate1 ingrate1 innate1 rebate1 relate1 sedate1 translate1 abdicate1 abominate1 abrogate1 accelerate1 accommodate1 accumulate1 accurate1 adequate1 affectionate1 advocate1 adulterate1 aggravate1 agitate1 alienate1 animate1 annihilate1 antedate1 anticipate1 antiquate1 arbitrate1 arrogate1 articulate1 assassinate1 calculate1 capitulate1 captivate1 celebrate1 circulate1 coagulate1 commemorate1 commiserate1 communicate1 compassionate1 confederate1 congratulate1 congregate1 consecrate1 contaminate1 corroborate1 cultivate1 candidate1 co-operate1 celibate1 considerate1 consulate1 capacitate1 debilitate1 dedicate1 degenerate1 delegate1 deliberate1 denominate1 depopulate1 dislocate1 deprecate1 discriminate1 derogate1 dissipate1 delicate1 disconsolate1 desolate1 desperate1 educate1 effeminate1 elevate1 emulate1 estimate1 elaborate1 equivocate1 eradicate1 evaporate1 exaggerate1 exasperate1 expostulate1 exterminate1 extricate1 facilitate1 fortunate1 generate1 gratulate1 hesitate1 illiterate1 illuminate1 irritate1 imitate1 immoderate1 impetrate1 importunate1 imprecate1 inanimate1 innovate1 instigate1 intemperate1 intimate1 intimidate1 intoxicate1 intricate1 invalidate1 inveterate1 inviolate1 legitimate1 magistrate1 meditate1 mitigate1 moderate1 necessitate1 nominate1 obstinate1 participate1 passionate1 penetrate1 perpetrate1 personate1 potentate1 precipitate1 predestinate1 predominate1 premeditate1 prevaricate1 procrastinate1 profligate1 prognosticate1 propagate1 recriminate1 regenerate1 regulate1 reiterate1 reprobate1 reverberate1 ruminate1 separate1 sophisticate1 stipulate1 subjugate1 subordinate1 suffocate1 terminate1 titivate1 tolerate1 vindicate1 violate1 unfortunate1 bait1 strait1 waite1 await1 great1 tte--tte1 eight1 weight1 straight4 ,ate 7from cat7 rhymes yet4 ,,ath4 7,as in bath71 bath1 path1 swath199 wrath4 7,as in hath71 hath1 aftermath4 7,as in rath71 rath1 faith1 etc4 ,,athe4 ,bathe1 swathe1 rathe1 scathe4 ,,aub4 ,daub1 kebaub1 ,punjaub4 ,,aud4 ,fraud1 laud1 applaud1 defraud1 broad1 abroad1 and the preterites and participles of verbs in ,,aw1 etc4 ,,augh4 7,as in laugh71 laugh1 quaff1 etc4 7,as in usquebaugh71 usquebaugh199 law1 etc4 ,,aught4 7,as in draught71 draught1 quaffed1 etc4 7,as in caught71 caught1 ought1 taut1 haught1 etc4 ,,auk4 ,auk1 squauk1 chalk1 hawk1 etc4 ,,aulm4 ,haulm1 shawm4 ,,aulk4 ,caulk1 see ,,alk4 ,,ault1 see ,,alt ,,aun4 ,aun1 shaun199 lawn1 prawn1 dawn1 etc4 ,,aunch1 see ,,anch4 ,,aund4 ,maund199 preterites and participles of verbs in ,,awn4 ,,aunce4 ,askaunce1 romance1 glance1 etc4 ,,aunt4 ,aunt1 daunt1 gaunt1 haunt1 jaunt1 taunt1 vaunt1 avaunt1 shan't1 can't1 slant1 aslant4 ,,aur4 ,bucentaur1 before1 explore1 soar4 ,,ause4 ,cause1 pause1 clause1 applause1 because1 the plurals of nouns and third persons singular of verbs in ,,aw4 ,,aust4 ,holocaust1 frost1 cost4 ,,auze4 ,gauze1 cause1 laws1 etc4 ,,ave4 ,cave1 brave1 gave1 grave1 crave1 lave1 nave1 knave1 pave1 rave1 save1 shave1 slave1 stave1 wave1 behave1 deprave1 engrave1 outbrave1 forgave1 misgave1 architrave4 ,have is without a rhyme4 ,,aw4 ,craw1 daw1 law1 chaw1 claw1 draw1 flaw1 gnaw1 jaw1 maw1 paw1 raw1 saw1 scraw1 shaw1 straw1 thaw1 withdraw1 foresaw1 usquebaugh499 ,,awd1 see ,,aud4 ,,awk1 see ,,alk4 ,,awl4 ,bawl1 brawl1 drawl1 crawl1 scrawl1 sprawl1 squaul1 ball1 call1 fall1 gall1 small1 hall1 pall1 tall1 wall1 stall1 install1 forestall1 thrall1 inthrall4 ,,awm4 ,shawm1 see ,,aulm4 ,,awn4 ,dawn1 brawn1 fawn1 pawn1 spawn1 drawn1 yawn1 awn1 withdrawn4 ,,ax4 ,ax1 tax1 lax1 pax1 wax1 relax1 flax1 the plurals of nouns and third persons singular of verbs in ,,ack4 ,,ay4 ,bray1 clay1 day1 dray1 tray1 flay1 fray1 gay1 hay1 jay1 lay1 may1 nay1 pay1 play1 ray1 say1 way1 pray1 spray1 slay1 stay1 stray1 sway1 tway1 fay1 affray1 allay1 array1 astray1 away1 belay1 bewray1 betray1 decay1 defray1 delay1 disarray1 display1 dismay1 essay1 forelay1 gainsay1 inlay1 relay1 repay1 roundelay1 ,twankay1 virelay1 neigh1 weigh1 inveigh1 etc42 prey1 they1 convey1 obey1 purvey1 survey1 disobey1 grey1 aye1 denay4 ,,aze4 ,craze1 draze1 blaze1 gaze1 glaze1 raze1 maze1 amaze1 graze1 raise1 praise1 dispraise1 phrase1 paraphrase1 etc41 and the nouns plural and third persons singular of the present tense of verbs in ,,ay1 ,,eigh1 and ,,ey4 ,e4 ,e1 see ,,ee4 ,,cre4 ,,chre1 ,,tre4 ,sepulchre1 massacre1 theatre1 stir1 err1 fur1 myrrh1 etc4 ,,ea4 7,as in sea71 sea1 see1 free1 etc4 7,as in yea71 yea1 way1 obey1 neigh1 etc4 ,,eace1 see ,,ease4 ,,each4 ,beach1 breach1 bleach1 each1 peach1 preach1 teach1 impeach1 beech1 leech1 speech1 beseech4 ,,ead4 7,as in bread71 bread1 shed1 wed1 dead1 etc4 7,as in read71 read1 secede1 feed1 etc4 ,,eaf4 7,as in sheaf71 rhymes ,,ief4 7,as in deaf71 rhymes ,,ef4 ,,eague4 ,league1 ,teague1 etc41 intrigue1 fatigue1 renege1 etc4 ,,eak4 7,as in beak71 beak1 speak1 bleak1 creak1 freak1 leak1 peak1 sneak1 squeak1 streak1 weak1 tweak1 wreak1 bespeak1 cheek1 leek1 eke1 creek1 meek1 reek1 seek1 sleek1 pique1 week1 shriek4 7,as in break71 break1 take1 sake1 etc4 ,,eal4 ,deal1 heal1 reveal1 meal1 peal1 seal1 steal1 teal1 veal1 weal1 squeal1 leal199 zeal1 repeal1 conceal1 congeal1 repeal1 anneal1 appeal1 wheal199 eel1 heel1 feel1 keel1 kneel1 peel1 reel1 steal1 wheel4 ,real is a dissyllable1 and therefore does not count here4 ,,eald4 ,weald199 see ,,ield4 ,,ealm4 ,realm1 elm1 whelm4 ,,ealth4 ,health1 wealth1 stealth1 commonwealth1 etc4 ,,eam4 ,bream1 cream1 gleam1 seam1 scream1 stream1 team1 beam1 dream1 enseam1 scheme1 theme1 blaspheme1 extreme1 supreme1 deem1 teem1 beseem1 misdeem1 esteem1 disesteem1 redeem1 seem1 beteem1 etc4 ,,eamt4 ,dreamt1 exempt1 attempt1 empt1 etc4 ,,ean4 ,bean1 clean1 dean1 glean1 lean1 mean1 wean1 yean1 demean1 unclean1 convene1 demesne1 intervene1 mien1 hyen1 machine1 keen1 screen1 seen1 skean1 green1 spleen1 between1 careen1 teen1 foreseen1 serene1 obscene1 terrene1 queen1 spleen1 etc4 ,,eans4 ,means1 rhymes plural of nouns1 and third persons singular present of verbs1 in ,,ean1 ,,een1 ,,ene4 ,,eanse4 ,cleanse1 plural of nouns1 and third person singular present of verbs1 in ,,en4 ,,eant1 see ,,ent4 ,,eap1 see ,,eep4 ,,ear see ,,eer and ,,air4 ,,earch4 ,search1 perch1 research1 church1 smirch1 etc4 ,,eard4 7,as in heard71 heard1 herd1 sherd1 etc41 the preterites and participles of verbs in ,,er1 ,,ur1 etc4 7,as in beard71 beard1 feared1 revered1 weird1 preterites and participles of verbs in ,,ear1 ,,ere1 etc4 ,,earl4 ,earl1 pearl1 girl1 curl1 churl1 whirl1 purl1 furl1 etc4 ,,earn1 see ,,ern4 ,,earse1 see ,,erse4 ,,eart1 see ,,art4 ,,earth4 ,earth1 dearth1 birth1 mirth1 worth1 ,perth1 berth1 etc4 ,,ease 7sounded ,,eace4 ,for hard s1 see ,,eeze74 ,cease1 lease1 release1 grease1 decease1 decrease1 increase1 release1 surcease1 peace1 piece1 niece1 fleece1 geese1 frontispiece1 apiece1 etc4 ,,east4 ,east1 feast1 least1 beast1 priest1 the preterites and participles of verbs in ,,ease 7sounded ,,eace74 ,,eat4 7,as in bleat71 bleat1 eat1 feat1 heat1 meat1 neat1 seat1 treat1 wheat1 beat1 cheat1 defeat1 estreat1 escheat1 entreat1 retreat1 obsolete1 replete1 concrete1 complete1 feet1 fleet1 greet1 meet1 sheet1 sleet1 street1 sweet1 discreet4 7,as in great71 great1 hate1 bate1 wait1 tte4 ,,eath4 7,as in breath71 breath1 death1 saith1 ,elizabeth1 etc41 and antiquated third person singular present1 accented on the antipenult1 e4g41 encountereth4 7,as in heath71 heath1 sheath1 teeth1 wreath1 beneath4 ,,eathe4 ,breathe1 sheathe1 wreathe1 inwreathe1 bequeathe1 seethe1 etc4 ,,eau4 ,beau1 bureau1 though1 go1 show1 doe1 etc4 ,,eave4 ,cleave1 heave1 interweave1 leave1 weave1 bereave1 inweave1 receive1 conceive1 deceive1 perceive1 eve1 grieve1 sleeve1 thieve1 aggrieve1 achieve1 believe1 disbelieve1 relieve1 reprieve1 retrieve4 ,,eb1 and ,,ebb4 ,web1 neb199 ebb1 bleb1 etc4 ,,eck1 and ,,ec4 ,beck1 peck1 neck1 check1 fleck1 deck1 speck1 wreck1 hypothec1 spec1 geck4 ,,eks4 ,i'fecks1 third person singular of verbs and plural of nouns in ,,eck4 ,,ect4 ,sect1 affect1 correct1 incorrect1 collect1 deject1 detect1 direct1 disrespect1 disaffect1 dissect1 effect1 elect1 eject1 erect1 expect1 indirect1 infect1 inspect1 neglect1 object1 project1 protect1 recollect1 reflect1 reject1 respect1 select1 subject1 suspect1 architect1 circumspect1 direct1 intellect1 the preterites and participles of verbs in ,,eck1 etc4 ,,ed4 ,bed1 bled1 fed1 fled1 bred1 ,ted1 red1 shred1 shed1 sped1 wed1 abed1 inbred1 misled1 said1 bread1 dread1 dead1 head1 lead1 read1 spread1 thread1 tread1 behead1 o'erspread1 and the preterites and participles of verbs1 which1 when the d 7pronounced7 is added1 have the accent on the antepenultimate e4g41 vanishd2 but see ,chap4 ,,viii4 ,,ede4 ,glede1 rede1 brede1 discede1 see ,,eed1 ,,ead4 ,,edge4 ,edge1 wedge1 fledge1 hedge1 ledge1 pledge1 sedge1 allege1 kedge1 privilege1 sacrilege1 sortilege1 etc4 ,,ee4 ,bee1 free1 glee1 knee1 see1 three1 thee1 tree1 agree1 decree1 degree1 disagree1 flee1 foresee1 o'ersee1 pedigree1 he1 me1 we1 she1 be1 jubilee1 lee1 ne1 sea1 plea1 flea1 tea1 key1 cap--pie1 gree1 dree1 calipee4 ,,eece1 see ,,ease4 ,,eech1 see ,,each4 ,,eed4 ,creed1 deed1 indeed1 bleed1 breed1 feed1 heed1 meed1 need1 reed1 speed1 seed1 steed1 weed1 proceed1 succeed1 exceed1 knead1 read1 intercede1 precede1 recede1 concede1 impede1 supersede1 bead1 lead1 mead1 plead1 etc4 ,,eef1 see ,,ief4 ,,eek1 see ,,eak4 ,,eel1 see ,,eal4 ,,eem1 see ,,eam4 ,,een1 see ,,ean4 ,,eep4 ,creep1 deep1 sleep1 keep1 peep1 sheep1 steep1 sweep1 weep1 asleep1 cheap1 heap1 neap1 etc4 ,,eer4 7,as in beer71 beer1 deer1 fleer1 geer1 jeer1 peer1 mere1 leer1 sheer1 steer1 sneer1 cheer1 veer1 pickeer1 domineer1 cannoneer1 compeer1 engineer1 mutineer1 pioneer1 privateer1 charioteer1 chanticleer1 career1 mountaineer1 fere1 here1 sphere1 adhere1 cohere1 interfere1 persevere1 revere1 austere1 severe1 sincere1 hemisphere1 c42 ear1 clear1 dear1 fear1 here1 near1 sear1 smear1 spear1 tear1 rear1 year1 appear1 besmear1 bandolier1 disappear1 endear1 auctioneer4 7,as in e'er71 ne'er1 ,,are1 ,,air1 etc4 ,,eese1 see ,,eeze4 ,,eet1 see ,,eat4 ,,eeth1 see ,,eath4 ,,eethe1 see ,,eathe4 ,,eeve1 see ,,eave4 ,,eeves4 ,eeaves1 rhymes plural of nouns1 and third person singular present of verbs in ,,eeve1 ,,ieve1 etc4 ,,eeze4 ,breeze1 freeze1 wheeze1 sneeze1 squeeze1 and the plurals of nouns and third persons singular present tense of verbs in ,,ee1 cheese1 leese1 these1 ease1 appease1 disease1 displease1 tease1 seize1 etc41 and the plurals of nouns in ,,ea1 ,,ee1 etc4 ,,ef4 ,clef1 nef1 semibref1 kef1 deaf1 etc4 ,,eft4 ,cleft1 left1 theft1 weft1 bereft1 etc4 ,,eg1 and ,,egg4 ,egg1 leg1 beg1 peg1 ,meg1 keg4 ,,ege4 ,renege1 see ,,eague4 ,,egm4 ,phlegm1 apothegm1 parapegm1 diadem1 etc4 ,,egn4 ,thegn1 vain1 mane1 etc4 ,,eh4 ,eh8 rhymes ,a1 ,,ay1 ,,ey1 ,,eigh4 ,,eigh1 see ,,ay4 ,,eight1 see ,,ate and ,,ite4 ,,eign1 see ,,ain4 ,,eil1 see ,,eel and ,,ail4 ,,ein1 see ,,ain4 ,,eint1 see ,,aint4 ,,eir1 see ,,are4 ,,eird4 ,weird1 see ,,eard4 ,,eit1 see ,,eat4 ,,eive1 see ,,eave4 ,,eize1 see ,,eeze4 ,,eke1 see ,,eak4 ,,el1 and ,,ell4 ,ell1 dwell1 fell1 hell1 knell1 quell1 sell1 bell1 cell1 mell1 dispel1 foretell1 excel1 compel1 befell1 yell1 well1 tell1 swell1 spell1 smell1 shell1 parallel1 sentinel1 infidel1 citadel1 refel1 repel1 rebel1 impel1 expel1 asphodel1 petronel1 calomel1 muscatel4 ,,eld4 ,held1 geld1 withheld1 upheld1 beheld1 eld1 etc41 the preterites and participles of verbs in ,,el1 ,,ell4 ,,elf4 ,elf1 delf1 pelf1 self1 shelf1 himself1 etc4 ,,elk4 ,elk1 kelk1 whelk1 etc4 ,,elm4 ,elm1 helm1 realm1 whelm1 overwhelm1 etc4 ,,elp4 ,help1 whelp1 kelp199 yelp1 etc4 ,,elt4 ,belt1 gelt1 melt1 felt1 welt1 smelt1 pelt1 dwelt1 dealt4 ,,elve4 ,delve1 helve1 shelve1 twelve1 etc4 ,,elves4 ,elves1 themselves1 etc41 the plurals of nouns and third persons singular of verbs in ,,elve4 ,,em4 ,gem1 hem1 stem1 them1 diadem1 stratagem1 anadem1 kemb1 phlegm1 condemn1 contemn1 etc4 ,,eme1 see ,,eam4 ,,emn4 ,condemn1 contemn1 gem1 hem1 them4 ,see ,,em1 etc4 ,,empt4 ,tempt1 exempt1 attempt1 contempt1 dreamt4 ,,en4 ,den1 hen1 fen1 ken1 men1 pen1 ten1 then1 when1 wren1 denizen4 ,hyen rhymes ,,een4 ,,ence4 ,fence1 hence1 pence1 thence1 whence1 defence1 expense1 offence1 pretence1 commence1 abstinence1 circumference1 conference1 confidence1 consequence1 continence1 benevolence1 concupiscence1 difference1 diffidence1 diligence1 eloquence1 eminence1 evidence1 excellence1 impenitence1 impertinence1 impotence1 impudence1 improvidence1 incontinence1 indifference1 indigence1 indolence1 inference1 intelligence1 innocence1 magnificence1 munificence1 negligence1 omnipotence1 penitence1 preference1 providence1 recompense1 reference1 residence1 reverence1 vehemence1 violence1 sense1 dense1 cense1 condense1 immense1 intense1 propense1 dispense1 suspense1 prepense1 incense1 frankincense4 ,,ench4 ,bench1 drench1 retrench1 quench1 clench1 stench1 tench1 trench1 wench1 wrench1 intrench1 blench4 ,,end4 ,bend1 mend1 blend1 end1 fend1 lend1 rend1 send1 spend1 tend1 vend1 amend1 attend1 ascend1 commend1 contend1 defend1 depend1 descend1 distend1 expend1 extend1 forefend1 impend1 mis-spend1 obtend1 offend1 portend1 pretend1 protend1 suspend1 transcend1 unbend1 apprehend1 comprehend1 condescend1 discommend1 recommend1 reprehend1 dividend1 reverend1 friend1 befriend1 and the preterites and participles of verbs in ,,en1 etc4 ,,ends4 ,amends1 the plurals of nouns and third persons singular present tense of verbs in ,,end4 ,,ene1 see ,,ean4 ,,enge4 ,avenge1 revenge1 no rhyme4 ,,ength4 ,length1 strength1 etc4 ,,ens4 ,lens1 plural of nouns1 and third person singular present of verbs1 in ,,en4 ,,ent ,bent1 lent1 rent1 pent1 scent1 sent1 shent1 spent1 tent1 vent1 went1 blent1 cement1 brent1 hent1 absent1 meant1 ascent1 assent1 attent1 augment1 cement1 content1 consent1 descent1 dissent1 event1 extent1 foment1 frequent1 indent1 intent1 invent1 lament1 mis-spent1 o'erspent1 present1 prevent1 relent1 repent1 resent1 ostent1 ferment1 outwent1 underwent1 discontent1 unbent1 circumvent1 represent1 abstinent1 accident1 accomplishment1 admonishment1 acknowledgment1 aliment1 arbitrement1 argument1 banishment1 battlement1 blandishment1 astonishment1 armipotent1 bellipotent1 benevolent1 chastisement1 competent1 complement1 compliment1 confident1 continent1 corpulent1 detriment1 different1 diligent1 disparagement1 document1 element1 eloquent1 eminent1 equivalent1 establishment1 evident1 excellent1 excrement1 exigent1 experiment1 firmament1 fraudulent1 government1 embellishment1 imminent1 impenitent1 impertinent1 implement1 impotent1 imprisonment1 improvident1 impudent1 incident1 incompetent1 incontinent1 indifferent1 indigent1 innocent1 insolent1 instrument1 irreverent1 languishment1 ligament1 lineament1 magnificent1 management1 medicament1 malecontent1 monument1 negligent1 nourishment1 nutriment1 occident1 omnipotent1 opulent1 ornament1 parliament1 penitent1 permanent1 pertinent1 president1 precedent1 prevalent1 provident1 punishment1 ravishment1 regiment1 resident1 redolent1 rudiment1 sacrament1 sediment1 sentiment1 settlement1 subsequent1 supplement1 intelligent1 tenement1 temperament1 testament1 tournament1 turbulent1 vehement1 violent1 virulent1 reverent4 ,,ents4 ,accoutrements1 the plurals of nouns and third persons singular present tense of verbs in ,,ent4 ,,ep4 ,step1 nep1 skep199 rep1 demirep1 etc4 ,,epe4 ,clepe1 keep1 reap1 etc4 ,,ept4 ,accept1 adept1 except1 intercept1 crept1 sept199 slept1 wept1 kept1 etc4 ,,er1 and ,,err4 ,her1 sir1 fir1 burr1 cur1 err1 aver1 defer1 infer1 deter1 inter1 refer1 transfer1 confer1 prefer1 whirr1 administer1 waggoner1 islander1 arbiter1 character1 villager1 cottager1 dowager1 forager1 pillager1 voyager1 massacre1 gardener1 slanderer1 flatterer1 idolater1 provender1 theatre1 amphitheatre1 foreigner1 lavender1 messenger1 passenger1 sorcerer1 interpreter1 officer1 mariner1 harbinger1 minister1 register1 canister1 chorister1 sophister1 presbyter1 lawgiver1 philosopher1 artrologer1 loiterer1 prisoner1 grasshopper1 astronomer1 sepulchre1 thunderer1 traveller1 murderer1 usurer4 ,,erch1 see ,,earch4 ,,erce1 see ,,erse4 ,,ierce1 see ,,erse4 ,,erd1 see ,,eard4 ,,ere1 see ,,eer4 ,,erf4 ,serf1 turf1 surf1 scurf1 etc4 ,,erge4 ,verge1 absterge1 emerge1 immerge1 dirge1 urge1 purge1 surge4 ,,ergue4 ,exergue1 burgh4 ,,erm4 ,term1 firm1 worm1 etc4 ,,ern4 ,fern1 stern1 discern1 hern1 concern1 learn1 earn1 yearn1 quern199 dern1 burn1 turn1 etc4 ,,erne4 ,eterne1 see ,,ern4 ,,erp4 ,discerp1 see ,,irp4 ,,erse4 ,verse1 absterse1 adverse1 averse1 converse1 disperse1 immerse1 perverse1 reverse1 asperse1 intersperse1 universe1 amerce1 coerce1 hearse1 purse1 curse1 etc4 ,,ert4 ,wert1 advert1 assert1 avert1 concert1 convert1 controvert1 desert1 divert1 exert1 expert1 insert1 invert1 pervert1 subvert1 shirt1 dirt1 hurt1 spurt1 etc4 ,,erth4 ,berth1 birth1 mirth1 earth1 worth1 etc4 ,,erve4 ,serve1 nerve1 swerve1 preserve1 deserve1 conserve1 observe1 reserve1 disserve1 subserve1 curve1 etc4 ,,es1 ,,ess1 or ,,esse4 ,yes1 bless1 dress1 cess199 chess1 guess1 less1 mess1 press1 stress1 acquiesce1 access1 address1 assess1 compress1 confess1 caress1 depress1 digress1 dispossess1 distress1 excess1 express1 impress1 oppress1 possess1 profess1 recess1 repress1 redress1 success1 transgress1 adultress1 bashfulness1 bitterness1 cheerfulness1 comfortless1 comeliness1 dizziness1 diocess1 drowsiness1 eagerness1 easiness1 ambassadress1 emptiness1 evenness1 fatherless1 filthiness1 foolishness1 forgetfulness1 forwardness1 frowardness1 fruitfulness1 fulsomeness1 giddiness1 greediness1 gentleness1 governess1 happiness1 haughtiness1 heaviness1 idleness1 heinousness1 hoariness1 hollowness1 holiness1 lasciviousness1 lawfulness1 laziness1 littleness1 liveliness1 loftiness1 lioness1 lowliness1 manliness1 masterless1 mightiness1 motherless1 motionless1 nakedness1 neediness1 noisomeness1 numberless1 patroness1 peevishness1 perfidiousness1 pitiless1 poetess1 prophetess1 ransomless1 readiness1 righteousness1 shepherdess1 sorceress1 sordidness1 spiritless1 sprightliness1 stubbornness1 sturdiness1 surliness1 steadiness1 tenderness1 thoughtfulness1 ugliness1 uneasiness1 unhappiness1 votaress1 usefulness1 wakefulness1 wantonness1 weaponless1 wariness1 willingness1 wilfulness1 weariness1 wickedness1 wilderness1 wretchedness1 drunkenness1 childishness1 duresse1 cesse4 ,,ese1 see ,,eeze4 ,,esh4 ,flesh1 fresh1 refresh1 thresh1 afresh1 nesh1 mesh4 ,,esk1 and ,,esque4 ,desk1 grotesque1 burlesque1 arabesque1 picturesque1 moresque1 etc4 ,,est4 ,best1 chest1 crest1 guest1 jest1 nest1 pest1 quest1 rest1 test1 vest1 lest1 west1 arrest1 attest1 bequest1 contest1 detest1 digest1 divest1 invest1 palimpsest1 alcahest1 infest1 molest1 obtest1 protest1 request1 suggest1 unrest1 interest1 manifest1 breast1 abreast1 etc41 and the preterites and participles of verbs in ,,ess4 ,,et4 ,bet1 get1 jet1 fret1 let1 met1 net1 set1 wet1 whet1 yet1 debt1 abet1 beget1 beset1 forget1 regret1 alphabet1 amulet1 anchoret1 cabinet1 epithet1 parapet1 rivulet1 violet1 coronet1 parroquet1 basinet1 wagonette1 cadet1 epaulette1 piquette1 sweat1 threat1 etc4 ,,etch4 ,fetch1 stretch1 wretch1 sketch1 etc4 ,,ete4 ,effete1 see ,,eat4 ,,eth4 ,elizabeth1 see ,,eath4 ,,ette4 ,rosette1 silhouette1 wagonette1 cassolette1 bet1 etc4 ,,eve1 see ,,eave4 ,,euce4 ,deuce1 see ,,use4 ,,eud4 ,feud1 rude1 mood1 stewed1 etc4 ,,eum4 ,rheum1 see ,,oom1 ,,ume4 ,,eur4 ,amateur1 connoisseur1 bon-viveur4 ,,ew4 ,blew1 chew1 dew1 brew1 drew1 flew1 few1 grew1 new1 knew1 hew1 ,jew1 mew1 view1 threw1 yew1 crew1 slew1 anew1 askew1 bedew1 eschew1 renew1 review1 withdrew1 screw1 interview1 emmew1 clue1 due1 cue1 glue1 hue1 rue1 sue1 true1 accrue1 ensue1 endue1 imbue1 imbrue1 pursue1 subdue1 adieu1 purlieu1 perdue1 residue1 avenue1 revenue1 retinue1 through1 pooh1 you4 ,news takes plural of nouns1 and third person singular present of verbs1 of this class4 ,,ewd4 ,flewd1 lewd1 screwed1 see ,,ude4 ,,ewn4 ,hewn1 see ,,une4 ,,ex4 ,sex1 vex1 annex1 convex1 complex1 perplex1 circumflex1 and the plurals of nouns and third persons singular of verbs in ,,ec1 ,,eck4 ,,ext4 ,next1 pretext1 and the preterites and participles of verbs in ,,ex4 ,,ey4 7,as in prey71 rhymes ,,ay1 ,a4 7,as in key71 rhymes ,,ee1 ,,ea4 ,,eyne4 ,eyne1 rhymes ,,ine4 ,i4 ,i4 ,alibi1 alkali1 try1 eye1 high1 bye1 vie1 etc4 ,,ib4 ,bib1 crib1 squib1 drib1 glib1 nib1 rib4 ,,ibe4 ,bribe1 tribe1 kibe1 scribe1 ascribe1 describe1 superscribe1 prescribe1 proscribe1 subscribe1 transcribe1 inscribe1 imbibe1 diatribe4 ,,ic4 ,catholic1 splenetic1 heretic1 arithmetic1 brick1 etc4 ,,ice4 ,ice1 dice1 mice1 nice1 price1 rice1 spice1 slice1 thrice1 trice1 splice1 advice1 entice1 vice1 device1 concise1 precise1 paradise1 sacrifice1 etc4 ,,iche and ,,ich1 see ,,itch4 ,,ick4 ,brick1 sick1 chick1 kick1 lick1 nick1 pick1 quick1 stick1 thick1 trick1 arithmetic1 choleric1 catholic1 heretic1 rhetoric1 splenetic1 lunatic1 politic4 ,,ict4 ,strict1 addict1 afflict1 convict1 inflict1 contradict1 ,pict1 etc4 ,the preterites and participles of verbs in ,,ick1 etc4 ,,id4 ,bid1 chid1 hid1 kid1 lid1 slid1 rid1 bestrid1 pyramid1 forbid1 quid1 squid1 katydid1 etc4 ,,ide4 ,bide1 chide1 hide1 gride1 glide1 pride1 ride1 slide1 side1 nide1 stride1 tide1 wide1 bride1 abide1 guide1 aside1 astride1 beside1 bestride1 betide1 confide1 decide1 deride1 divide1 preside1 provide1 subside1 misguide1 subdivide1 etc41 the preterites and participles of verbs in ,,ie1 ,,igh1 and ,y4 ,,ides4 ,ides1 besides1 the plurals of nouns and third persons singular of verbs in ,,ide1 etc4 ,,idge4 ,bridge1 ridge1 midge1 fidge1 abridge1 etc4 ,,idst4 ,midst1 amidst1 didst1 etc41 the second persons singular of the present tense of verbs in ,,id4 ,,ie1 or ,y4 ,by1 buy1 cry1 die1 dry1 eye1 fly1 fry1 fie1 hie1 lie1 pie1 ply1 pry1 rye1 shy1 sly1 spy1 sky1 sty1 tie1 try1 vie1 why1 ally1 apply1 awry1 bely1 comply1 decry1 defy1 descry1 deny1 imply1 espy1 outvie1 outfly1 rely1 reply1 supply1 untie1 amplify1 beautify1 certify1 crucify1 deify1 dignify1 edify1 falsify1 fortify1 gratify1 glorify1 indemnify1 justify1 magnify1 modify1 mollify1 mortify1 pacify1 petrify1 purify1 putrify1 qualify1 ratify1 rectify1 sanctify1 satisfy1 scarify1 signify1 specify1 stupefy1 terrify1 testify1 verify1 vilify1 vitrify1 vivify1 prophesy1 high1 nigh1 sigh1 thigh4 ,such words as lunacy1 polygamy1 tyrrany1 cannot well be used1 as it is difficult to get the y sound without over-accentuating it4 ,,iece1 see ,,ease4 ,,ied4 ,pied1 side1 sighed1 rhymes with preterites and participles of verbs in ,y or ,,ie4 ,,ief4 ,grief1 chief1 fief1 thief1 brief1 belief1 relief1 reef1 beef1 leaf1 sheaf1 etc4 ,,iege4 ,liege1 siege1 assiege1 besiege4 ,,ield4 ,field1 yield1 shield1 wield1 afield1 weald199 and the preterites and participles of verbs in ,,eal4 ,,ien1 see ,,een4 ,,iend4 7,as in fiend71 rhymes preterites and participles of verbs in ,,ean1 ,,een4 7,as in friend71 rhymes ,,end4 ,,ier4 ,pier1 bier1 tier1 rhymes ,,eer4 ,,ierce4 ,fierce1 pierce1 tierce4 ,,iest4 ,priest1 rhymes ,,east4 7,diest1 second person singular present1 at times pronounced as a monosyllable1 rhymes spiced1 etc47 ,,ieve4 7,as in sieve71 rhymes give1 see ,,ive4 7,as in grieve71 rhymes ,,eve1 ,,eave4 ,,ieu1 ,,iew4 ,lieu1 review1 rhyme ,,ew1 ,,ue1 etc4 ,,ieze4 ,frieze1 rhymes ,,eeze1 etc4 ,,if1 ,,iff4 ,if1 skiff1 stiff1 whiff1 cliff1 sniff1 tiff1 hieroglyph4 ,,ife4 ,rife1 fife1 knife1 wife1 strife1 life4 ,,ift4 ,gift1 drift1 shift1 lift1 rift1 sift1 thrift1 adrift1 etc41 and the preterites and participles of verbs in ,,iff4 ,,ig4 ,big1 dig1 gig1 fig1 pig1 rig1 sprig1 twig1 swig1 grig199 ,whig1 wig1 jig1 prig4 ,,ige4 ,oblige1 no rhyme4 ,,igh1 see ,,ie4 ,,ight1 see ,,ite4 ,,igm4 ,paradigm1 rhymes ,,ime4 ,,ign1 see ,,ine4 ,,igue1 see ,,eague4 ,,ike4 ,dike1 like1 pike1 spike1 strike1 alike1 dislike1 shrike1 glike4 ,,il1 ,,ill4 ,bill1 chill1 fill1 drill1 gill1 hill1 ill1 kill1 mill1 pill1 quill1 rill1 shrill1 fill1 skill1 spill1 still1 swill1 thrill1 till1 trill1 will1 distil1 fulfil1 instil1 codicil1 daffodil4 ,,ilch4 ,filch1 milch4 ,,ild4 7,as in child71 rhymes mild1 wild1 etc41 the preterites and participles of verbs of one syllable in ,,ile1 or of more syllables1 provided the accent be on the last4 7,as in gild71 rhymes build1 rebuild1 etc41 and the preterites and participles of verbs in ,,ill4 ,,ile4 ,bile1 chyle1 file1 guile1 isle1 mile1 pile1 smile1 stile1 style1 tile1 vile1 while1 awhile1 compile1 revile1 defile1 exile1 erewhile1 reconcile1 beguile1 aisle4 ,there is also the eel sound1 as in imported words like bastile1 pastile1 rhyming with ,,eel1 ,,eal4 ,,ilge4 ,bilge1 no rhyme4 ,,ilk4 ,milk1 silk1 bilk1 whilk199 etc4 ,,iln4 ,kiln1 no rhyme4 ,,ilt4 ,gilt1 jilt1 built1 quilt1 guilt1 hilt1 spilt1 stilt1 tilt1 milt4 ,,ilth4 ,filth1 tilth1 spilth1 etc4 ,,im4 ,brim1 dim1 grim1 him1 rim1 skim1 slim1 trim1 whim1 prim1 limb1 hymn1 limn4 ,,imb4 7,as in limb71 rhymes ,,im4 7,as in climb71 rhymes ,,ime4 ,,ime4 ,chime1 time1 grime1 climb1 clime1 crime1 prime1 mime1 rhyme1 slime1 thyme1 lime1 sublime4 ,,imes4 ,betimes1 sometimes1 etc4 ,rhymes the plurals of nouns and third persons singular present tense of verbs in ,,ime4 ,,imn1 see ,,im4 ,,imp4 ,imp1 limp1 pimp1 gimp1 jimp4 ,,impse4 ,glimpse4 ,rhymes1 the plurals of nouns and third persons singular present tense of verbs in ,,imp4 ,,in1 ,,inn4 ,bin1 chin1 din1 fin1 gin1 grin1 in1 inn1 kin1 pin1 shin1 sin1 spin1 skin1 linn199 thin1 twin1 tin1 win1 within1 javelin1 begin1 whin1 baldachin1 cannikin4 ,,inc4 ,zinc1 rhymes ,,ink4 ,,ince4 ,mince1 prince1 since1 quince1 rinse1 wince1 convince1 evince4 ,,inch4 ,clinch1 finch1 winch1 pinch1 inch4 ,,inct4 ,instinct1 distinct1 extinct1 precinct1 succinct1 tinct1 c41 and the preterites and participles of certain verbs in ,,ink1 as linked1 pinked1 c4 ,,ind4 7,as in bind71 find1 mind1 blind1 kind1 grind1 rind1 wind1 behind1 unkind1 remind1 etc41 and the preterites and participles of verbs in ,,ine1 ,,ign1 etc4 7,as in rescind71 preterites and participles of verbs in ,,in4 ,,ine4 ,dine1 brine1 mine1 chine1 fine1 line1 nine1 pine1 shine1 shrine1 kine1 thine1 trine1 twine1 vine1 wine1 whine1 combine1 confine1 decline1 define1 incline1 enshrine1 entwine1 opine1 recline1 refine1 repine1 superfine1 interline1 countermine1 undermine1 supine1 concubine1 porcupine1 divine1 sign1 assign1 consign1 design1 eyne1 condign1 indign4 ,there is also the short ine1 as in discipline1 rhyming ,,in4 ,,ing4 ,bring1 sing1 cling1 fling1 king1 ring1 sling1 spring1 sting1 string1 ging1 swing1 wing1 wring1 thing1 etc41 and the participles of the present tense in ,,ing1 with the accent on the antepenultimate1 as recovering4 ,,inge4 ,cringe1 fringe1 hinge1 singe1 springe1 swinge1 tinge1 twinge1 infringe4 ,,ink4 ,ink1 think1 wink1 drink1 blink1 brink1 chink1 clink1 link1 pink1 shrink1 sink1 slink1 stink1 bethink1 forethink1 skink1 swink4 ,,inque4 ,cinque1 appropinque1 see ,,ink4 ,,inse4 ,rinse1 see ,,ince4 ,,int4 ,dint1 mint1 hint1 flint1 lint1 print1 squint1 asquint1 imprint1 sprint1 quint4 ,,inth4 ,plinth1 hyacinth1 labyrinth4 ,,inx4 ,minx1 sphinx1 jinks1 plural of nouns1 and third person singular present of verb in ,,ink4 ,,ip4 ,chip1 lip1 hip1 clip1 dip1 drip1 lip1 nip1 sip1 rip1 scrip1 ship1 skip1 slip1 snip1 strip1 tip1 trip1 whip1 equip1 eldership1 fellowship1 workmanship1 rivalship1 and all words in ,,ship with the accent on the antepenultimate4 ,,ipe4 ,gripe1 pipe1 ripe1 snipe1 type1 stripe1 wipe1 archetype1 prototype4 ,,ipse4 ,eclipse4 ,rhymes1 the plurals of nouns and third persons singular present tense in ,,ip4 ,,ique4 ,oblique1 clique1 critique1 bzique1 antique1 pique1 see ,,eak4 ,,ir1 see ,,ur4 ,,irch1 see ,,urch4 ,,ird1 see ,,urd4 ,,ire4 ,fire1 dire1 hire1 ire1 lyre1 mire1 quire1 sire1 spire1 squire1 wire1 tire1 attire1 acquire1 admire1 aspire1 conspire1 desire1 inquire1 entire1 expire1 inspire1 require1 retire1 transpire1 pyre1 gipsire1 gire4 ,,irge1 see ,,erge4 ,,irk4 ,dirk1 firk1 kirk1 stirk199 quirk1 shirk1 work1 burke1 murk4 ,,irl4 ,girl1 whirl199 twirl1 curl1 furl1 churl1 thirl199 etc4 ,,irm4 ,firm1 affirm1 confirm1 infirm1 worm1 term1 chirm1 etc4 ,,irp4 ,chirp1 see ,,urp4 ,,irr4 ,whirr1 skirr1 see ,,ur4 ,,irst1 ,see ,,urst4 ,,irt1 see ,,urt4 ,,irth4 ,birth1 mirth1 earth1 dearth1 worth4 ,,is1 pronounced like ,,iz4 ,is1 his1 whiz4 ,,iss4 ,bliss1 miss1 hiss1 kiss1 this1 abyss1 amiss1 submiss1 dismiss1 remiss1 wis1 ,dis1 spiss4 ,,isc4 ,disc1 whisk1 risk1 see ,,isk4 ,,ise1 see ,,ice and ,,ize4 ,,ish4 ,dish1 fish1 wish1 cuish1 pish1 squish4 ,,isk4 ,brisk1 frisk1 disc1 risk1 whisk1 basilisk1 tamarisk4 ,,ism4 ,chrism1 solecism1 anachronism1 abysm1 schism1 syllogism1 witticism1 criticism1 organism1 heroism1 prism1 egotism1 cataclysm4 ,,isp4 ,crisp1 wisp1 lisp4 ,,ist4 ,fist1 list1 mist1 twist1 wrist1 assist1 consist1 desist1 exist1 insist1 persist1 resist1 subsist1 alchemist1 amethyst1 anatomist1 antagonist1 annalist1 evangelist1 eucharist1 exorcist1 herbalist1 humorist1 oculist1 organist1 satirist1 etc41 and the preterites and participles of verbs in ,,iss1 etc4 ,,it4 ,bit1 ,cit1 hit1 fit1 grit1 flit1 knit1 pit1 quit1 sit1 split1 twit1 wit1 chit1 whit1 writ1 admit1 acquit1 commit1 emit1 omit1 outwit1 permit1 remit1 submit1 transmit1 refit1 benefit1 perquisite4 ,,itch4 ,ditch1 pitch1 rich1 which1 flitch1 itch1 stitch1 switch1 twitch1 witch1 bewitch1 niche1 enrich1 fitch4 ,,ite1 and ,,ight4 ,bite1 cite1 kite1 blite1 mite1 quite1 rite1 smite1 spite1 trite1 white1 write1 contrite1 disunite1 despite1 indite1 excite1 incite1 invite1 polite1 requite1 recite1 unite1 reunite1 aconite1 appetite1 parasite1 proselyte1 expedite1 blight1 benight1 bright1 fight1 flight1 fright1 height1 light1 knight1 night1 might1 wight1 plight1 right1 tight1 slight1 sight1 spright1 wight1 affright1 alight1 aright1 foresight1 delight1 despite1 unsight1 upright1 benight1 bedight1 oversight1 height1 accite1 pight4 ,,ith4 ,pith1 smith1 frith199 sith4 7,with has strictly no rhyme47 ,,ithe4 ,hithe1 blithe1 tithe1 scythe1 writhe1 lithe4 ,,its4 ,quits1 rhymes plural of nouns1 and third person singular1 present of verbs in ,,it4 ,,ive4 7,as in five71 rhymes dive1 alive1 gyve1 hive1 drive1 rive1 shrive1 strive1 thrive1 arrive1 connive1 contrive1 deprive1 derive1 revive1 survive4 7,as in give71 rhymes live1 sieve1 fugitive1 positive1 sensitive1 etc4 ,,ix4 ,fix1 six1 mix1 nix1 affix1 infix1 prefix1 transfix1 intermix1 crucifix1 etc41 and the plurals of nouns and third persons singular of verbs in ,,ick4 ,,ixt4 ,betwixt4 ,rhymes1 the preterites and participles of verbs in ,,ix4 ,,ise1 and ,,ize4 ,prize1 wise1 rise1 size1 guise1 disguise1 advise1 authorise1 canonise1 agonise1 chastise1 civilise1 comprise1 criticise1 despise1 devise1 enterprise1 excise1 exercise1 idolise1 immortalise1 premise1 revise1 signalise1 solemnise1 surprise1 surmise1 suffice1 sacrifice1 sympathise1 tyrannise1 and the plurals of nouns and third persons singular present tense of verbs in ,,ie or ,y4 ,o ,mo'1 calico1 bo1 portico1 go1 ago1 undergo1 ho1 though1 woe1 adagio1 seraglio1 owe1 beau1 crow1 lo1 no1 fro'1 so4 ,,oach4 ,broach1 coach1 poach1 abroach1 approach1 encroach1 reproach1 loach4 ,,oad1 see ,,ode4 ,,oaf4 ,oaf1 loaf4 ,,oak4 ,cloak1 oak1 croak1 soak1 joke1 see ,,oke4 ,,oal1 see ,,ole4 ,,oam1 see ,,ome4 ,,oan1 see ,,one4 ,,oap1 see ,,ope4 ,,oar1 see ,,ore4 ,,oard1 see ,,ord4 ,,oast1 see ,,ost4 ,,oat1 see ,,ote4 ,,oath4 ,oath1 loath1 both1 see ,,oth4 ,,oaves4 ,loaves1 groves1 roves1 cloves1 etc4 ,,oax4 ,hoax1 coax1 rhymes plural of nouns1 and third person singular present of verbs in ,,oke4 ,,ob4 ,cob1 fob1 bob1 lob1 hob1 nob1 mob1 knob1 sob1 rob1 throb1 cabob1 swab1 squab4 ,,obe4 ,globe1 lobe1 probe1 robe1 conglobe4 ,,oce1 see ,,ose4 ,,och4 ,loch199 epoch1 see ,,ock4 ,,oche4 ,caroche1 gauche4 ,,ock4 ,block1 lock1 cock1 clock1 crock1 dock1 frock1 flock1 knock1 mock1 rock1 shock1 stock1 sock1 brock1 hough4 ,,oct4 ,concoct1 rhymes the preterites and participles of verbs in ,,ock4 ,,od4 ,cod1 clod1 ,god1 rod1 sod1 trod1 nod1 plod1 odd1 shod1 quod1 pod1 wad1 quad1 odd1 hod1 tod499 ,,ode4 ,bode1 ode1 code1 mode1 rode1 abode1 corrode1 explode1 forebode1 commode1 incommode1 episode1 -la-mode1 road1 toad1 goad1 load1 etc41 and the preterites and participles of verbs in ,,ow1 ,,owe4 ,,odge4 ,dodge1 lodge1 ,hodge1 podge1 bodge4 ,,oe4 7,as in shoe71 rhymes ,,oo4 7,as in toe71 rhymes foe1 doe1 roe1 sloe1 mistletoe1 ,,owe and ,,ow4 ,,off4 ,doff1 off1 scoff1 cough1 etc4 ,,oft4 ,oft1 croft1 soft1 aloft1 etc41 and the preterites and participles of verbs in ,,off1 etc4 ,,og4 ,hog1 bog1 cog1 dog1 clog1 fog1 frog1 log1 jog1 agog1 ,gog1 prog1 quog199 shog1 tog1 pollywog199 dialogue1 epilogue1 synagogue1 catalogue1 pedagogue4 ,,oge4 ,gamboge1 rouge4 ,,ogue4 7,as in rogue71 rhymes vogue1 prorogue1 collogue199 disembogue4 7,as in catalogue71 rhymes ,,og4 ,,oh4 ,oh1 rhymes ,,ow and ,,owe4 ,,oice4 ,choice1 voice1 rejoice4 ,,oid4 ,void1 avoid1 devoid1 asteroid1 alkaloid1 etc41 and the preterites and participles of verbs in ,,oy4 ,,oif4 ,coif1 no rhyme4 ,,oign4 ,coign1 rhymes ,,oin4 ,,oil4 ,oil1 boil1 coil1 moil1 soil1 spoil1 toil1 despoil1 embroil recoil1 turmoil1 disembroil4 ,,oin4 ,coin1 join1 subjoin1 groin1 loin1 adjoin1 conjoin1 disjoin1 enjoin1 foin1 proin1 purloin1 rejoin4 ,,oint4 ,oint1 joint1 point1 disjoint1 anoint1 appoint1 aroint1 disappoint1 counterpoint4 ,,oir4 7,as in choir71 rhymes ,,ire1 but the foreign sound1 as in devoir1 reservoir1 is nearer ,,ar1 but must not be so rhymed4 ,coir is a dissyllable4 ,,oise4 ,poise1 noise1 counterpoise1 equipoise1 etc41 and the plurals of nouns and third persons singular present tense of verbs in ,,oy4 ,turquoise would rhyme with plurals of ,,ah1 etc4 ,,oist4 ,hoist1 moist1 foist1 the preterites and participles of verbs in ,,oice4 ,,oit4 ,doit1 exploit1 adroit1 quoit1 etc4 ,,oke4 ,broke1 choke1 smoke1 spoke1 stroke1 yoke1 bespoke1 invoke1 provoke1 revoke1 cloak1 oak1 soak4 ,,ol4 ,alcohol1 loll1 doll1 extol1 capitol1 ,moll1 ,poll1 etc4 ,,old4 ,old1 bold1 cold1 gold1 hold1 mold1 scold1 sold1 told1 behold1 enfold1 unfold1 uphold1 withhold1 foretold1 manifold1 marigold1 preterites and participles of verbs in ,,oll1 ,,owl1 ,,ole1 and ,,oal4 ,,ole4 ,bole1 dole1 jole1 hole1 mole1 pole1 sole1 stole1 whole1 shoal1 cajole1 girandole1 condole1 parole1 patrole1 pistole1 console1 aureole1 vole199 coal1 foal1 goal1 bowl1 roll1 scroll1 toll1 troll1 droll1 poll1 control1 enrol1 soul1 etc4 ,,oll4 7,as in loll71 rhymes ,,ol4 7,as in droll71 rhymes ,,ole4 ,,oln4 ,stol'n1 swoln4 ,,olp4 ,holp1 golpe4 ,,olt4 ,bolt1 colt1 jolt1 holt1 dolt1 revolt1 thunderbolt1 moult4 ,,olve4 ,solve1 absolve1 resolve1 convolve1 involve1 devolve1 dissolve1 revolve4 ,,om4 ,,om is by general consent degraded to ,,um2 ,tom1 from1 ,christendom1 aplomb4 ,but for whom1 see ,,oom4 ,,omb4 7,as in tomb71 see ,,oom4 7,as in comb71 see ,,ome1 clomb4 7,as in bomb71 see ,,um4 ,rhomb has no rhyme4 7,as in aplomb71 see ,,om4 ,,ome4 ,dome1 home1 mome1 foam1 roam1 loam4 ,,omp4 ,pomp1 swamp1 romp4 ,,ompt4 ,prompt1 preterite and participle of romp4 ,,on4 7,as in don71 rhymes on1 con1 upon1 anon1 bonne2 7as in won71 rhymes ton1 fun1 done1 etc4 ,by some1 gone1 hone1 and other like words are so pronounced as to rhyme with on4 ,,once4 7,as in sconce71 rhymes response1 etc4 7,as in once71 rhymes dunce1 etc4 ,,onch4 ,conch1 jonque4 ,,ond4 ,pond1 bond1 fond1 beyond1 abscond1 correspond1 despond1 diamond1 vagabond1 etc41 and the preterites and participles of verbs in ,,on4 ,,onde4 ,blonde1 rhymes ,,ond4 ,,one4 ,prone1 bone1 drone1 throne1 alone1 stone1 tone1 lone1 zone1 atone1 enthrone1 dethrone1 postpone1 grown1 flown1 disown1 thrown1 sown1 own1 loan1 shown1 overthrown1 groan1 blown1 moan1 known1 cone1 loan1 etc4 ,with regard to gone and shone1 some pronounce them so that they rhyme with one others so that the first rhymes with lawn1 and the second with prone4 ,,ong4 7,as in long71 rhymes prong1 song1 thong1 strong1 throng1 wrong1 along1 belong1 prolong4 7,as in among71 rhymes hung1 tongue1 etc4 ,,onge4 ,sponge1 see ,,unge4 ,,ongue1 see ,,ung4 ,,onk4 7,as in monk71 rhymes drunk4 7,as in conk71 rhymes jonque4 ,,onque4 ,jonque1 see ,,onk4 ,,onse4 ,response1 sconce1 ensconce4 ,,ont4 7,as in font71 rhymes want4 7,as n front71 rhymes punt1 etc4 ,the abbreviated negatives1 won't1 don't1 rhyme together4 ,,oo4 ,coo1 woo1 shoe1 two1 too1 who1 do1 ado1 undo1 through1 you1 true1 blue1 flew1 stew1 etc4 ,see ,o1 ,,ue1 ,,ew1 etc4 ,,ooch1 see ,,oach4 ,,ood4 7,as in brood71 rhymes mood1 food1 rood1 feud1 illude1 etc41 the preterites and participles of verbs in ,,oo1 and ,,ew1 ,,ue1 etc4 7,as in wood71 rhymes good1 hood1 stood1 withstood1 understood1 could1 would1 brotherhood1 livelihood1 likelihood1 neighbourhood1 widowhood4 7,as in blood71 rhymes flood1 cud1 mud1 etc4 ,,oof4 ,hoof1 proof1 roof1 woof1 aloof1 disproof1 reproof1 behoof4 ,,ooh4 ,pooh1 rhymes ,,ew1 etc4 ,,ook4 ,book1 brook1 cook1 crook1 hook1 look1 rook1 shook1 took1 mistook1 undertook1 forsook1 stook199 betook4 ,,ool4 ,cool1 fool1 pool1 school1 stool1 tool1 befool1 spool1 buhl1 pule1 rule4 ,,oom4 ,gloom1 groom1 loom1 room1 spoom1 bloom1 doom1 tomb1 entomb1 whom1 womb1 plume1 spume1 etc4 ,,oon1 see ,,une4 ,boon1 soon1 moon1 noon1 spoon1 swoon1 buffoon1 lampoon1 poltroon1 tune1 prune1 coon1 ,june1 hewn1 dune199 shalloon1 dragoon4 ,,oop4 ,loop1 poop1 scoop1 stoop1 troop1 droop1 whoop1 coop1 hoop1 soup1 group1 dupe4 ,,oor4 7,as in boor71 rhymes poor1 moor1 tour1 amour1 paramour1 contour1 pure1 sure1 your1 etc4 7,as in door71 rhymes floor1 bore1 pour1 etc4 ,,oose4 ,goose1 loose1 juice1 truce1 deuce1 noose1 use1 profuse1 seduce1 etc4 ,,oot4 7,as in root71 rhymes boot1 coot1 hoot1 loot1 shoot1 toot1 suit1 fruit1 lute1 impute1 etc4 7,as in foot71 rhymes put4 ,it is difficult to say whether soot should rhyme root or but1 the pronunciation so varies4 ,,ooth4 7,as in booth71 rhymes smooth1 soothe1 etc4 7,as in tooth71 rhymes youth1 uncouth1 truth4 ,,oove4 ,groove1 see ,,ove4 ,,ooze4 ,ooze1 noose1 whose1 choose1 lose1 use1 abuse1 the plurals of nouns and third persons singular present tense of verbs in ,,ew1 ,,ue4 ,,op4 ,chop1 hop1 drop1 crop1 fop1 top1 pop1 prop1 flop1 shop1 slop sop1 stop1 swop1 underprop4 ,,ope4 ,hope1 cope1 mope1 grope1 pope1 rope1 scope1 slope1 trope1 aslope1 elope1 interlope1 telescope1 heliotrope1 horoscope1 antelope1 etc41 and ope1 contracted in poetry for open4 ,,oph4 ,soph1 see ,,off4 ,,opt4 ,adopt1 rhymes with the preterites and participles of verbs in ,,op1 etc4 ,,oque4 ,equivoque1 see ,,oak4 ,,or4 ,or1 for1 creditor1 counsellor1 competitor1 emperor1 ancestor1 ambassador1 progenitor1 conspirator1 conqueror1 governor1 abhor1 metaphor1 bachelor1 senator1 etc41 and every word in ,,or having the accent on the last1 or last syllable but two1 pour1 bore1 tore1 boar1 hoar1 war1 corps1 tor499 ,,orb4 ,orb1 sorb1 corb4 ,,orce1 see ,,orse4 ,,orch4 ,scorch1 torch1 porch1 etc4 ,,ord4 7,as in cord71 rhymes lord1 record1 accord1 abhorr'd1 hoard1 board1 aboard1 ford1 afford1 sword1 and the preterites and participles of verbs in ,,oar1 ,,ore4 7,as in word71 rhymes bird1 stirred1 absurd1 erred1 curd1 etc4 ,,orde4 ,horde1 see ,,ord4 ,,ore4 ,bore1 core1 gore1 lore1 more1 ore1 pore1 score1 shore1 snore1 sore1 store1 swore1 tore1 wore1 adore1 afore1 ashore1 deplore1 explore1 implore1 restore1 forebore1 foreswore1 heretofore1 hellebore1 sycamore1 albicore1 boar1 oar1 roar1 soar1 four1 door1 floor1 o'er1 orator1 senator1 abhor4 ,,orge4 ,george1 gorge1 disgorge1 regorge1 forge4 ,,ork4 ,ork1 cork1 fork1 stork1 pork4 ,,orld4 ,world1 rhymes with the preterites and participles of verbs in ,,url and ,,irl4 ,,orm4 7,as in form71 rhymes storm1 conform1 deform1 inform1 perform1 reform1 misinform1 uniform1 multiform1 transform4 7,as in worm71 rhymes term1 ,,erm4 ,,orn4 ,born1 corn1 morn1 horn1 scorn1 thorn1 adorn1 suborn1 unicorn1 sorn1 capricorn1 shorn1 torn1 worn1 lorn1 forlorn1 lovelorn1 sworn1 foresworn1 overborne1 foreborne1 mourn4 ,,orp4 ,thorp199 rhymes ,,arp4 ,,orps4 ,corps1 rhymes ,,ore4 ,,orpse4 ,corpse1 rhymes plurals of nouns1 and preterites and participles of verbs in ,,arp4 ,,orse4 ,horse1 endorse1 unhorse1 force1 remorse1 coarse1 course1 torse1 morse1 corse1 etc4 ,,orst1 see ,,urst4 ,,ort4 ,short1 sort1 exhort1 consort1 distort1 extort1 resort retort1 snort1 mort1 wart1 fort1 port1 court1 report4 ,,orts4 ,orts1 plural of nouns1 and third person singular present of verbs in ,,ort4 ,,orth4 7,as in north71 rhymes fourth4 7,as in worth71 rhymes birth1 earth1 c4 ,,ose4 7,as in jocose71 rhymes close1 dose1 morose1 gross1 engross1 verbose4 7,as in pose71 rhymes close1 dose1 hose1 chose1 glose1 froze1 nose1 prose1 those1 rose1 compose1 depose1 disclose1 dispose1 discompose1 expose1 impose1 enclose1 interpose1 oppose1 propose1 recompose1 repose1 suppose1 transpose1 arose1 presuppose1 foreclose1 etc41 and the plurals of nouns and apostrophised preterites and participles of verbs in ,,ow1 ,,oe1 ,o1 etc4 7,as in lose71 rhymes use1 etc4 ,see ,,ooze1 ,,use4 ,,osh4 ,bosh1 wash1 c4 ,,osm4 ,microcosm1 no rhyme4 ,,osque1 ,,osk4 ,mosque1 kiosk4 ,,oss4 ,boss1 cross1 dross1 moss1 loss1 across1 albatross1 doss1 emboss4 ,,ost4 7,as in cost71 rhymes frost1 lost1 accost1 etc41 and the preterites and participles of words in ,,oss4 7,as in ghost71 rhymes post1 most1 coast1 and second person singular present of verbs in ,,ow1 as ow'st4 7,as in dost71 rhymes ,,ust4 ,,ot4 ,clot1 cot1 blot1 got1 hot1 jot1 lot1 knot1 not1 plot1 pot1 scot1 shot1 polyglot1 sot1 spot1 apricot1 trot1 rot1 grot1 begot1 forgot1 allot1 complot1 yacht1 quat1 melilot1 counterplot4 ,,otch4 ,botch1 notch1 crotch1 blotch1 ,scotch1 watch4 ,,ote4 ,note1 vote1 lote1 mote1 quote1 rote1 wrote1 smote1 denote1 tote199 promote1 remote1 devote1 anecdote1 antidote1 boat1 coat1 bloat1 doat1 float1 gloat1 goat1 oat1 overfloat1 afloat1 throat1 moat4 ,,oth4 7,as in broth71 rhymes cloth1 froth1 troth1 wrath4 7,as in both71 rhymes loth1 sloth1 oath1 growth4 ,moth has no rhyme1 though at times pronounced to rhyme cloth4 ,,othe4 ,clothe1 loathe 7with s added rhymes oaths2 though clothes1 the noun1 in comic verse may rhyme with snows1 being colloquially spoken clo's74 ,,ou4 7,as in thou71 see ,,ow4 7,as in you71 see ,,oo4 ,,oubt4 ,doubt1 see ,,out4 ,,ouc4 ,caoutchouc1 rhymes book4 ,,ouch4 ,couch1 pouch1 vouch1 slouch1 avouch1 crouch4 ,,ouche4 ,cartouche1 buche4 ,,oud4 ,shroud1 cloud1 loud1 proud1 aloud1 crowd1 o'er-shroud1 etc41 and the preterites and participles of verbs in ,,ow4 ,,ough has various pronunciations2 see ,,off1 ,,ow1 ,,owe1 ,,ock1 ,o1 ,,ew1 and ,,uff4 ,,ouge4 7,as in rouge71 rhymes gamboge4 ,,ought4 ,bought1 thought1 ought1 brought1 forethought1 fought1 nought1 sought1 wrought1 besought1 bethought1 methought1 aught1 naught1 caught1 taught1 c4 ,,oul4 7,as in foul71 see ,,owl4 7,as in soul71 see ,,ole4 ,,ould4 ,mould1 fold1 old1 cold1 etc41 and the preterites and participles of verbs in ,,owl1 ,,oll1 and ,,ole4 ,,oult4 ,moult4 ,see ,,olt4 ,,oun4 ,noun1 see ,,own4 ,,ounce4 ,bounce1 flounce1 renounce1 pounce1 ounce1 denounce1 pronounce4 ,,ound4 7,as in bound71 rhymes found1 mound1 ground1 hound1 pound1 round1 sound1 wound 7verb71 abound1 aground1 around1 confound1 compound1 expound1 profound1 rebound1 resound1 propound1 surround1 etc41 and the preterites and participles of verbs in ,,own4 7,as in wound--the noun71 rhymes preterites and participles of verbs in ,,oon1 ,,une4 etc4 ,,oung4 ,young1 see ,,ung4 ,,ount4 ,count1 mount1 fount1 amount1 dismount1 remount1 surmount1 account1 discount1 miscount1 account4 ,,oup4 ,stoup1 group1 see ,,oop4 ,,ouph1 or ,,ouphe4 ,ouphe or ouph1 see ,,oof4 ,,ouque4 ,chibouque1 see ,,uke4 ,,our4 7,as in hour71 rhymes lour1 sour1 our1 scour1 deflow'r1 devour1 bow'r1 tow'r1 etc4 7,as in pour71 rhymes bore1 more1 roar1 pour1 war1 etc4 7,as in tour71 rhymes your1 amour1 contour1 pure1 etc4 ,,ourge4 ,scourge1 rhymes ,,urge4 ,,ourn4 7,as in adjourn71 rhymes ,,urn4 7,as in mourn71 rhymes ,,orn4 ,,ourne4 ,bourne1 rhymes ,,orn4 ,,ours4 7,as in ours71 rhymes the plurals of nouns and third persons singular present tense of verbs in ,,our and ,,ow',r4 7,as in yours71 rhymes the plurals of nouns and third persons singular present tense of verbs in ,,ure1 ,,oor1 etc4 ,,ourse4 ,course1 see ,,orse4 ,,ourt4 ,court1 see ,,ort4 ,,ourth4 ,fourth1 see ,,orth4 ,,ous4 ,nous1 house1 mouse1 chouse1 douse1 etc4 ,,ouse4 7,as in house--noun71 rhymes nous4 7,as in spouse71 rhymes browze1 and plural of nouns and third persons singular present of verbs in ,,ow4 ,,oust4 ,joust1 rhymes ,,ust4 ,,out4 ,bout1 stout1 out1 clout1 pout1 gout1 grout1 rout1 scout1 shout1 tout1 snout1 spout1 stout1 sprout1 trout1 about1 devout1 without1 throughout1 doubt1 redoubt1 misdoubt1 drought1 c4 ,,outh4 7,as in mouth--noun71 rhymes south1 drouth1 etc4 7,as in youth71 rhymes truth4 7,as in mouth--verb71 no rhyme4 ,,ove4 7,as in wove71 rhymes inwove1 interwove1 hove1 alcove1 clove1 grove1 behove1 rove1 stove1 strove1 throve1 drove4 7,as in dove71 rhymes love1 shove1 glove1 above4 7,as in move71 rhymes approve1 disprove1 disapprove1 improve1 groove1 prove1 reprove1 etc4 ,,ow4 7,as in now71 rhymes bow1 how1 mow1 cow1 brow1 sow1 vow1 prow1 avow1 allow1 trow1 disallow1 endow1 bough1 plough1 slough 7mire71 thou1 etc4 7,as in blow71 rhymes stow1 crow1 bow1 flow1 glow1 grow1 know1 low1 mow1 row1 show1 sow1 strow1 slow1 snow1 throw1 below1 bestow1 foreknow1 outgrow1 overgrow1 overflow1 overthrow1 reflow1 foreshow1 go1 no1 toe1 foe1 owe1 wo1 oh1 so1 lo1 though1 hoe1 ho1 ago1 forego1 undergo1 dough1 roe1 sloe1 and sew4 ,,owd4 ,crowd1 see ,,oud4 ,,owe4 ,owe1 see ,,ow4 ,,owl4 7,as in cowl71 rhymes growl1 owl1 fowl1 howl1 prowl1 scowl1 fowl1 c4 7,as in bowl71 rhymes soul1 hole1 goal1 dole4 ,,own4 7,as in brown71 rhymes town1 clown1 crown1 down1 drown1 frown1 gown1 adown1 renown1 embrown1 noun4 7,as in thrown71 rhymes shown1 blown1 tone1 bone1 moan1 own1 etc4 ,,owse4 ,bowse1 rouse1 see ,,ouse4 ,,owth4 ,growth1 oath1 both4 ,,owze ,blowze1 browse1 rouse1 spouse1 carouse1 touse1 espouse1 the verbs to house1 mouse1 etc41 and the plurals of nouns and third persons singular present tense of verbs in ,,ow4 ,,ox4 ,ox1 box1 fox1 equinox1 orthodox1 heterodox1 the plurals of nouns and third persons singular present tense of verbs in ,,ock4 ,,oy4 ,boy1 buoy1 coy1 employ1 cloy1 joy1 toy1 alloy1 annoy1 convoy1 decoy1 destroy1 enjoy1 employ4 ,,oynt4 ,aroynt1 see ,,oint4 ,,oyle4 ,scroyle1 see ,,oil4 ,,oyne4 ,royne1 see ,,oin4 ,,oz4 7,as in poz71 rhymes was4 7,as in coz71 rhymes buzz4 ,,oze4 ,gloze1 see ,,ose4 ,u4 ,ormolu1 few1 adieu1 lieu1 through1 do1 true1 too4 ,,ub4 ,cub1 club1 dub1 chub1 drub1 grub1 hub1 rub1 snub1 shrub1 tub4 ,,ube4 ,cube1 tube4 ,,uce4 ,truce1 sluice1 spruce1 deuce1 conduce1 deduce1 induce1 introduce1 puce1 produce1 seduce1 traduce1 juice1 reduce1 use1 abuse1 profuse1 abstruse1 disuse1 excuse1 misuse1 obtuse1 recluse4 ,,uch4 ,much1 touch1 such1 see ,,utch4 ,,uck4 ,buck1 luck1 pluck1 suck1 struck1 tuck1 truck1 duck4 ,,uct4 ,conduct1 deduct1 instruct1 obstruct1 aqueduct4 ,the preterites and participles of verbs in ,,uck4 ,,ud4 ,bud1 scud1 stud1 mud1 cud1 blood1 flood4 ,suds rhymes plurals of nouns and third person present singular of verbs in ,,ud4 ,,ude4 ,rude1 crude1 prude1 allude1 conclude1 delude1 elude1 exclude1 exude1 snood1 include1 intrude1 obtrude1 seclude1 altitude1 fortitude1 gratitude1 interlude1 latitude1 longitude1 magnitude1 multitude1 solicitude1 solitude1 vicissitude1 aptitude1 habitude1 ingratitude1 inaptitude1 lassitude1 plenitude1 promptitude1 servitude1 similitude1 lewd1 feud1 brood1 etc41 and the preterities and participles of verbs in ,,ew1 ,,ue1 etc4 ,,udge4 ,judge1 drudge1 grudge1 trudge1 adjudge1 prejudge1 fudge1 smudge1 nudge1 budge1 sludge499 ,,ue4 ,true1 hue1 see ,,ew1 ,,oo1 etc4 ,,uff4 ,buff1 cuff1 chuff1 bluff1 huff1 gruff1 luff1 puff1 snuff1 stuff1 ruff1 rebuff1 counterbuff1 rough1 tough1 enough1 slough 7cast skin71 chough1 etc4 ,,uft4 ,tuft1 rhymes the preterites and participles of verbs in ,,uff4 ,,ug4 ,lug1 bug1 dug1 drug1 hug1 jug1 rug1 slug1 smug1 snug1 mug1 shrug1 pug4 ,,ugh4 ,pugh 7old form of pooh71 see ,,oo4 ,,ugue4 ,fugue1 no rhyme4 ,,uhl4 ,buhl1 see ,,ule1 ,,ool4 ,,uice4 ,sluice1 see ,,use4 ,,uide4 ,guide1 see ,,ide4 ,,uild4 ,guild1 see ,,ild4 ,,uilt4 ,guilt1 see ,,ilt4 ,,uint4 ,squint1 see ,,int4 ,,uise4 7,as in guise71 see ,,ise4 7,as in bruise71 see ,,use4 ,,uish4 ,cuish1 see ,,ish4 ,,uit4 ,fruit1 bruit1 suit1 see ,,oot1 ,,ute4 ,,uke4 ,duke1 puke1 rebuke1 fluke1 chibouque1 etc4 ,,ul1 and ,,ull4 7,as in cull71 rhymes dull1 gull1 hull1 lull1 mull1 null1 trull1 skull1 annul1 disannul4 7,as in full71 rhymes wool1 bull1 pull1 bountiful1 fanciful1 sorrowful1 dutiful1 merciful1 wonderful1 worshipful1 and every word ending in ful1 having the accent on the ante-penultimate4 ,,ulch4 ,mulch1 gulch4 ,,ule4 ,mule1 pule1 ,yule1 rule1 overrule1 ridicule1 misrule1 fool1 tool1 buhl4 ,gules1 heraldic term1 rhymes plural of nouns1 and third person singular present of verbs in ,,ule1 etc4 ,,ulf4 ,gulf1 no rhyme4 ,,ulge4 ,bulge1 indulge1 divulge1 etc4 ,,ulk4 ,bulk1 hulk1 skulk1 sulk4 ,,ulm4 ,culm1 no rhyme4 ,,ulp4 ,gulp1 sculp1 pulp1 ensculp4 ,,ulse4 ,pulse1 repulse1 impulse1 expulse1 convulse1 insulse4 ,,ult4 ,result1 adult1 exult1 consult1 indult1 occult1 insult1 difficult1 catapult1 etc4 ,,um4 ,crum1 chum1 drum1 glum1 gum1 hum1 mum1 scum1 plum1 sum1 swum1 thrum1 thumb1 dumb1 succumb come1 become1 overcome1 burdensome1 cumbersome1 frolicsome1 humoursome1 quarrelsome1 troublesome1 encomium1 opium1 etc4 ,,umb4 ,dumb1 thumb1 crumb4 ,see ,,um4 ,,ume4 ,fume1 plume1 assume1 consume1 perfume1 resume1 presume1 deplume1 room1 doom1 tomb1 rheum4 ,,ump4 ,bump1 pump1 jump1 lump1 plump1 rump1 stump1 trump1 thump1 clump4 ,,un4 ,dun1 gun1 nun1 pun1 run1 sun1 shun1 tun1 stun1 spun1 begun1 son1 won1 ton1 done1 one1 none1 undone4 ,,unce4 ,dunce1 once1 etc4 ,,unch4 ,bunch1 punch1 hunch1 lunch1 munch1 scrunch1 crunch4 ,,unct4 ,defunct1 disjunct1 rhymes preterites and participles of verbs in ,,unk4 ,,und4 ,fund1 refund1 preterites of verbs in ,,un1 etc4 ,,une4 ,june1 tune1 untune1 jejune1 prune1 croon1 hewn1 swoon1 moon1 soon1 etc4 ,,ung4 ,bung1 clung1 dung1 flung1 hung1 rung1 strung1 sung1 sprung1 slung1 stung1 swung1 wrung1 unsung1 young1 tongue1 among4 ,,unge4 ,plunge1 sponge1 expunge1 etc4 ,,unk4 ,drunk1 bunk1 hunk1 sunk1 shrunk1 stunk1 punk1 trunk1 slunk1 funk1 chunk199 monk4 ,hunks1 rhymes plural of nouns and third person singular present of verbs in ,,unk4 ,,unt4 ,brunt1 blunt1 hunt1 runt1 grunt1 front1 etc41 and 787 wont 7to be accustomed74 ,,uor4 ,fluor1 rhymes four1 bore1 roar4 ,,up4 ,cup1 sup1 pup1 dup1 up4 ,,upt4 ,abrupt1 corrupt1 interrupt1 the participles and preterites of verbs in ,,up1 etc4 ,,ur4 ,blur1 cur1 bur1 fur1 slur1 spur1 concur1 demur1 incur1 her1 whirr1 err1 sir1 stir1 fir1 sepulchre1 etc4 ,,urb4 ,curb1 disturb1 verb1 herb1 etc4 ,,urch4 ,church1 lurch1 birch1 perch1 search1 smirch4 ,,urd4 ,curd1 absurd1 bird1 gird1 word1 and the preterites and participles of verbs in ,,ur and ,,ir4 ,,ure4 ,cure1 pure1 dure1 lure1 sure1 abjure1 allure1 assure1 demure1 conjure1 endure1 manure1 inure1 insure1 immature1 immure1 mature1 obscure1 procure1 secure1 adjure1 calenture1 coverture1 epicure1 investiture1 forfeiture1 furniture1 miniature1 nourriture1 overture1 portraiture1 primogeniture1 temperature1 poor1 moor1 etc4 ,,urf4 ,turf1 scurf1 serf1 surf1 etc4 ,,urge4 ,purge1 urge1 surge1 scourge1 thaumaturge1 gurge1 verge1 diverge1 etc4 ,,urk4 ,lurk1 ,turk1 work1 irk1 jerk1 perk1 quirk1 mirk4 ,,url4 ,churl1 curl1 furl1 hurl1 purl1 uncurl1 unfurl1 earl1 girl1 twirl1 pearl1 etc4 ,,urm4 ,turm1 see ,,erm4 ,,urn4 ,burn1 churn1 spurn1 turn1 urn1 return1 overturn1 tern1 discern1 earn1 sojourn1 adjourn1 rejourn4 ,,urp4 ,usurp1 chirp1 extirp1 discerp1 etc4 ,,urr4 ,purr1 see ,,ur4 ,,urse4 ,nurse1 curse1 purse1 accurse1 disburse1 imburse1 reimburse1 worse1 verse1 hearse1 disperse1 etc4 ,,urst4 ,burst1 curst1 durst1 accurst1 thirst1 worst1 first1 versed1 etc4 ,,urt4 ,blurt1 hurt1 spurt1 dirt1 shirt1 flirt1 squirt1 wort1 vert1 etc4 ,,us1 or ,,uss4 ,pus1 us1 thus1 buss1 truss1 discuss1 incubus1 overplus1 arquebus1 cuss1 amorous1 boisterous1 clamorous1 credulous1 dangerous1 ungenerous1 generous1 emulous1 abulous1 frivolous1 hazardous1 idolatrous1 infamous1 miraculous1 mischievous1 mountainous1 mutinous1 necessitous1 numerous1 ominous1 perilous1 poisonous1 populous1 prosperous1 ridiculous1 riotous1 ruinous1 scandalous1 scrupulous1 sedulous1 traitorous1 treacherous1 tyrannous1 venomous1 vigorous1 villanous1 adventurous1 adulterous1 ambiguous1 blasphemous1 dolorous1 fortuitous1 gluttonous1 gratuitous1 incredulous1 lecherous1 libidinous1 magnanimous1 obstreperous1 odoriferous1 ponderous1 ravenous1 rigorous1 slanderous1 solicitous1 timorous1 valorous1 unanimous1 calamitous4 ,,use 7,as in the noun use7 rhymes disuse1 abuse1 deuce1 truce1 sluice1 juice1 loose1 goose1 noose1 moose4 7,as in muse7 rhymes the verb use1 abuse1 loose1 choose1 shoes1 amuse1 diffuse1 excuse1 infuse1 misuse1 peruse1 refuse1 suffuse1 transfuse1 accuse1 bruise1 and the plurals of nouns and third persons singular of verbs in ,,ew and ,,ue1 etc4 ,,ush 7,as in blush7 rhymes brush1 crush1 gush1 flush1 rush1 lush1 tush1 frush1 hush4 7,as in bush7 rhymes push1 etc4 ,,usk4 ,busk12 tusk1 dusk1 husk1 musk4 ,,usp4 ,cusp1 no rhyme4 ,,ust4 ,bust1 crust1 dust1 just1 must1 lust1 rust1 thrust1 trust1 adjust1 disgust1 distrust1 intrust1 mistrust1 robust1 unjust1 the preterites and participles of verbs in ,,us1 ,,uss1 etc4 ,,ut1 or ,,utt4 ,but1 butt1 cut1 hut1 gut1 glut1 jut1 nut1 shut1 strut1 englut1 rut1 scut12 slut1 smut1 abut1 and soot4787 ,,utch4 ,hutch1 crutch1 ,dutch1 much1 such1 touch1 etc4 ,,ute4 ,brute1 lute1 flute1 mute1 acute1 compute1 confute1 dispute1 dilute1 depute1 impute1 minute1 pollute1 refute1 salute1 absolute1 attribute1 contribute1 constitute1 destitute1 dissolute1 execute1 institute1 persecute1 prosecute1 resolute1 substitute1 fruit1 bruit1 suit1 recruit1 boot1 etc41 soot7874 ,,uth4 ,azimuth1 rhymes doth4 ,,ux4 ,dux1 crux1 lux1 flux1 reflux4 ,the plurals of nouns and third persons singular of verbs in ,,uck4 ,y4 ,fly1 affy1 aby1 see ,,ie1 ,,igh1 etc4 ,,yb4 ,syb1 see ,,ib4 ,,ym4 ,sym1 see ,,im4 ,,ymn4 ,hymn1 see ,,im4 ,,ymph4 ,nymph1 lymph1 etc4 ,,yn4 ,baudekyn1 see ,,in4 ,,yne4 ,anodyne1 see ,,ine4 ,,ynx4 ,lynx1 rhymes plurals of nouns and third persons present singular of verbs in ,,ink4 ,,yp4 ,gyp1 hyp1 see ,,ip4 ,,ype4 ,type1 see ,,ipe4 ,,yph4 ,hieroglyph1 see ,,iff4 ,,ypse4 ,apocalypse1 see ,,ipse4 ,,yre4 ,lyre1 pyre1 byre199 see ,,ire4 ,,yrrh4 ,myrrh1 her1 err1 sir1 cur1 etc4 ,,ysm4 ,abysm1 cataclysm1 schism1 etc4 ,,yst4 ,amethyst1 analyst1 cyst1 see ,,ist4 ,,yve4 ,gyve1 see ,,ive4 ,,yx4 ,sardonyx1 pyx1 fix1 rhymes plural of nouns and third persons singular present of verbs in ,,ick4 ,,yze4 ,analyze1 see ,,ise4 ,,appendix#ai ,,english ,,versification4 ,i n normal ,english ,verse1 the most determinate characteristic is uniformity of syllabic structure4 ,,rhyme1 indeed1 is a common but not an essential adjunct1 some of our noblest poems being composed in unrhymed or ,blank ,verse4 ,,measure1 ,,rhythm1 ,,accent1 and ,,pause1 are all features of much moment in ,english ,versification1 but they cannot be reduced to absolutely uniform rules4 ,the variations to which they are subject are many and important4 ,of the positive and correct signification of the terms ,rhyme1 ,measure1 ,rhythm1 ,accent1 and ,pause1 it is needful to give some explanation4 ,,rhyme consists in a likeness or uniformity of sound in the closing1 syllable1 or syllables1 of successive or contiguous lines of verse4 ,we find used1 in ,english poetry1 three several sorts of ,rhymes1 namely1 ,single1 ,double1 and ,treble4 ,of the first1 or one-syllabled rhyme1 the following is an example3-- ,o1 mortals1 blind in fate1 who never know ,to bear high fortune1 or endure the low6 ,the closing word1 however1 is not necessarily a monosyllable4 ,there may be two syllables1 as here3-- ,what though his mighty soul his grief contains1 ,he meditates revenge who least complains4 ,or three3-- ,seeking amid those untaught foresters1 ,if ,i could find one form resembling hers4 ,or four3-- ,we might be otherwise--we might be all ,we dream of1 happy1 high1 majestical4 ,or there might be any number in this kind of verse under ten1 if the long and short 7accented and unaccented7 syllables were rightly placed1 and if the penultimate syllable1 in particular1 was short or unaccented4 ,it is only to be observed further1 that it is the sound in which uniformity is required1 and not the spelling4 ,thus the following words make good rhymes3--made1 plaid1 and stayed2 course1 force1 and hoarse2 ride1 lied1 dyed2 be1 glee1 lea2 lo1 blow1 foe2 beer1 clear1 here1 and so forth4 ,the most perfect single rhymes in our language1 however1 are those in which the rhyming vowels of two lines1 and their closing letter or letters 7if there be any71 are exactly the same4 ,so and no1 day and say1 content and unbent1 oculist and humorist1 ambassadress and unhappiness--all of these are perfect rhymes1 seeing that the consonant preceding the rhyming vowel varies in each pair of words1 all being alike after it4 ,this is the criterion of an absolutely perfect rhyme4#bj ,however1 such1 rhymes as away and sway1 strain and drain1 tress and dress1 are not unfrequently used in good poetry4 ,but those rhymes are held decidedly bad which merely repeat the same sounds1 whether the words spell alike or not4 ,thus amid and pyramid1 light and satellite1 maid and made1 are defective rhymes4 ,in short1 it may be laid down as a rule1 that1 where the immediate consonants are not varied before the vowels in two rhyming lines1 the letters before these consonants must be markedly different1 as in strain and drain1 to make the rhymes at all good4 ,away and sway1 or loud and cloud1 though tolerated1 are imperfect in a strict sense4 ,no rhymes are more uncertain1 it may be observed1 than those of words ending in y1 as privacy1 remedy1 and the like4 ,in monosyllables and dissyllables so ending1 as try and rely1 the termination always rhymes to ie1 as in vie or hie2 and it seems right that y should always so be rhymed4#ba ,nevertheless1 it as often rhymes to an e1 as in be and she4 ,the plural of nouns in y1 again1 having their termination in ies1 rhyme very uncertainly4 ,they are sometimes placed to correspond with lies1 and sometimes with lees4 ,there is no fixed rule on this subject4 ,on many other points1 also1 the student of ,english poetry must gather information for himself from reading and observation4 ,of ,double ,rhymes it is not necessary to say much here4 ,they are formed by adding a short or unaccented syllable to the measure of ordinary verses of any kind1 and composing the rhyme out of it and the preceding syllable1 now the penultimate one4 ,thus-- ,then all for women1 painting1 rhyming1 drinking1 ,besides ten thousand freaks that died in thinking4 ,in grave poetry1 which uses the double rhyme occasionally1 but on the whole sparingly1 the last or short syllable should be entirely alike in double rhymes1 and to the penultimate or accented one the same rules should apply as in the case of perfect single rhymes4 ,that is to say1 the consonants preceding the accented vowels should be varied1 though licenses are taken in this respect4 ,trading and degrading1 for example1 would be held a passable rhyme4 ,the unison of sound1#bb and not the spelling1 largely guides the formation of double rhymes1 even in serious verse4 ,liquor and thicker1 ever and river1 motion and ocean1 debtor and better1 are instances in proof2 and many1 many worse cases pass muster occasionally4 ,faulty double rhymes are rendered faulty much in the same way as single ones4 ,thus1 minion and dominion1 million and vermilion1 are bad rhymes4 ,in burlesque and satiric poetry1 a great deal of freedom is used in the composition of double rhymes4#bc ,butler often frames them most amusingly in his ,hudibras4 ,for example-- ,when pulpit1 drum ecclesiastic1 ,was beat with fists1 instead of a stick4 ,though stored with deletery med'cines1 ,which whosoever took is dead since4 ,occasionally in the highest serious verse we find the double rhyme composed of two several words1 as in the following specimen from ,wordsworth3#bd-- ,through many a long blue field of ether1 ,leaving ten thousand stars beneath her4 ,in light or burlesque pieces1 however1 as ,butler shows1 the double rhyme is compounded in any way which gives the sound required4 ,the ,treble ,rhyme is only found in such pieces4 ,butler says3-- ,there was an ancient sage philosopher1 ,who had read ,alexander ,ross over4 ,but1 as the treble rhyme occurs but three or four times even in ,hudibras1 it need not be dilated on here4 ,the word ,,measure1 when employed in reference to poetry1 indicates the length of line and general syllabic structure of peculiar kinds and forms of verse4 ,thus1 a piece written in lines of eight syllables is said to be in the octo-syllabic measure1 and one of ten-syllabled lines in the deca-syllabic measure4 ,the term ,,rhythm1 again1 denotes the arrangement of the syllables in relation to one another1 as far as accentuation is concerned1 and the particular cadence resulting from that arrangement4 ,all the common measures of verse have a prevailing and normal rhythm--that is1 long and short1 or accented and unaccented1 syllables follow each other in a certain order of succession4 ,thus1 the normal octo-syllabic measure consists of short and long alternately1 as does also the deca-syllabic4 ,but variations1 as will be shown1 occur in these respects4 ,what rhythm1 again1 is to measures of verse in the aggregate1 ,,accent nearly is to each line specifically and individually4 ,in one and all has the accent its peculiar seat2 and the more that seat is varied1 generally speaking1 the more beautiful is the verse4 ,the ,,pause is another feature of some importance in ,english poetry4 ,in every line a point occurs1 at which a stop or rest is naturally made1 and this independently of commas or periods4 ,it will be found impossible to read poetry without making this pause1 even involuntarily4 ,the seat of it varies with the accent1 seeing that it always follows immediately after the accent ,from the want of a right distribution of accent and pause verse becomes necessarily and unpleasingly monotonous4 ,on the whole1 ,english poetry1 as remarked1 has not one well-marked and unvariable characteristic of structure1 saving that syllabic uniformity which distinguishes it in all its accurate forms and phases4 ,however1 this feature of our verse has been far from stamping it with anything like sameness4 ,though our bards have habitually measured their verses by the syllabic scale--with the exception of our old ballad writers1 and a few moderns1 who have written professedly after their exemplars--yet no language in the world contains stores of poetry more varied than the ,english in respect of construction4 ,lines of all lengths1 containing from three syllables to twenty1 have been tried by our poets1 and1 in general1 pleasingly and successfully4 ,fletcher has even attempted tri-syllabic verses1 though1 as may be supposed1 only in a slight choral form4 ,move your feet ,to our sound1 ,whiles we greet ,all this ground4 ,in verses of four syllables1 again1 pretty long poems have actually been composed1 and particularly by ,john ,skelton1 a poet of the time of ,henry ,,viii4 ,much of what he wrote was sheer doggerel1 no doubt being rendered so partly by the nature of his own talent and disposition1 and partly because his chosen form of verse would scarcely admit of the conveyance of serious sentiments4 ,now and then1 however1 he does contrive to make his miniature lines interesting1 as in the following address to ,mistress ,margaret ,hussey3-- ,merry ,margaret1 ,as midsummer flower1 ,gentle as falcon1 ,or hawk of the tower2 ,with solace and gladness1 ,much mirth and no madness4 ,all good and no badness2 ,so joyously1 ,so maidenly1 ,so womanly1 ,her demeaning1 ,in every thing ,far1 far passing ,that ,i can indite ,or suffice to write ,of merry ,margaret1 ,as midsummer flower1 ,gentle as falcon1 ,or hawk of the tower4 ,it will be observed that ,skelton1 while taking four syllables for the basial structure of his lines1 uses five occasionally1 forming either a dissyllabic ending1 or giving two short syllables for a long one1 as in the lines-- ,gentle as falcon1 ,or hawk of the tower4 ,at the same time it will be noticed1 that the same number of accents1 or accented syllables1 is kept up throughout4 ,this will be found to be the case with most of our irregular or ballad compositions4 ,they vary as to the number of syllables1 but not of long ones or accents4 ,scott's romantic poetry exemplifies the same fact1 which is a striking one1 and explains why the melody of ballad-verses is so little affected by their syllabic irregularities4 ,this law of composition should be specially noted by young cultivators of the ,muses4 ,dryden has used four syllables in verses of the choral order4 ,thus he says-- ,to rule by love1 ,to shed no blood1 ,may be extoll'd above2 ,but here below1 ,let princes know1 ',tis fatal to be good4 ,it is obvious that the four-syllabled line is much too curt to allow of its being habitually used in serious compositions4 ,the same thing may be said of lines of five syllables4 ,they have been1 and can only be1 introduced in minor pieces4 ,and here it may be observed1 that the measure of four syllables1 when used gravely1 is of simple rhythm1 consisting of a short and long syllable alternately1 as in the verses of ,dryden4 ,skelton1 indeed1 has confined himself to no rule4 ,the measure of five syllables necessarily changes its rhythm2 and the second and fourth lines of the subjoined stanza show what may be called the normal form of the measure3-- ,my love was false1 but ,i was firm ,from my hour of birth2 ,upon my buried body1 lie ,lightly1 gentle earth4 ,long and short syllables 7three long or accented7 occur here in alternation1 and compose the line in its regular rhythmical shape4 ,some other lines of an odd number of syllables1 as seven1 are for the most part similarly framed4 ,but1 in these respects1 variations are often adopted4 ,for instance1 the following five-syllabled verses are differently constructed3-- ,now1 now the mirth comes1 ,with cake full of plums1 ,where bean's the king of the sport here2 ,besides1 we must know1 ,the pa also#be ,must revel as queen in the court here4 ,begin then to choose ,this night1 as ye use1 ,who shall for the present delight here2 ,be king by the lot1 ,and who shall not ,be ,twelfth-day queen for the night here4 ,the first1 second1 fourth1 and fifth lines here do not present alternate long and short syllables1 as in the former quotation4 ,but1 however poets may indulge in such variations1 the alternation of longs and shorts constitutes the proper rhythmical arrangement in the measure of verse now under notice4 ,without three accents1 indeed1 the five-syllabled verse becomes but a variety of the four-syllabled1 as in ,skelton's pieces4 ,in the measure of six syllables1 we find many beautiful pieces wholly and continuously composed1 grave as well as gay4 ,drayton1 for example1 has a fine ,ode written in the ,peaks1 of which the ensuing stanza may give a specimen3-- ,this while we are abroad1 ,shall we not touch our lyre8 ,shall we not sing an ode8 ,shall all that holy fire1 ,in us that strongly glow'd ,in this cold air expire8 ,in a mixed and lyrical shape1 the six-syllabled line is also used finely by ,shakspeare3-- ,blow1 blow1 thou winter wind1 ,thou art not so unkind ,as man's ingratitude2 ,thy tooth is not so keen1 ,because thou art not seen1 ,although thy breath be rude4 ,heigh ho6 sing heigh ho6 ,it is only as we come to consider verses of some length1 that the subject of ,accent and ,pause can be clearly illustrated by examples4 ,the ,accent practically consists in either an elevation or a falling of the voice1 on a certain word or syllable of a word1 when verse is read2 and that word or syllable is called the seat of the ,accent4 ,the term ,rhythm has nothing to do with the sense2 whereas the ,accent rests mainly on the sense2 and on the sense1 moreover1 of each individual line4 ,the ,pause1 again1 was before stated to be a rest or stop1 made in pronouncing lines of verse1 and dividing each1 as it were1 into two parts or hemistiches4 ,though1 in the six-syllabled measure1 the brevity of the lines confines the reader in a great degree to the ordinary rhythm1 which consists of a short and long syllable alternately1 or three unaccented and three accented1 yet1 in ,drayton's ode1 though the lines cannot well exemplify the ,pause1 there is a slight variation in the seat of the ,accent-- ,shall we not touch our lyre8 ,shall we not sing an ode8 ,the accent here plainly falls on the initial shall1 giving force to the interrogation4 ,shakspeare's ,under the green-wood tree is similarly accented4 ,the seven-syllabled measure is one in which many exquisite poems have been composed by ,english writers4 ,raleigh used it1 as did likewise ,shakspeare many incidental passages in his plays1 and afterwards ,cowley1 ,waller1 and other bards of note4 ,but it was by ,milton that the seven-syllabled verse was developed1 perhaps1 to the greatest perfection1 in his immortal ,l',allegro and ,il ,penseroso4 ,in its systematic shape1 this species of verse consists of a long and short syllable in alternation1 the long beginning and closing each line1 and therefore giving four accents4 ,the measure is graceful and easy exceedingly1 though apt to become monotonous in enunciation4 ,to obviate this effect1 ,milton1 who1 either from natural fineness of ear1 or from observation and experience1 had acquired a consummate mastery of rhythm1 roughened his lines purposely1 sometimes by introducing eight syllables1 and sometimes by varying the seat of the accent4 ,this will partly be seen in the following brief extracts1 which will also show how admirably he could make the measure the vehicle either of the gay or the grave3-- ,haste thee1 nymph1 and bring with thee ,jest and youthful ,jollity1 ,quips1 and cranks1 and wanton wiles1 ,nods1 and becks1 and wreathed smiles1 ,such as hang on ,hebe's cheek1 ,and love to live in dimple sleek2 ,sport that wrinkled care derides1 ,and ,laughter holding both his sides4 ,so speaks the poet to ,euphrosyne2 and now he addresses divinest ,melancholy3-- ,come1 pensive nun1 devout and pure1 ,sober1 steadfast1 and demure1 ,all in a robe of darkest grain1 ,flowing with majestic train1 ,and sable stole of cypress lawn1 ,over thy decent shoulders drawn4 ,come1 but keep thy wonted state1 ,with even step and musing gait1 ,and looks commercing with the skies4 ,it will be observed how finely the dancing effect of the seven-syllabled verse is brought out1 in accordance with the sense1 in the first quoted passage1 and with what skill it is repressed in the second1 principally by the use of the graver octosyllabic line4 ,john ,keats employed the measure now under consideration very beautifully in his ,ode to ,fancy1 and gave it variety chiefly by changing the ordinary rhythm4 ,thus-- ,sit thou by the ingle1 when ,the sear faggot blazes bright1 ,spirit of a winter's night4 ,the second line1 from the position of sear faggot1 is rendered so far harsh1 and tends to prevent the linked sweetness from being too long drawn out1 and cloying the ear4 ,shakspeare--what under the sun escaped his eye8--had noticed the sing-song proclivities of the seven-syllabled measure1 since he makes ,touchstone say1 on hearing a sample1 ,i'll rhyme you so eight years together2 dinners1 and suppers1 and sleeping hours excepted2 it is the right butter-woman's rank 7trot7 to market4 ,for a taste4 ,and he gives a taste3-- ,if a hart do lack a hind1 ,let him seek out ,rosalind1 ,if the cat will after kind1 ,so1 be sure1 will ,rosalind4 ,sweetest nut hath sourest rind1 ,such a nut is ,rosalind4 ,this is the very false gallop of verses1 continueth the sententious man of motley4 ,he is partly in the right2 but the reader has now been told in what way the great poets1 who have employed this measure of verse effectively1 overcame the difficulties attending its perfect composition4 ,in speaking of long syllables1 they were before called accents2 but the reader must guard against confounding these with the proper single accent1 occurring in each line1 and connected with the sense1 as well as with the pause4 ,as exemplifying both such accent and pause in the seven-syllabled line1 the following couplets may be cited from ,cowley4 ,the accent is on the third syllable1 the pause at third and fourth1 as marked3-- ,fill the bowl--with rosy wine1 ,round our temples--roses twine2 ,crown'd with roses--we contemn ,gyges' wealthy--diadem4 ,these pauses must not be deemed arbitrary4 ,the tongue is compelled to make them in the act of utterance4 ,the octosyllabic measure has been long the most common1 if not the most popular1 of all forms of ,english verse4 ,it was in use among the ,romancers of the ,middle ,ages1 before ,england possessed a national literature1 or even a proper national language4 ,maister ,wace composed in this measure his ,roman de ,rou2 and it was adopted by many of the early ,rhyming ,chroniclers1 and ,metrical ,romancers of ,great ,britain4 ,father ,chaucer also1 though his noblest efforts were made in what became the heroic verse 7the decasyllabic7 of his country1 produced many pieces in the eight-syllabled measure2 and ,gower used it solely and wholly4 ,so likewise did ,barbour in his famous history of the ,bruce1 and ,wyntoun in his ,metrical ,chronicle of ,scotland4 ,since their days to the present1 it has been ever a favourite form of verse among us1 and1 indeed1 has been at no period more popular than during the current century4 ,at the same time1 poems of the very highest class1 epic or didactic1 have never been composed in the octosyllabic measure4 ,it wants weight and dignity to serve as a fitting vehicle for the loftiest poetic inspirations4 ,it has been the basis1 however1 of much of the finest lyrical poetry of ,england4 ,it has likewise been splendidly wielded for the purposes of satire1 as witness the burlesque or comic epos of ,butler1 and the works of ,swift4 ,and1 in our own immediate age1 it has been magnificently employed by ,scott1 ,moore1 ,byron1 ,campbell1 and others1 in the composition of poetical romances4 ,byron spoke of the octosyllabic verse as having about it a fatal facility--meaning that1 from its simple brevity of construction1 it was too apt to degenerate into doggerel4 ,it is almost needless to give examples of a species of poetry so well known4 ,though the lines thereof are too short to permit of very full variety of cadence or emphasis1 yet these are always marked and traceable1 more or less4 ,as graceful and flowing octosyllables1 the following lines from the ,tam o' ,shanter of ,burns have not many equals in our poetry3-- ,but pleasures are like poppies spread2 ,you seize the flower--its bloom is shed2 ,or like the snow-falls in the river1 ,a moment white1 then gone for ever2 ,or like the ,borealis race1 ,that flit ere you can point their place2 ,or like the rainbow's lovely form1 ,evanishing amid the storm4 ,long and short syllables alternately form the regular rhythm of this kind of verse2 but occasional changes of rhythm and accentuation are used by all good writers4 ,in the following lines ,andrew ,marvel introduces finely such a change3-- ,he hangs in shades the orange bright1 ,like golden lamps in a green night4 ,the emphasis is sometimes placed on the first syllable1 as in the subjoined3-- ,fling but a stone--the giant dies4 ,smoothing the rugged brow of night4 ,the decasyllabic verse1 however1 will allow more fully of the illustration of the subjects of ,accent and ,pause4 ,in the meantime1 a word1 and only a word1 requires to be said regarding verses of nine syllables4 ,such verses1 in their normal and most natural shape1 start with two short syllables1 followed by a long one2 and the same arrangement1 repeated twice afterwards successively1 completes the line4 ,it has thus but three accented to six unaccented vowel-sounds4 ,few poets of any repute have used this measure extensively1 if we except ,shenstone1 to whose style it gives an almost unique caste4 ,for example-- ,not a pine in my grove is there seen1 ,but with tendrils of woodbine is bound2 ,not a beech's more beautiful green1 ,but a sweet-briar entwines it around4 ,one would think she might like to retire ,to the bower ,i have labour'd to rear2 ,not a shrub that ,i heard her admire1 ,but ,i hasted and planted it there4 ,shenstone often introduces eight syllables only1 as in the following stanza3-- ,ye shepherds1 so cheerful and gay1 ,whose flocks never carelessly roam1 ,should ,corydon's happen to stray1 ,oh6 call the poor wanderers home4 ,but he here retains the proper rhythm of the measure of nine syllables1 and the lines just quoted may rightly be looked on as still in that verse1 though defective in a syllable4 ,there are several modes of writing the same measure1 different from that of ,shenstone1 but it may suffice to notice one instance3-- ,when in death ,i shall calmly recline1 ,oh bear my heart to my mistress dear2 ,tell her it lived upon smiles and wine ,of the brightest hue1 while it linger'd here4 ,these lines are far from being very musical in themselves1 and were only so written to suit precomposed music4 ,they are indeed positively harsh1 if read without a recollection of that music1 and confirm the remark made1 that each numerical assemblage or series of syllables appears to have only one kind of rhythm proper and natural to it1 and apart from which it is usually immelodious4 ,the ten-syllabled line is the heroic one of the ,english language1 and a noble one it is1 rivalling the lofty hexameter of ,greece and ,rome1 and casting utterly into the shade the dancing1 frivolous epic measure of ,french poetry4 ,the latter runs in this rhythmical fashion3-- ,she is far from the land where her young hero sleeps4 ,and in this measure is composed the ,henriade of ,voltaire1 with all the famed tragedies of ,corneille and ,racine1 as well as the pungent satires of ,boileau4 ,how characteristic of the ,gaul the adoption and use of such a sing-song form of heroic verse6 ,the decasyllabic line of ,england is of a more dignified caste1 while1 at the same time1 capable of serving far more numerous and varied purposes4 ,all thoughts1 all passions1 all delights1 whatever stirs this mortal frame1 it has been found fitted to give expression to in a manner worthy of the themes4 ,a glorious vehicle it proved for the inspirations of ,chaucer1 ,spenser1 ,shakspeare1 ,jonson1 ,beaumont1 ,fletcher1 ,milton1 ,dryden1 ,pope1 ,thomson1 ,akenside1 ,young1 ,goldsmith1 ,cowper1 and other bards of past generations2 while scarcely less magnificent has been the handling of the same measure by the poets of the last age1 the third great one in our literary annals4 ,crabbe1 ,wordsworth1 ,coleridge1 ,rogers1 ,campbell1 ,southey1 ,byron1 ,shelley1 and ,keats1 with other recent poets of deserved renown1 have all wielded the decasyllabic line1 with or without rhyme1 with success1 as well as with singularly varied ability4 ,a long list of dramatists of the ,elizabethan1 ,annean1 and ,georgean eras1 has of course to be added to the roll now given4 ,the heroic or epic measure of ,english verse consists of ten-syllabled lines1 each of which1 in its ordinary rhythmical form1 presents a short and long syllable alternately4 ,the length of the line enables us distinctly to trace in it both accent and pause2 and it is upon frequent changes in the seats of these that the varied harmony of the heroic measure depends4 ,the general accentuation falls on the long syllables1 the sense1 however1 always directing the reader to accent some single syllable specially in each line4 ,the pause uniformly follows the syllable or word so accented specially1 unless that syllable be the first part of a long word1 or be followed by short monosyllables4 ,thus1 in the following lines the accent is severed from the pause4#bf ,both are marked3-- ,as busy--as intentive emmets are4 ,so fresh the wound is--and the grief so vast4 ,those seats of luxury--debate and pride4 ,the pause is usually marked by a comma or period1 but this1 as before said1 is not necessarily the case4 ,in reading the decasyllabic line1 a pause must somewhere be made1 whether or not the sense be divided by points of any kind4 ,the writings of ,pope exemplify strikingly the formal or normal rhythm1 accent1 and pause of the heroic line1 and a quotation may be made to exhibit these fully4 ,the pause is marked in each line1 and the same mark shows the seat of the accent3-- ,here as ,i watch'd the dying lamps around1 ,from yonder shrine ,i heard a hollow sound4 ,come1 sister1 come6 7it said1 or seem'd to say7 ,thy place is here2 sad sister1 come away2 ,once like thyself1 ,i trembled1 wept1 and pray'd1 ,love's victim then1 though now a sainted maid3 ,but all is calm in this eternal sleep2 ,here grief forgets to groan1 and love to weep2 ,even superstition loses every fear1 ,for ,god1 not man1 absolves our frailties here4 ,this passage contains the secret of that smoothness which so peculiarly characterises the versification of ,pope4 ,in the preceding fourteen lines1 the accent and the pause are seated1 in all save three instances1 at the same or fourth syllable2 or rather the seat of the accent is only once altered 7at the twelfth line71 while the pause1 changed there1 is also changed in the fourth and thirteenth lines1 where it occurs on the fifth and short syllables in the words echoes and superstition1 the accent remaining on the fourth in both cases4 ,now1 the versification of ,pope is by no means so monotonous at all times1 but it is sufficiently marked by the peculiar features exhibited here--that is1 the reiterated location of the accent and pause near the middle of each line1 with the pause most frequently at long syllables--to render his verses smooth even to a wearisome excess4 ,it is this characteristic of structure1 often felt but seldom understood1 which distinguishes the poetry of ,pope from that of almost every other writer of note in the language4 ,darwin resembles him most closely1 though the latter poet had marked peculiarities of his own4 ,he emphasised more particularly nearly one-half the first syllables of his lines4 ,verse after verse runs thus3-- ,sighs in the gale1 and whispers in the grot4 ,spans the pale nations with colossal stride4 ,the sweetness here is great1 but1 most undoubtedly1 verse possessed of a much more perfect and uncloying species of melody has been produced by those poets who have admitted greater variety into the composition of their lines4 ,the licence used by ,shakspeare1 for example1 in respect of rhythm1 accent1 and pause1 is unlimited2 and beautiful1 indeed1 are the results3-- ,the quality of mercy is not strain'd4 ,it droppeth as the gentle dew from heaven ,upon the place beneath4 ,it is twice bless'd3 ,it blesseth him that gives1 and him that takes2 ',tis mightiest in the mightiest2 it becomes ,the throned monarch better than his crown2 ,it is an attribute to ,god himself4 ,sweet are the uses of adversity1 ,which1 like a toad1 ugly and venomous1 ,wears yet a precious jewel in his head4 ,i know a bank whereon the wild thyme blows1 ,where oxlips and the nodding violet grows1 ,quite over-canopied with lush woodbine1 ,with sweet musk-roses1 and with eglantine4 ,it is unnecessary to multiply examples of this sort4 ,the decasyllabic line of ,shakspeare is varied in structure1 as said1 almost unlimitedly1 the seat of the accent and pause being shifted from the first word to the last1 as if at random1 but often1 in reality1 with a fine regard to the sense4 ,ben ,jonson1 and indeed all our older writers1 indulge in the like free variations of the heroic measure2 and the poets of the present day1 in imitating their higher qualities1 have also followed their example in respect of mere versification4 ,wordsworth and ,keats1 perhaps1 may be held as having excelled all the moderns1 their contemporaries1 in the art of building the lofty rhyme4 ,both attended specially to the subject1 deeming it by no means beneath them to meditate well the melody of single lines1 and the aptitude even of individual words4 ,hence may ,coleridge justly praise ,wordsworth for his austere purity of language1 and the perfect appropriateness of his words to the meaning--for his sinewy strength in isolated verses1 and the frequent curiosa felicitas of his diction4 ,but ,wordsworth himself owns his artistic care and toil in composition even more strongly3-- ,when happiest fancy has inspired the strains1 ,how oft the malice of one luckless word ,pursues the ,enthusiast to the social board1 ,or haunts him lated on the silent plains6 ,the beauties of the ,bard of ,rydal are1 at the same time1 too widely spread to render him the best example for our present purpose4 ,keats attended more closely to the minuti of pure versification in single passages1 and may furnish better illustrations here4 ,the subjoined ,arcadian picture displays exquisite ease and freedom of composition3-- ,leading the way1 young damsels danced along1 ,bearing the burden of a shepherd's song2 ,each having a white wicker1 overbrimm'd ,with ,april's tender younglings2 next well trimm'd1 ,a crowd of shepherds with as sunburn'd looks ,as may be read of in ,arcadian books2 ,such as sat listening round ,apollo's pipe4 ,when the great deity1 for earth too ripe1 ,let his divinity o'erflowing die ,in music through the vales of ,thessaly4 ,equally fine is the varied melody of the young poet's blank verse3-- ,as when1 upon a trancd summer night1 ,those green-robed senators of mighty woods1 ,tall oaks1 branch-charmd by the earnest stars1 ,dream'1 and so dream all night without a stir1 ,save from one gradual solitary gust ,which comes upon the silence1 and dies off1 ,as if the ebbing air had but one wave2 ,so came these words and went4 ,before adverting to other characters and peculiarities of ,english ,versification generally1 a very few words may be said in reference to those measures that exceed the decasyllabic in length4 ,lines of eleven feet have never been used in the composition of great or extended poems4 ,when employed in lyrics and occasional pieces1 the rhythm has usually been thus regulated3-- ,oh6 breathe not his name1 let it sleep in the shade1 ,where1 cold and unhonour'd1 his relics are laid2 ,sad1 silent1 and dark be the tears which we shed ,as 7the7 night-dew that falls on the grass o'er his head4 ,this rhythmical arrangement seems to be the natural one1 and composes merely the normal line of nine syllables1 with a prefix of two others4 ,some other forms of the eleven-syllabled line may be found in lyrical collections1 and more particularly in the works of ,thomas ,moore1 who1 writing to pre-existing music1 has produced specimens of almost every variety of rhythm of which the ,english language is capable4 ,the measure of twelve syllables has been employed by one eminent and true poet in the composition of a work of importance4 ,the ,polyolbian of ,drayton is here alluded to4 ,as in the case of other verses of an even number of syllables1 the regular alternation of short and long seems most suitable to lines of twelve4 ,drayton thought so1 as the following brief extract descriptive of ,robin ,hood will show3-- ,then1 taking them to rest1 his merry men and he ,slept many a summer's night beneath the greenwood tree4 ,from wealthy abbots' chests1 and churls' abundant store1 ,what oftentimes he took he shared among the poor2 ,no lordly bishop came in lusty ,robin's way1 ,to him before he went1 but for his pass must pay2 ,the widow in distress he graciously relieved1 ,and remedied the wrongs of many a virgin grieved4 ,it is superfluous to dwell on accentuation or pauses here1 the line being commonly divided into two even parts1 or1 in truth1 two six-syllabled lines4 ,the rhythm1 however1 is often arranged differently in lyrics1 as the first lines of some of those of ,moore will evince3-- ,as a beam o'er the face of the waters may glow4 ,we may roam through this world like a child at a feast4 ,like the bright lamp that shone in ,kildare's holy fane4 ,in these instances1 two short syllables and a long one occur in alternation throughout the twelve4 ,moore has given other varieties of this measure1 as-- ,through grief and through danger1 thy smile hath cheer'd my way2 but these are merely capriccios to suit certain music1 and need not occupy our time here4 ,the same poet has even a line of thirteen syllables4#bg ,at the mid-hour of night1 when stars are weeping ,i fly4 ,this measure is a most awkward one1 certainly4 ,the line of fourteen syllables is more natural1 and was used in at least one long piece called ,albion's ,england1 by ,thomas ,warner1 a rhymer of the sixteenth century4 ,a maid is advised whom to love in these terms3-- ,the ploughman's labour hath no end1 and he a churl will prove2 ,the craftsman hath more work on hand than fitteth one to love2 ,the merchant trafficking abroad1 suspects his wife at home2 ,a youth will play the wanton1 and an old will play the mome3 ,then choose a shepherd4 ,this is but the lumbering dodecasyllabic verse rendered more lumbering still by two fresh feet1 it will be generally allowed4 ,in fact1 these lines of twelve and fourteen feet have only been used effectually as ,alexandrines1 or single lines introduced to wind up1 or heighten the force of passages1 in the heroic or the octosyllabic measure4 ,pope ridicules this practice1 though it was a favourite one with ,dryden3-- ,a needless ,alexandrine ends the song1 ,that1 like a wounded snake1 drags its slow length along4 ,in ,dryden's ,ode to music1 the following instances of the two kinds of ,alexandrines occur3-- ,could swell the soul to rage1 or kindle soft desire4 ,and thrice he routed all his foes1 and thrice he slew the slain4 ,by giving lines of ten1 twelve1 and fourteen syllables in succession1 as he occasionally does in his translation of ,virgil1 ,dryden brings passages with artistic skill to a very noble climax4 ,but the ,alexandrine is now nearly obsolete in our poetry4 ,the most common features and peculiarities of ,english ,versification have now received a share of attention4 ,measure and ,rhythm1--,accent and ,pause1 have all been duly noticed4 ,there are yet other points1 however1 connected with the subject1 which merit equal attention from the student of poetical composition4 ,every rule that has been mentioned may be preserved1 and still most inharmonious verse may be the result4 ,the greatest poets1 either from experience or innate musical taste1 adopted additional means to arrive at perfect versification4 ,pope points to some of these in his well-known lines3-- ,the sound must seem an echo to the sense4 ,soft is the strain when zephyr gently blows1 ,and the smooth stream in smoother numbers flows2 ,but when loud surges lash the sounding shore1 ,the hoarse rough verse should like the torrent roar4 ,the poet1 as all will of course see1 here exemplifies the meaning of his lines practically in their structure4 ,the ,greek and ,roman writers were quite aware of the effect of congruous sound and sense4 ,virgil has several famous lines constructed on this principle1 as-- ,monstrum1 horrendum1 informe1 ingens cui lumen ademptum4 7,a monster1 horrid1 formless1 gross1 and blind47 ,to give a better idea of the efficient way in which the poet has roughened the above verse to suit the picture of a monster1 one of his ordinary lines may be quoted3-- ,formosam resonare doces ,amaryllida silvas4 ,but it is wrong to call this an ordinary line1 since ,dr4 ,johnson considered it to be the most musical in any human language4 ,ovid1 again1 has made the sense and sound 7and also construction7 agree finely in the following passage3-- ,sponte sua carmen numeros veniebat ad aptos1 ,et quod tentabam dicere versus erat4 ,pope has imitated these lines1 and applied them to himself1 the signification being simply-- ,i lisp'd in numbers1 for the numbers came4 ,among our own great bards1 ,milton stands peculiarly distinguished for success in the use of this ornament of verse4 ,the ,allegro and ,penseroso exhibit various exquisite instances4 ,swinging slow with sullen roar4 ,on the light fantastic toe4 ,through the high wood echoing shrill4 ,and the busy hum of men4 ,most musical1 most melancholy4 ,lap me in soft ,lydian airs4 ,in the ,paradise ,lost1 again1 there occur many passages rendered forcible in the extreme by the adaptation of sound to sense4 ,thus-- ,him the ,almighty power ,hurl'd headlong flaming from the ethereal sky1 ,with hideous ruin and combustion1 down ,to bottomless perdition4 ,still more remarkable is the following passage1 as expressive of slow and toilsome travel3-- ,the fiend ,o'er bog or steep1 through straight1 rough1 dense1 or rare1 ,with head1 hands1 wings1 or feet1 pursues his way1 ,and swims1 or sinks1 or wades1 or creeps1 or flies4 ,the chief mean of attaining general harmony in verse is a free and happy distribution of the vowel-sounds4 ,for producing a special harmony1 consonant with special signification1 other rules require to be followed4 ,but1 in the first place1 let us look particularly to the means of rendering verse simply and aggregately melodious4 ,it must not be supposed1 as many are apt to do1 that even the most illustrious poets considered it beneath them to attend to such minuti as the distribution of the vowels in their verses4 ,look at the grand opening of ,paradise ,lost4 ,it is scarcely conceivable that the remarkable variation of the vowels there1 on which the effect will be found largely to depend1 can have been the result of chance4 ,no one line almost1 it will be seen1 gives the same vowel-sound twice4 ,of man's first disobedience1 and the fruit ,of that forbidden tree1 whose mortal taste ,brought death into the world1 and all our woe1 ,with loss of ,eden1 till one greater ,man ,restore us1 and regain the heavenly seat1 ,sing1 heavenly ,muse4 ,the following stanza of ,leyden was considered by ,scott one of the most musical in the language1 and it is rendered so mainly by its vowel variety3-- ,how sweetly swell on ,jura's heath ,the murmurs of the mountain bee6 ,how sweetly mourns the writhd shell1 ,of ,jura's shore1 its parent sea6 ,a passage from the ,laodamia of ,wordsworth may be pointed to as an equally striking illustration of the same rule3-- ,he ,spake of heroic arts in graver mood ,revived1 with finer harmony pursued2 ,of all that is most beauteous--imaged there ,in happier beauty2 more pellucid streams1 ,an ampler ether1 a diviner air1 ,and fields invested with purpureal glaems2 ,climes which the sun1 who sheds the brightest day ,earth knows1 is all unworthy to survey4 ,wordsworth1 who in truth is the perfect master of this species of ,melody1 as the ,excursion will prove to all those who look thereinto attentively1 has scarcely once repeated the same exact sound in any two words1 of any one line1 in the preceding quotation4 ,one more passage 7from ,lycidas7 may be given to undeceive yet more completely those who have been want to ascribe the rich ,miltonic melody to mere chance3-- ,alas6 what boots it with incessant care ,to tend the homely1 slighted shepherd's trade4 ,and strictly meditate the thankless ,muse8 ,were it not better done1 as others use1 ,to sport with ,amaryllis in the shade1 ,or with the tangles of ,nera's hair8 ,this most melodious passage has often been quoted1 but the source of its melody has not been generally recognised by ordinary readers4 ,the key which unlocks the secret has here been given4 ,let it be applied to our poetry at large1 and it will be found to explain the effect of many of its grandest and sweetest passages4 ,the proper distribution of the vowels1 then1 so effective in the hands of ,milton and ,wordsworth1 may be decisively viewed as a main help to harmony of versification generally4 ,but when the poet desires to make his language express particular meanings by sounds1 he studies more specially1 in the first place1 the right disposition of accent and pause1 and so advances partly to his object4 ,thus ,milton1 in describing the fall of ,mulciber or ,vulcan from heaven1 leaves him1 as it were1 tumbling and tumbling in the verse1 by a beautiful pause3-- ,from morn ,to noon he fell1 from noon to dewy eve1 ,a summer's day4 ,a similar and not less exquisite pause is made in the famed passage1 otherwise beautiful from variety of vowels1 where1 after swelling allusions to ,what resounds ,in fable or romance of ,uther's son ,begirt with ,british and ,armoric knights1 ,and all who since1 baptized or infidel1 ,jousted in ,aspramount or ,montalbalm1 a dying and most melodious close is attained-- ,when ,charlemain with all his peerage fell ,by ,fontarabia4 ,often are similar pauses made effectively at the opening of lines3-- ,the schoolboy1 wandering through the wood1 ,to pull the primrose gay1 ,starts1 the new voice of spring to hear1 ,and imitates thy lay4 ,my song1 its pinions disarray'd of night1 ,droop'd4 ,the carvd angels1 ever eager eyed1 ,stared4 ,liberty1 ,from heart to heart1 from tower to tower1 o'er ,spain ,scattering contagious fire into the sky1 ,gleam'd4 ,much more striking instances of the effect of laying marked and compulsory pauses on first syllables might be adduced1 but these1 taken by chance1 may suffice as illustrations4 ,such aids to impressive versifying must not be overlooked by young poets4 ,the pause and accent1 however1 may both be similarly employed and fixed without the help of positive periods4 ,thus ,wordsworth1 in lines likewise beautiful from vowel-variety3-- ,what time the hunter's earliest horn is heard1 ,startling the golden hills4 ,the voice accents the word startling naturally2 and mind and ear both own its peculiar aptitude where it is placed4 ,not less marked is the force of the same word in the middle of the ,miltonic line3-- ,to hear the lark begin his flight1 ,and singing startle the dull night4 ,and again1 in the case of the word start-- ,the patriot nymph starts at imagined sounds4 ,the following are examples of sense brought clearly out1 by placing the pause and accent at different points of the verses3-- ,my heart aches1 and a drowsy numbness pains ,my sense4 ,cut mercy with a sharp knife to the bone4 ,the strong effect of these lines arises from the accent being thrown on syllables usually short or unaccented in the decasyllabic verse4 ,this is a common stroke of art with ,milton1 when he would lay force on particular words4 ,most of our great poets1 indeed1 knew and practised the same rule4 ,so much for the effects of the structure of the verse1 and the location of the accent and pause4 ,but the simple choice of apt diction is still more important to the art of effective versification1 as far as the evolution of special meanings is concerned4 ,reference is not here made to diction that is apt through signification merely1 but such1 more particularly1 as by its sound enhances the force of the thoughts or images which it conveys4 ,in this shape is the congruity of sound and sense best developed4 ,to the instances given from ,pope and ,milton others may now be added1 with an explanation of the artistic rules employed in the case4 ,observe how finely appropriate is the sound to the sense in the line3-- ,the surgy murmurs of the lonely sea4 ,by the use of the rs here it is1 that the very sound of the surge seems to be brought to the ear2 and even the open vowels at the close give something like the sense of a great and cold waste of waters beyond the surge4 ,equally apt is the impression made by the lines3-- ,the murmurous haunt of flies on summer-eves4 ,couches of rugged stone1 and slaty ridge ,stubborn'd with iron4 ,a ghostly under-song1 ,like hoarse night-gusts sepulchral briars among4 ,the snorting of the war-horse of the storm4 ,these are instances in which the roughening effect of the r is felt to aid the meaning powerfully4 ,the actual and direct meaning of the words chosen1 beyond a doubt1 is by far the most important point in all kinds of composition2 but the art of the poet may be more or less evinced in his selection of such as have a fit and correspondent sound4 ,all great poets have recognised this law4 ,the art1 however1 must not be too palpable4 ,pope1 in exemplifying the harsh effect of the letter r1 allowed the art to be too easily seen4 ,the hoarse rough verse should like the torrent roar4 ,keats1 before quoted1 manages the matter more delicately4 ,we refer to the use of the letter r simply in illustration of a principle of great consequence in poetical composition4 ,it is also of the widest application4 ,not a letter1 or combination of letters1 in the ,english language1 is without some peculiar force of sound of its own1 enhancing sense2 and above all does this assertion hold good in respect to the ,anglo-,saxon elements or portions of our vernacular tongue4 ,this circumstance arises from the fact of the ,anglo-,saxon being a very pure dialect of a primitive language1 the earliest words of which languages are ever mere descriptions1 as far as sound goes1 of the acts or objects implied or spoken of4 ,hiss and howl1 for instance1 are clearly imitative of the noises of hissing and howling2 and thousands of similarly derived vocables are not less expressive in a kindred way4 ,our most eminent national poets1 whether taught by the ear or by experience1 have shown themselves well aware of these things1 and have turned to fine account the ,anglo-,saxon constituents of the mother-tongue4 ,in those languages1 again1 which have passed through various shapes since their first invention by man--as the ,french1 ,spanish1 and ,italian--nearly all traces of congruous sound and sense have been lost1 and general modulation has taken place of specific expressiveness4 ,the gain here1 which practically rests on the use of a multiplicity of vowels1 cannot be held to counterbalance the loss4 ,exquisitely melodious as are the verses of ,tasso and ,ariosto1 for example1 no one wholly ignorant of ,italian could ever even guess at the meaning of a single line or word from the mere hearing4 ,the ,english language stands placed1 in the main1 very differently3 and happily does it do so1 as far as force1 impressiveness1 and picturesque beauty are concerned4 ,no doubt1 we have many words founded on the ,latin and its modern derivations2 and these are far from unserviceable1 inasmuch as they lend general harmony to our tongue1 spoken and written4 ,but our special strength of diction comes from the ,anglo-,saxon2 and fortunate is it1 that that primitive form of speech still forms the chief constituent of the national language of ,britain4 ,the reader now understands by what means our best national poets have striven to render sound and sense congruous in their verses4 ,it has mainly been1 as said1 by the use of ,anglo-,saxon words which could scarcely fail to suit the end well1 since they were actually formed1 primarily1 upon that very principle4 ,much of the power1 of course1 lies in the consonants which occur so freely in the language2 and yet the vowels1 while essential to the use and force of the consonants1 are not without their individual and respective kinds and shades of expressiveness4 ,the o1 for instance1 has a breadth and weight not pertaining to the other vowels1 as in the last of these two lines-- ,some words she spake ,in solemn tenour and deep organ tone4 ,the other vowels have also their respective degrees of depth1 lightness1 and other qualities4 ,but mere general harmony only1 or chiefly1 can be attained by the use of vowel-sounds unaided by consonants of particular powers2 and it has already been pointed out1 that1 to develop that harmony fully1 an extensive variation of the said sounds is the principal thing required1 and has ever been employed by the greatest poets4 ,with regard to ,consonants1 there is scarcely one in the alphabet without some well-marked and special force of its own4 ,by conjunction with others1 or with vowels1 this special force may likewise be modified vastly1 giving rise to numberless varieties of expression1 or rather expressiveness4 ,the roughening power of the letter r has been adverted to1 and other consonants may now be noticed1 with exemplifications1 of their efficient use in poetry4 ,the consonants are noticeable for their peculiar powers1 at once at the beginning1 in the middle1 and at the close of words2 but the present purpose will be best served by taking them up successively1 as initial letters4 ,the consonant b1 at the opening of words1 has no very marked force2 but it originates many expressive terms1 often finely employed in poetry4 ,he babbled of green fields4 ,here the word paints the act to perfection4 ,beslubbered all with tears4 ,a blubbering boy4 ,fire burn1 and caldron bubble4 ,all of these words exemplify sound and sense clearly combined2 and our poets have also used1 with like effect1 bawl1 brawl1 bray1 and many other common terms1 beginning with b4 ,but on the whole1 its initial power is not great2 and it is1 indeed1 rather a soft consonant1 like the labials generally4 ,c1 again1 sounded as k1 has really a special power1 quick1 sharp1 and cutting1 at the commencement of words1 and more particularly when followed by l and r1 and aided by apt terminations4 ,well did ,milton and others of our bards know this fact1 as the subjoined lines may partly show3-- ,clash'd their sounding shields the din of war4 ,till all his limbs do crack4 ,i cleave with rapid fin the wave4 ,in one wild havoc crash'd4 ,the moonbeams crisp the curling surge4 ,by the howling of the dog4 ,by the croaking of the frog4 ,all these are effective terms1 both in the opening and close4 ,those who recollect any great actor in ,hamlet1 must have noticed the splendid emphasis placeable on the words-- ,what should such fellows as ,i do1 ,crawling betwixt earth and heaven6 ,the following is most aptly heavy3-- ,save that a clog doth hang yet at my heel4 ,and we have here a fine expression1 with an equally good pause3-- ,i plead a pardon for my tale1 ,and having hemmed and cough'd--begin4 ,but cough must be pronounced in the old ,anglo-,saxon way1 and not as coff4 ,the power of the letter d1 at the commencement of words1 is not quick and sharp like the c1 but rather slow and heavy2 and this effect is vastly increased when an r is added4 ,thus1 for instance3-- ,drags its slow length along4 ,not all the drowsy syrups of the world4 ,the dreary melody of bedded reeds4 ,snivelling and drivelling folly without end4 ,good shepherds after shearing drench their sheep4 ,and dropping melody with every tear4 ,such words1 too1 as drawl1 droop1 drip1 drizzle1 drum1 and others1 may be1 have been used excellently in poetry4 ,the f is a letter expressive of a light and rapid action1 at least when conjoined with other consonants4 ,campbell uses it finely in both ways3-- ,but see6 'mid the fast-flashing lightnings of war4 ,what steed to the desert flies frantic and far8 ,the quick action is also signified in flay1 flog1 fling1 flitter1 and other vocables4 ,coriolanus portrays verbally the very deed1 when he tells how1 ,like an eagle in a dovecot1 he ,flutter'd their ,volsces in ,corioli4 ,g1 by itself1 is rather a soft consonant2 and1 followed by l1 it has also a mild effect1 as in the very expressive words1 gleam1 glide1 glitter1 glisten1 gloom1 and the like4 ,gr1 again1 is singularly heavy and harsh1 as in the succeeding cases3-- ,and grinn'd1 terrific1 a sardonic look4 ,grinn'd horribly a ghastly smile4 ,grapple him to thy soul with hooks of steel4 ,in came ,margaret's grimly ghost4 ,of kindred force are grasp1 gripe1 grope1 and others4 ,gnash and gnaw have a sort of convulsive twist in sense1 and so should they have in sound1 when rightly pronounced1 and after the original mode4 ,by the way1 though grin be a strong word1 in its old shape it is stronger2 and that girn1 still used in ,scotland4 ,all of these specimens of the ,anglo-,saxon vocabulary1 and many of a kindred order1 have been often made to tell exquisitely in our national poetry4 ,the same averment may be made regarding hosts of other words1 differently begun and formed2 but we must so far content ourselves with having shown the principle1 and go over what is to come more quickly4 ,however1 the aspirate h must not be lightly overpassed1 having a striking value in verse4 ,being pronounced with an aspiration1 it gives a certain energy to almost all words which it begins1 as hack1 harsh1 hawl1 haste1 hit1 hunt1 and the like4 ,to some terms it imparts a sort of laboriously elevative force4 ,pope composed the following line purposely to exemplify this property3-- ,up the high hill1 he heaves a huge round stone4 ,the merely expiratory force of the h is felt equally in naming the heights of heaven and the hollows of hell4 ,though but half a letter1 it is thus potent in poetry1 and is often beautifully turned to account by ,milton1 as in the passage1 ,him the ,almighty power hurled headlong1 and so on4 ,the letter j gives the initiative to many expressive words1 though their expressiveness rests mainly on the terminations4 ,such is the case with jar1 jerk1 jig1 jilt1 jog1 jostle1 jumble1 jump4 ,our comic writers have used the most of these to good purpose4 ,it is worth while specially to notice jeer4 ,it would seem as if the eer was an ending peculiarly fitted to express the meaning which jeer bears1 since it gives a pretty similar force to sneer1 fleer1 leer1 peer1 queer1 and some others4 ,sound and sense concur in all these terms4 ,the k merely gives to words the same power as the hard c4 ,l has no great force as the initial letter of words1 though it yet possesses so far its own peculiar expressiveness4 ,that the whole members of the alphabet do so1 indeed1 may be very simply proved4 ,of the following twelve monosyllables closing in ash1 the different opening letters give a different force1 in respect of sound1 to each word1 and such as perfectly accords with the actual and several meanings4 ,the words are1 clash1 crash1 dash1 flash1 gnash1 lash1 mash1 quash1 plash1 slash1 smash1 and thrash4 ,the distinction here may not be great in some instances1 but it certainly is so in the grating crash1 the rapid flash1 and the ponderous smash6 ,these points are well worthy the attention of the student of ,english ,versification--in truth1 of ,english literature generally4 ,many expressive words1 opening with l1 are formed by apt closes1 as lift1 lisp1 limp1 loathe1 log1 lull1 and lurk4 ,how fine the loll in ,shakspeare's line3-- ,the large ,achilles1 on his press'd bed lolling1 ,from his deep chest laughs out a loud applause6 ,m and n1 opening words isolatedly1 have little peculiarity of power1 but gain it by continuations and terminations3-- ,hell is murky4 ,to pluck the mangled ,tybalt from his shroud4 ,thrice the brinded cat hath mew'd4 ,the matted woods4 ,thou detestable womb1 thou maw of death4 ,so the two brothers and their murder'd man4 ,this hand is moist1 my lady4 ,the muffled drum4 ,and so on4 ,neigh1 nod1 nip1 nick and so forth1 exemplify the n sufficiently4 ,there are fewer words of a very expressive kind opened by p1 than by any other letter which may be followed by other consonants1 as land r4 ,nor need q delay our progress4 ,r1 however1 as already observed1 is one of the most emphatic letters in the alphabet2 and1 whether at the beginning1 in the middle1 or at the close of words1 it gives them a striking and specific force in enunciation4 ,rude and rough power lies in its sound4 ,the monosyllabic verbs which it commences show well what its original effect was felt to be4 ,race1 rage1 rack1 rail1 rain1 rake1 ramp1 range1 rant1 rate1 rave1 rash1 raze--all these words have an affinity of meaning1 derived from the ra1 though modified by the endings4 ,followed by other vowels1 the r softens somewhat1 as in reach1 reap1 ride1 rise1 and the like2 but still there is force of action implied in the sound4 ,ring1 rip1 and rift1 may be styled ear-pictures4 ,it is impossible1 by citations1 to give any conception of the extent to which the r has been used in imparting fitting emphasis to poetry4 ,nearly all words1 implying terror or horror1 rest mainly on it for their picturesque force4 ,this point1 however1 has been already illustrated sufficiently for the present purpose4 ,s1 by itself1 opens many words of mild action1 as sail1 sew1 sit1 soar1 and suck4 ,with an additional consonant2 sc1 sh1 sk1 sl1 sm1 sn1 sp1 sq1 st1 and su it gives rise to most potent verbs of action2 and still stronger ones are formed when another consonant is added1 as in the cases of scr1 spr1 and str4 ,what is chiefly to the point here1 sense and sound are strikingly congruous in terms of this formation4 ,the initials give force whatever the endings may be1 though these may modify it largely4 ,let the reader look well at the following list4 ,scald1 scalp1 scare1 scamper1 scatter1 scoff1 scorn1 scowl1 scour1 scourge1 scrape1 scrawl1 scratch1 scream1 screw1 scrub1 scramble1 scraggy1 scud2 shake1 shape1 shave1 shift1 shine1 shirk1 shiver1 shock1 shoot1 shout1 shriek1 shrill1 shrink1 shrug1 shuffle1 shudder1 skate1 skim1 skiff1 skirr2 slap1 slay1 sleep1 slumber1 slip1 slit1 slink1 sling1 slow1 slough1 sluggish1 slur1 slut1 sly2 smash1 smite1 smile1 smooth1 smug1 smuggle1 smother2 snap1 snarl1 snare1 snatch1 snib1 snip1 snub1 sneap1 snack1 snort1 snivel1 snell2 speed1 spit1 split1 splash1 spout1 spring1 spur1 spurt1 spurn1 sputter1 spy1 sprinkle2 squeeze1 squall1 squeak1 squat1 squash1 squabble1 squib2 stab1 stamp1 stare1 start1 steal1 steam1 steep1 steer1 step1 stem1 stick1 sting1 stir1 stoop1 storm1 stow2 strain1 strap1 streak1 stress1 stretch1 strew1 stride1 strike1 string1 strip1 strive1 stroll1 strut1 stuff1 stump1 stun1 stagger1 stammer1 startle1 strangle1 stutter1 struggle1 stumble2 sway1 sweep1 swell1 swing1 swoop1 swirl4 ,this is truly a long roll2 but it is one deserving of all attention from those who are studying the euphony1 or the happy cacophony1 of the ,english vocabulary1 with an eye to poetic composition4 ,each word here is1 to repeat a somewhat dubious phrase1 a positive auricular picture4 ,there is variety in sense1 but it is still accompanied by fit variety of sound4 ,and yet a general similarity of significations exists among the words formed by s with one or more additional consonants3 while still more akin are the sets of words begun alike4 ,the whole1 collectively1 express force1 and for the most part strong force4 ,scare and scream imply 7in sound and sense7 sharp action2 shake and shrink1 soft and moderate2 skate and skim1 quick and smooth2 slip and sling1 rapid and easy2 smash and smite1 strong and suppressive2 snarl and snap1 snarling and snappish2 spit and split1 slight but decisive2 squeeze and squeak1 forcible but petty2 stab and stamp1 direct and powerful2 strain and strike1 full of straining strength1 and with their congeners1 the most energetic of words1 in sound and sense1 in the language4 ,in verbs opened by sw1 as in sweep and swirl1 the s gives an onward impulse1 as it were1 and the w renders it so far rotatory4 ,leigh ,hunt applies the word swirl finely to ships3-- ,they chase the whistling brine1 and swirl into the bay4 ,most of the words formed with t as the initial derive from it no very marked force1 and depend for that quality on the same terminations which have been noticed as giving force to others4 ,the t need not1 therefore1 occupy our space4 ,the w is also weak alone1 but forms terms of some initial pith with the aspirate h as wheel1 whiff1 whelm1 whip1 whirl1 whisk1 and whoop4 ,there is a sort of sense of circuitous motion given by the wh2 and1 with their well-discriminated terminations1 the verbs of action which it opens are very expressive4 ,when wr was pronounced uurr1 the words1 wrangle1 wrestle1 wreath1 wring1 wrench1 and wrath were words of potency1 twisting and convulsive4 ,but the w is now mute1 and their might has departed4 ,it is because much1 very much1 of the power1 the majesty1 and the beauty of ,english ,poetry1 as left to us by our fathers1 is traceable to the liberal use of the ,anglo-,saxon elements of our national language1 that the subject has been treated of here so lengthily4 ,moreover1 there has been evinced of late1 it is painful to add1 a growing tendency on the part of many writers to cultivate ,gallicisms1 as words of ,roman derivation are rightly named1 to a still greater extent than has yet been done amongst us1 and to the repression of our true native vocabulary4 ,a gain may be made in this way in respect of general harmony1 as before observed1 but it is a gain which never can counterbalance the loss in point of pith and picturesqueness4 ,it is not said here1 that our greater recent poets have been the chief deserters of the ,anglo-,saxon tongue4 ,on the contrary1 many of them have shown a full sense of its merits1 and have used it finely4 ,it is a remarkable corroboration1 indeed1 of the present argument1 that in all their best passages1 they almost uniformly employ the said tongue1 whether consciously or unconsciously4 ,look at the following passage of ,burns4 ,it has been pronounced by critics to embody the most powerful picture in modern poetry4 ,coffins stood round like open presses1 ,that shaw'd the dead in their last dresses2 ,and by some devilish cantrip sleight1 ,each in its cauld hand held a light1 ,by which heroic ,tam was able ,to note upon the haly table ,a murderer's banes in gibbet-airns2 ,twa span-lang1 wee unchristen'd bairns2 ,a thief1 new cuttit frae a rape-- ,wi' his last gasp his gab did gape2 ,a garter which a babe had strangled2 ,a knife1 a father's throat had mangled1 ,whom his ain son o' life had reft-- ,the gray hairs yet stack to the heft4 ,this passage forms a splendid specimen of almost pure ,anglo-,saxon2 and1 among the few words of a different origin1 one of the most marked may perhaps be rightly held a blemish--namely heroic4 ,like ,burns1 ,wordsworth1 and all those moderns who have studied ear-painting 7if this phrase may be again pardoned7 as well as eye-painting in their verses1 have drawn freely on the ,anglo-,saxon vocabulary4 ,all young and incipient versifiers should study their works1 and ,go and do likewise4 ,the general construction of ,english verse1 and the various rules by which it is rendered melodious1 expressive1 and picturesque1 having now been explained1 it remains but to indicate1 in a few words1 the principal divisions of ,poetry common1 among us4 ,epic verse is held to be the highest description of poetical composition4 ,the ,iliad of ,homer and neid of ,virgil have always formed models in this department2 and it is remarkable1 but true1 that we can scarcely be said to have one ,english epic that rises to their standard1 saving ,paradise ,lost4 ,of the character of an epic1 it need but be said here1 that the subject1 the diction1 and the treatment must all be alike lofty and sustained4 ,in ,english1 the decasyllabic is the epic line1 sometimes called the ,heroic4 ,if we have so few epics1 however1 we have many poems of high note that are usually styled ,didactic1 from their teaching great truths4 ,akenside1 ,thomson1 ,cowper1 ,rogers1 and ,campbell wrote such poems1 some in blank verse1 others in rhyme4 ,where rhymed1 they are all written in ,couplets1 or pairs of lines1 rhyming to one another1 in regular succession4 ,narrative1 ,descriptive1 and ,satiric poems 7the several objects of which may be drawn from these epithets7 are important species of composition1 and for the most part constructed similarly to the ,epic and ,didactic pieces4 ,in truth1 the ten-syllabled line1 in couplets or in blank verse1 though best adapted for grave subjects1 has been employed on almost all themes by ,english poets4 ,nearly the same thing may be said of the octosyllabic verse1 also written commonly in couplets1 when used in long compositions4 ,many poems1 which may be generally termed ,romantic1 have likewise been framed in the eight-syllabled line1 though not usually in couplets4 ,the name of ,stanzas is bestowed1 aggregately1 on all assemblages of lines1 exceeding two in number1 when they are arranged continuously4 ,the following is a stanza of three lines1 termed isolatedly a ,triplet3-- ,nothing1 thou elder brother even to ,shade4 ,thou hadst a being ere the world was made1 ,and 7well fix'd7 art alone of ending not afraid4 ,stanzas in four lines1 called specially ,quatrains1 are exemplified in ,gray's ,churchyard ,elegy4 ,indeed1 that stanza has long been denominated the ,elegiac4 ,tennyson's ,in ,memoriam is composed in octosyllabic quatrains4 ,in stanzas of four lines1 also1 half the minor poetry in the language is composed4 ,the general name of ,lyrical is given to such poetry1 and implies the subjects to be occasional and detached1 and the pieces usually brief4 ,songs come within the ,lyric category4 ,it would be needless to exemplify a stanza so well known1 either in its frequent form of alternate rhyming lines of eight and eight syllables1 or its yet more common one of eight and six4 ,no continuous poems of any length or moment have been written in five-line stanzas1 and few in those of six lines4 ,the latest piece in the latter shape has been ,sir ,e4 ,l4 ,bulwer's ,king ,arthur2 but the stanza is too like the very famous one called in ,italy the ottava rima1 with two lines lopped off and not beneficially4 ,the ,don ,juan of ,byron is composed in this ottava rima1 or eight-lined stanza2 but it was borrowed from the ,italians 7the real inventors7 by ,william ,tennant1 and used in his ,anster ,fair1 long before ,frere or ,byron thought of its appropriation--a circumstance of which many critics have shown a discreditable ignorance4 ,it is the best of all stanzas for a light or burlesque epic1 the principle of its construction being--seriousness in the first six lines1 and in the last two a mockery of that seriousness4 ,the great poet1 however1 can make any stanza great4 ,shakspeare used the six-line stanza in his ,venus and ,adonis1 and that of seven lines in his ,lucrece4 ,the only other regular ,english stanza1 of high note1 and calling for mention here1 is the ,spenserian1 consisting of nine lines1 the first eight decasyllabic1 and the last an ,alexandrine of twelve feet4 ,many noble poems have been written in this stanza1 from ,spenser's ,fairy ,queen to ,byron's ,childe ,harold1 which may be viewed as romantic and narrative epics respectively4 ,it is calculated to convey aptly the loftiest poetry1 though ,thomson and ,shenstone have employed it for lighter purposes1 in the ,castle of ,indolence and ,schoolmistress4 ,the sonnet is1 in its highest moods1 an epic in fourteen lines2 and1 as regards its normal structure1 should present but four different rhymes in all4 ,so ,milton wrote it1 and so often ,wordsworth1 facile principes in this walk of poetic composition2 but six or more rhymes are commonly admitted4 ,the rhymes of the successive lines stand thus1 in the ,miltonic sonnet3--arms1 seize1 please1 harms1 charms1 these1 seas1 warms1 bower1 spare1 tower1 air1 power1 bare4 ,in a sonnet1 ,wordsworth splendidly exemplifies the sonnet1 and tells its uses and its history4 7,scorn not1 c4 ,wordsworth's ,miscellaneous ,sonnets47 ,the ,ode is a poem of irregular construction1 or rather was so constructed by the ,greek bard ,pindar1 and after him by ,dryden and ,collins1 his best ,english imitators4 ,wordsworth and ,coleridge also wrote fine odes of late years1 and they followed the same irregularities of composition4 ,shelley and ,keats1 however1 produced noble pieces1 of the same kind1 as those on ,liberty and ,melancholy1 in which they used a very free measure1 but in orderly stanzas4 ,it would be out of place to describe at length the plan of the ,pindaric ode--for it had a general plan1 though fantastic in details4 ,the wildest forms of it were styled the dithyrambic2 and impassioned grandeur of sentiment and diction were its characteristics4 ,horace1 in his best odes1 contented himself with aiming at dignity and justness of thoughts1 and pointedness of expression4 ,dryden and ,collins1 as well as ,coleridge and ,shelley1 copied and approached the dithyrambic fervour2 while ,keats sought but after beauty1 and left us masterpieces in that kind--alas1 too few6 ,with yet a word on the art of ,song-,writing1 this essay may be closed4 ,it well merits a word1 and chiefly because it is an art the most easy in seeming1 and the most difficult in reality1 in the entire range of literary composition4 ,people might easily discern this truth1 if they would but take note how few really great song-writers have ever flourished among men1 at any time1 or in any country4 ,without forgetting ,ramsay1 ,hogg1 and ,cunningham1 it may be justly asserted that ,scotland has seen but one such bard1 ,robert ,burns4 ,ireland has likewise produced but one1 ,thomas ,moore4 ,england has given birth to--not one song-writer of the same high order6 ,such is the fact2 for to such parties as the ,dibdins1 ,charles ,morris1 or ,haynes ,bayly1 the rank of great song-writers cannot be assigned4 ,however1 it is but fair to admit that ,moore should be reckoned as in the main a song-writer of ,england1 his music only1 and occasionally his subjects1 being ,irish4 ,his pieces are wholly in the ,english tongue1 and by the ,english nation he may so far be claimed4 ,that numberless individuals have written one or two good songs1 is unquestionable1 but the circumstance only strengthens the present argument4 ,it shows the difficulty of fitly carrying out and sustaining the practice of song-writing4 ,notwithstanding these glaring truths1 the young1 on feeling the first prompting of the muse1 fly to this species of composition almost invariably4 ,now1 whether they do or do not possess the requisite poetical powers 7which is not the point under consideration here71 they certainly take up the said task1 almost always1 in total ignorance of the rules of construction necessary to be observed in song-writing4 ,these are few1 but all-important4 ,after simplicity and concentration of thought and diction--the first elements in such compositions--simplicity of grammatical arrangement stands next in consequence4 ,an inverted expression is most injurious1 and a parenthetic clause almost uniformly fatal4 ,all forms of complication are indeed alike hurtful2 and even epithets1 and adjectives of every kind1 can be employed but sparingly1 and must be most direct and simple4 ,that mode of poetic diction1 which introduces its similitudes by as the1 so the1 and like the1 is ruinous in songs4 ,scarcely less so are interjections1 especially when of some length4 ,look how sadly even ,wordsworth failed1 when he thought to improve on the old ballad of ,helen of ,kirkconnel6 ,fair ,ellen ,irvine1 when1 she sate ,upon the braes of ,kirtle1 ,was lovely as a ,grecian maid1 ,adorn'd with wreaths of myrtle4 ,compare the effect of this stanza with its parenthetic clause and its tale-tagged similitude1 to that of the old ballad1 so remarkable for its simplicity3-- ,i wish ,i were where ,helen lies2 ,night and day on me she cries2 ,oh6 that ,i were where ,helen lies1 ,on fair ,kirkconnel lea4 99 99 99 99 99 99 ,curst be the head that thought the thought1 ,curst be the hand that shot the shot1 ,when in my arms burd ,helen dropt1 ,and died to succour me4 ,even on a reading1 the effect of these pieces is widely different1 and would be felt ten times more were they sung4 ,the best music is ever cast away on involved phraseology2 and herein lies1 in fact1 the main reason for simplicity of construction in songs4 ,with these hints on the ,art of composing ,songs1 most of the suggestions before given respecting the selection of words of peculiar sounds1 may also be kept in mind4 ,burns forgot them not4 ,observe his ,wandering ,willie3-- ,rest1 ye wild winds1 in the caves of your slumbers1 ,how your dread howling a lover alarms4 ,but let all the most admired songs of ,burns1 and of ,moore also1 be examined attentively1 and the skilful adaptation of the words to the sentiment1 the position and the purpose will appear clearly4 ,what language1 for example1 could be more artistically suited to an exquisitely soft air than the following by ,moore8-- ',tis the last rose of summer1 ,left blooming alone1 ,all its lovely companions ,are faded and gone4 ,if these lines were written in a dialect utterly strange to the hearer1 he still could not but feel their admirable melodiousness1 so appropriate to the melodious music4 ,in the case1 therefore1 of song-writing generally--whether to known or unknown music--the purpose of the composition must ever be kept in mind4 ,a song1 if not satisfactorily fitted for vocal utterance1 and intelligible on the hearing of a moment1 neither deserves1 nor will receive1 popular appreciation and acceptance4 ,where true poetry is interfused1 as in the productions of ,burns and ,moore1 then1 indeed1 is mastership in the art of song-writing really shown4 ,of all classes of writers1 the song-writer is perhaps the most truly an artist4 ---------------------------------------- -------------------------------- ,rules for ,making ,english ,verse4 ,,by ,,edward ,,bysshe4 ,these rules ,i have1 according to the best of my judgment1 endeavoured to extract from the practice1 and to frame after the examples1 of the poets that are most celebrated for a fluent and numerous turn of verse4 ,in the ,english versification there are two things chiefly to be considered3 #a4 ,the verses4 #b4 ,the several sorts of poems1 or composition in verse4 ,but because in the verses there are also two things to be observed1 the structure of the verse and the rhyme1 this treatise shall be divided into three chapters2 ,i4 ,of the structure of ,english verses4 ,,ii4 ,of rhyme4 ,,iii4 ,of the several sorts of poems1 or composition in verse4 ,,chapter ,i4 ,,of ,,the ,,structure ,,of ,,english ,,verses4 ,the structure of our verses1 whether blank or in rhyme1 consists in a certain number of syllables2 not in feet composed of long and short syllables1 as the verses of the ,greeks and ,romans4 ,and though some ingenious persons formerly puzzled themselves in prescribing rules for the quantity of ,english syllables1 and1 in imitation of the ,latins1 composed verses by the measure of spondees1 dactyls1 c41 yet the success of their undertaking has fully evinced the vainness of their attempt1 and given ground to suspect they had not thoroughly weighed what the genius of our language would bear1 nor reflected that each tongue has its peculiar beauties1 and that what is agreeable and natural to one1 is very often disagreeable1 nay1 inconsistent with another4 ,but that design being now wholly exploded1 it is sufficient to have mentioned it4 ,our verses1 then1 consist in a certain number of syllables2 but the verses of double rhyme require a syllable more than those of single rhyme4 ,thus in a poem whose verses consist of ten syllables1 those of the same poem that are accented on the last save one1 which we call verses of double rhyme1 must have eleven1 as may be seen by these verses3-- ,a ,man so various that he seem'd to be ,not one1 but all ,mankind's ,epitome3 ,stiff in ,opinion1 always in the ,wrong1 ,was ev'ry thing by starts1 and nothing long2 ,but1 in the ,course of our revolving moon3 ,was ,fiddler1 ,chymist1 ,statesman and ,buffoon3 ,then all for ,women1 ,painting1 ,rhyming1 ,drinking1 ,besides ,ten thousand ,freaks that dy'd in ,thinking1 ,praising and ,railing were his usual ,themes1 ,and both1 to shew his ,judgment1 in ,extreams4 ,so over-violent1 or over-civil1 ,that every ,man with him was ,god or ,devil4--,dryden4 ,where the four verses that are accented on the last save one have eleven syllables1 the others1 accented on the last1 but ten4 ,in a poem whose verses consist of eight1 the double rhymes require nine2 as1 ,when hard ,words1 ,jealousies1 and ,fears1 ,set ,folks together by the ears2 ,and made 'em fight1 like mad1 or drunk1 ,for ,dame ,religion as for ,punk2 ,whose honesty they all durst swear for1 ,tho' not a ,man of 'em knew wherefore3 ,then did ,sir ,knight abandon ,duelling1 ,and out he rode a ,colonelling4--,hudibras4 ,in a poem whose verses consist of seven1 the double rhymes require eight2 as1 ,all thy verse is softer far ,than the downy ,feathers are ,of my ,wings1 or of my ,arrows1 ,of my ,mother's ,doves or ,sparrows4--,cowley4 ,this must also be observed in blank verse2 as1 ,welcome1 thou worthy ,partner of my ,laurels6 ,thou ,brother of my ,choice6 ,a ,band more sacred ,than ,nature's brittle ,tye4 ,by holy ,friendship6 ,glory and ,fame stood still for thy ,arrival3 ,my ,soul seem'd wanting of its better ,half1 ,and languish'd for thy ,absence like a ,prophet1 ,who waits the ,inspiration of his ,god4--,rowe4 ,and this verse of ,milton1 ,void of all ,succour and needful ,comfort1 wants a syllable2 for1 being accented on the last save one1 it ought to have eleven1 as all the verses but two of the preceding example have4 ,but if we transpose the words thus1 ,of ,succour and all needful ,comfort void1 it then wants nothing of its due measure1 because it is accented on the last syllable4 ,,section ,i4--,of the several sorts of verses2 and1 first1 of those of ten syllables3 of the due observation of the accents1 and of the pause4 ,our poetry admits for the most part but of three sorts of verses2 that is to say1 of verses of ten1 eight1 or seven syllables4 ,those of four1 six1 nine1 eleven1 twelve1 and fourteen1 are generally employed in masks and operas1 and in the stanzas of lyric and ,pindaric odes1 and we have few entire poems composed in any of those sort of verses4 ,those of twelve and fourteen syllables are frequently inserted in our poems in heroic verse1 and when rightly made use of1 carry a peculiar grace with them4 ,see the next section towards the end4 ,the verses of ten syllables1 which are our heroic1 are used in heroic poems1 in tragedies1 comedies1 pastorals1 elegies1 and sometimes in burlesque4 ,in these verses two things are chiefly to be considered3 #a4 ,the seat of the accent4 #b4 ,the pause4 ,for 'tis not enough that verses have their just number of syllables2 the true harmony of them depends on a due observation of the accent and pause4 ,the accent is an elevation or a falling of the voice on a certain syllable of a word4 ,the pause is a rest or stop that is made in pronouncing the verse1 and that divides it1 as it were1 into two parts2 each of which is called an hemistich1 or half-verse4 ,but this division is not always equal1 that is to say1 one of the half-verses does not always contain the same number of syllables as the other4 ,and this inequality proceeds from the seat of the accent that is strongest1 and prevails most in the first half-verse4 ,for the pause must be observed at the end of the word where such accents happen to be1 or at the end of the following word4 ,now1 in a verse of ten syllables this accent must be either on the second1 fourth1 or sixth2 which produces five several pauses1 that is to say1 at the third1 fourth1 fifth1 sixth or seventh syllable of the verse3 ,for1 ,when it happens to be on the second1 the pause will be either at the third or fourth4 ,at the third in two manners3 #a4 ,when the syllable accented happens to be the last save one of a word2 as1 ,as busy--as intentive ,emmets are2 ,or ,cities--whom unlook'd for ,sieges scare4--,davenant4 #b4 ,or when the accent is on the last of a word1 and the next a monosyllable1 whose construction is governed by that on which the accent is2 as1 ,despise it1--and more noble ,thoughts pursue4--,dryden4 ,when the accent falls on the second syllable of the verse1 and the last save two of a word1 the pause will be at the fourth2 as1 ,he meditates--his absent ,enemy4--,dryden4 ,when the accent is on the fourth of a verse1 the pause will be either at the same syllable1 or at the fifth or sixth4 ,at the same1 when the syllable of the accent happens to be the last of a word2 as1 ,such huge ,extreams--inhabit thy great ,mind1 ,god-like1 unmov'd1--and yet1 like ,woman1 kind4--,waller4 ,at the fifth in two manners3 #a4 ,when it happens to be the last save one of a word2 as1 ,like bright ,aurora--whose refulgent ,ray ,fortells the ,feavour--of ensuing ,day2 ,and warns the ,shepherd--with his ,flocks1 retreat ,to leafy ,shadows--from the threaten'd ,heat4--,waller4 #b4 ,or the last of the word1 if the next be a monosyllable governed by it2 as1 ,so fresh the ,wound is--and the ,grief so vast4--,waller4 ,at the sixth1 when the syllable of the accent happens to be the last save two of a word2 as1 ,those ,seeds of ,luxury1--,debate1 and ,pride4--,waller4 ,lastly1 when the accent is on the sixth syllable of the verse1 the pause will be either at the same syllable or at the seventh4 ,at the same1 when the syllable of the accent happens to be the last of a word2 as1 ,she meditates ,revenge--resolv'd to die4--,waller4 ,at the seventh in two manners3 #a4 ,when it happens to be the last save one of a word2 as1 ,nor when the ,war is over1--is it ,peace4--,dryden4 ,mirrors are taught to flatter1--but our ,springs4--,waller4 #b4 ,or the last of a word1 if the following one be a monosyllable whose construction depends on the preceding word on which the accent is2 as1 ,and since he could not save her--with her dy'd4--,dryden4 ,from all this it appears1 that the pause is determined by the seat of the accent2 but if the accents happen to be equally strong on the second1 fourth1 and sixth syllable of a verse1 the sense and construction of the words must then guide to the observation of the pause4 ,for example1 in one of the verses ,i have cited as an instance of it at the seventh syllable1 ,mirrors are taught to flatter1 but our ,springs4 ,the accent is as strong on taught1 as on the first syllable of flatter2 and if the pause were observed at the fourth syllable of the verse1 it would have nothing disagreeable in its sound2 as1 ,mirrors are taught--to flatter1 but our ,springs ,present th' impartial ,images of things4 ,which though it be no violence to the ear1 yet it is to the sense1 and that ought always carefully to be avoided in reading or in repeating of verses4 ,for this reason it is1 that the construction or sense should never end at a syllable where the pause ought not to be made2 as at the eighth and second in the two following verses3-- ,bright ,hesper twinkles from afar3--,away ,my ,kids6--for you have had a ,feast to ,day4--,stafford4 ,which verses have nothing disagreeable in their structure but the pause1 which in the first of them must be observed at the eighth syllable1 in the second at the second2 and so unequal a division can produce no true harmony4 ,and for this reason too1 the pauses at the third and seventh syllables1 though not wholly to be condemned1 ought to be but sparingly practised4 ,the foregoing rules ought indispensably to be followed in all our verses of ten syllables2 and the observation of them1 like that of right time in music1 will produce harmony2 the neglect of them harshness and discord2 as appears by the following verses3-- ,none think ,rewards render'd worthy their ,worth4 ,and both ,lovers1 both thy ,disciples were4 ,in which1 though the true number of syllables be observed1 yet neither of them have so much as the sound of a verse4 ,now their disagreeableness proceeds from the undue seat of the accent4 ,for example1 the first of them accented on the fifth and seventh syllables2 but if we change the words1 and remove the accent to the fourth and sixth1 the verse will become smooth and easy2 as1 ,none think ,rewards are equal to their ,worth4 ,the harshness of the last of them proceeds from its being accented on the third syllable1 which may be mended thus1 by transposing only one word3 ,and ,lovers both1 both thy ,disciples were4 ,in like manner the following verses1 ,to be massacred1 not in ,battle slain4--,blac4 ,but forc'd1 harsh1 and uneasy unto all4--,cowley4 ,against the ,insults of the ,wind and ,tide4--,blac4 ,a second ,essay will the ,pow'rs appease4--,blac4 ,with ,scythians expert in the ,dart and ,bow4--,dryden4 are rough1 because the foregoing rules are not observed in their structure2 for example1 the first where the pause is at the fifth syllable1 and the accent on the third1 is contrary to the rule1 which says1 that the accent that determines the pause must be on the second1 fourth1 or sixth syllable of the verse2 and to mend that verse we need only place the accent on the fourth1 and then the pause at the fifth will have nothing disagreeable2 as1 ,thus to be murther'd1 not in ,battle slain4 ,the second verse is accented on the third syllable1 and the pause is there too2 which makes it indeed the thing it expresses1 forced1 harsh1 and uneasy2 it may be mended thus3 ,but forc'd and harsh1 uneasy unto all4 ,the third1 fourth1 and fifth of those verses have like faults2 for the pauses are at the fifth1 and the accent there too2 which is likewise contrary to the foregoing rules4 ,now they will be made smooth and flowing1 by taking the accent from the fifth1 and removing the seat of the pause2 as1 ,against th' ,insults both of the ,wind and ,tide ,a second ,tryal will the ,pow'rs appease4 ,with ,scythians skilful in the ,dart and ,bow4 ,from whence we conclude1 that in all verses of ten syllables1 the most prevailing accents ought to be on the second1 fourth1 or sixth syllables2 for if they are on the third1 fifth1 or seventh1 the verses will be rough and disagreeable1 as has been proved by the preceding instances4 ,in short1 the wrong placing of the accent is as great a fault in our versification1 as false quantity was in that of the ancients2 and therefore we ought to take equal care to avoid it1 and endeavour so to dispose the words that they may create a certain melody in the ear1 without labour to the tongue1 or violence to the sense4 ,,section ,,ii4--,of the other sorts of verses that are used in our poetry4 ,after the verses of ten syllables those of eight are most frequent1 and we have many entire poems composed in them4 ,in the structure of these verses1 as well as of those of ten syllables1 we must take care that the most prevailing accents be neither on the third nor fifth syllables of them4 ,they also require a pause to be observed in pronouncing them1 which is generally at the fourth or fifth syllable2 as1 ,i'll sing of ,heroes1--and of ,kings1 ,in mighty ,numbers--mighty things2 ,begin1 my ,muse1--but to the ,strings1 ,to my great ,song--rebellious prove1 ,the ,strings will sound--of nought but ,love4--,cowley4 ,the verses of seven syllables1 which are called anacreontic1 are most beautiful when the strongest accent is on the third1 and the pause either there or at the fourth2 as1 ,fill the ,bowl--with rosy ,wine1 ,round our ,temples--,roses twine ,crown'd with ,roses--we contemn ,gyges' wealthy--,diadem4--,cowley4 ,the verses of nine and of eleven syllables1 are of two sorts2 one is those that are accented upon the last save one1 which are only the verses of double rhyme that belong to those of eight and ten syllables1 of which examples have already been given4 ,the other of those that are accented on the last syllable1 which are employed only in compositions for music1 and in the lowest sort of burlesque poetry2 the disagreeableness of their measure having wholly excluded them from grave and serious subjects4 ,they who desire to see examples of them may find some scattered here and there in our masks and operas1 and in the burlesque writers4 ,i will give but two3 ,hylas1 ,o ,hylas1 why sit we mute8 ,now that each ,bird saluteth the ,spring4--,waller4 ,apart let me view then each ,heavenly ,fair1 ,for three at a time there's no ,mortal can bear4--,congreve4 ,the verses of twelve syllables are truly heroic both in their measure and sound1 though we have no entire works composed in them2 and they are so far from being a blemish to the poems they are in1 that on the contrary1 when rightly employed1 they conduce not a little to the ornament of them2 particularly in the following rencontres3-- #a4 ,when they conclude an episode in an heroic poem4 ,thus ,stafford ends his translation of that of ,camilla from the eleventh neid with a verse of twelve syllables3 ,the ling'ring ,soul th' unwelcome ,doom receives1 ,and1 murm'ring with ,disdain1 the beauteous ,body leaves4 #b4 ,when they conclude a triplet and full sense together2 as1 ,millions of op'ning ,mouths to ,fame belong2 ,and every ,mouth is furnish'd with a ,tongue2 ,and round with list'ning ,ears the flying ,plague is hung4 --,dryden4 ,and here we may observe by the way1 that whenever a triplet is made use of in an heroic poem1 it is a fault not to close the sense at the end of the triplet1 but to continue it into the next line2 as ,dryden has done in his translation of the eleventh neid1 in these lines3 ,with ,olives crown'd1 the ,presents they shall bear1 ,a ,purple ,robe1 a ,royal ,iv'ry ,chair1 ,and all the ,marks of ,sway that ,latian ,monarchs wear1 ,and ,sums of ,gold1 c4 ,and in the seventh neid he has committed the like fault3 ,then they1 whose ,mothers1 frantick with their ,fear1 ,in ,woods and ,wilds the ,flags of ,bacchus bear1 ,and lead his ,dances with dishevell'd ,hair1 ,increase thy ,clamours1 c4 ,but the sense is not confined to the couplet1 for the close of it may fall into the middle of the next verse1 that is1 the third1 and sometimes farther off1 provided the last verse of the couplet exceed not the number of ten syllables2 for then the sense ought always to conclude with it4 ,examples of this are so frequent1 that it is needless to give any4 #c4 ,when they conclude the stanzas of lyric or ,pindaric odes2 examples of which are often seen in ,dryden1 and others4 ,in these verses the pause ought to be at the sixth syllable1 as may be seen in the foregoing examples4 ,we sometimes find it1 though very rarely1 at the seventh2 as1 ,that such a cursed ,creature--lives so long a ,space4 ,when it is at the fourth1 the verse will be rough and hobbling2 as1 ,and ,midwife ,time--the ripen'd ,plot to ,murther brought4 --,dryden4 ,the ,prince pursu'd1--and march'd along with great equal ,pace4 --,dryden4 ,in the last of which it is very apparent1 that if the sense and construction would allow us to make the pause at the sixth syllable1 ,the ,prince pursu'd1 and march'd--along with equal pace1 the verse would be much more flowing and easy4 ,the verses of fourteen syllables are less frequent than those of twelve2 they are likewise inserted in heroic poems1 c41 and are agreeable enough when they conclude a triplet and sense1 and follow a verse of twelve2 as1 ,for ,thee the ,land in fragrant ,flowers is drest2 ,for thee the ,ocean smiles1 and smooths her wavy ,breast1 ,and ,heav'n itself with more serene and purer ,light is blest4 --,dryden4 ,but if they follow one of ten syllables1 the inequality of the measure renders them less agreeable2 as1 ,while all thy ,province1 ,nature1 ,i survey1 ,and sing to ,memmius an immortal ,lay ,of ,heav'n and ,earth2 and everywhere thy wonderous ,pow'r display4 --,dryden4 ,especially if it be the last of a couplet only2 as1 ,with ,court-,informer's ,haunts1 and ,royal ,spies1 ,things done relates1 not done she feigns1 and mingles ,truth with ,lies4 --,dryden4 ,but this is only in heroics2 for in their ,pindarics and lyrics1 verses of twelve or fourteen syllables are frequently and gracefully placed1 not only after those of twelve or ten1 but of any other number of syllables whatsoever4 ,the verses of four and six syllables have nothing worth observing1 and therefore ,i shall content myself with having made mention of them4 ,they are1 as ,i said before1 used only in operas and masks1 and in lyric and ,pindaric odes4 ,take one example of them3-- ,to rule by love1 ,to shed no ,blood1 ,may be extoll'd above2 ,but here below1 ,let ,princes know1 ',tis fatal to be good4 --,dryden4 ,,section ,,iii4--,several rules conducing to the beauty of our versification4 ,our poetry being very much polished and refined since the days of ,chaucer1 ,spenser1 and the other ancient poets1 some rules which they neglected1 and that conduce very much to the ornaments of it1 have been practised by the best of the moderns4 ,the first is to avoid as much as possible the concourse of vowels1 which occasions a certain ill-sounding gaping1 called by the ,latins hiatus2 and which they thought so disagreeable to the ear1 that1 to avoid it1 whenever a word ended in a vowel1 and the next began with one1 they never1 even in prose1 sounded the vowel of the first word1 but lost it in the pronunciation2 and it is a fault in our poets not to do the like1 whenever our language will admit of it4 ,for this reason the e of the particle the ought always to be cut off before the words that begin with a vowel2 as1 ,with weeping ,eyes she heard th' unwelcome ,news4--,dryden4 ,and it is a fault to make the and the first syllable of the following word two distinct syllables1 as in this1 ,restrain'd a while by the unwelcome ,night4--,waller4 ,a second sort of hiatus1 and that ought no less to be avoided1 is when a word that ends in a vowel that cannot be cut off1 is placed before one that begins with the same vowel1 or one that has the like sound2 as1 ,should thy ,iambicks swell into a ,book4--,waller4 ,the second rule is1 to contract the two last syllables of the preterperfect tenses of all the verbs that will admit of it2 which are all the regular verbs whatsoever1 except only those ending in d or t1 and de or te4 ,and it is a fault to make amazed of three syllables1 and loved of two1 instead of amazed of two1 and loved of one4 ,and the second person of the present and preterperfect tenses of all verbs ought to be contracted in like manner2 as thou lov'st1 for thou lovest1 c4 ,the third rule is1 not to make use of several words in a verse that begin with the same letter2 as1 ,the ,court he knew to ,steer in ,storms of ,state1 ,he in these ,miracles ,design discern'd4 ,yet we find an instance of such a verse in ,dryden's translation of the first pastoral of ,virgil3 ,till then a helpless1 hopeless1 homely swain4 ,which ,i am persuaded he left not thus through negligence or inadvertency1 but with design to paint in the number and sound of the words the thing he described--a shepherd in whom ,nec spes libertatis erat1 nec cura peculi4 ,now how far the sound of the h aspirate1 with which three feet of that verse begin1 expresses the despair of the swain1 let the judicious judge4 ,i have taken notice of it only to say1 that it is a great beauty in poetry1 when the words and numbers are so disposed1 as by their order and sound to represent the things described4 ,the fourth is1 to avoid ending a verse by an adjective whose substantive begins the following2 as1 ,some lost their quiet ,rivals1 some their kind ,parents1 c4--,davenant4 ,or1 by a preposition when the case it governs begins the verse that follows2 as1 ,the daily less'ning of our life1 shews by ,a little dying1 how outright to dye4 ,the fifth is1 to avoid the frequent use of words of many syllables1 which are proper enough in prose1 but come not into verse without a certain violence altogether disagreeable2 particularly those whose accent is on the fourth syllable from the last1 as undutifulness4 ,,section ,,iv4--,doubts concerning the number of syllables of certain words4 ,there is no language whatsoever that so often joins several vowels together to make diphthongs of them1 as ours2 this appears in our having several composed of three different vowels1 as eau and eou in beauteous1 iou in glorious1 uai in acquaint1 c4 ,now from hence may arise some difficulties concerning the true pronunciation of those vowels1 whether they ought to be founded separately in two syllables1 or jointly in one4 ,the ancient poets made them sometimes of two syllables1 sometimes but of one1 as the measure of their verse required2 but they are now become to be but of one1 and it is a fault to make them of two3 from whence we may draw this general rule3--,that whenever one syllable of a word ends in a vowel1 and the next begins with one1 provided the first of those syllables be not that on which the word is accented1 those two syllables ought in verse to be contracted and made but one4 ,thus beauteous is but two syllables1 victorious but three2 and it is a fault in ,dryden to make it four1 as he has done in this verse3 ,your arms are on the ,rhine victorious4 ,to prove that this verse wants a syllable of its due measure1 we need but add one to it2 as1 ,your arms are on the ,rhine victorious now4 ,where1 though the syllable now be added to the verse1 it has no more than its due number of syllables2 which plainly proves it wanted it4 ,but if the accent be upon the first of these syllables1 they cannot be contracted to make a diphthong1 but must be computed as two distinct syllables3 thus poet1 lion1 quiet1 and the like1 must always be used as two syllables2 poetry1 and the like1 as three4 ,and it is a fault to make riot1 for example1 one syllable1 as ,milton has done in this verse1 ,their ,riot ascends above the lofty ,tow'rs4 ,the same poet has in another place made use of a like word twice in one verse1 and made it two syllables each time2 ,with ,ruin upon ,ruin1 ,rout on ,rout4 ,and any ear may discover that this last verse has its true measure1 the other not4 ,but there are some words that may be excepted2 as diamond1 violet1 violent1 diadem1 hyacinth1 and perhaps some others1 which1 though they are accented upon the first vowel1 are sometimes used but as two syllables2 as in the following verses3-- ,from ,diamond ,quarries hewn1 and ,rocks of ,gold4--,milton4 ,with ,poppies1 ,daffadils1 and ,violets join'd4--,tate4 ,with vain1 but violent force their ,darts they flung4--,cowley4 ,his ,ephod1 ,mitre1 well-cut ,diadem on4--,cowley4 ,my blushing ,hyacinths1 and my ,bays ,i keep4--,dryden4 ,sometimes as three2 as1 ,a ,mount of ,rocky ,diamond did rise4--,blac4 ,hence the blue ,violet and blushing ,rose4--,blac4 ,and set soft ,hyacinths of ,iron blue4--,dryden4 ,when they are used but as two syllables they suffer an elision of one of their vowels1 and are generally written thus1 di'mond1 vi'let1 c4 ,this contraction is not always made of syllables of the same word only2 for the particle a being placed after a word that ends in a vowel1 will sometimes admit of the like contraction2 for example1 after the word many2 as1 ,tho' many a victim from my ,folds was bought1 ,and many a ,cheese to ,country ,markets brought4--,dryden4 ,they many a ,trophy gain'd with many a ,wound4--,davenant4 ,after to2 as1 ,can he to a ,friend1 to a ,son so bloody grow8--,cowley4 ,after they2 as1 ,from thee1 their long-known ,king1 they a ,king desire4--,cowley4 ,after by2 as1 ,when we by a foolish ,figure say4--,cowley4 ,and perhaps after some others4 ,there are also other words whose syllables are sometimes contracted1 sometimes not2 as bower1 heaven1 prayer1 nigher1 towards1 and many more of the like nature1 but they generally ought to be used but as one syllable2 and then they suffer an elision of the vowel that precedes their final consonant1 and ought to be written thus1 bow'r1 heav'n1 pray'r1 nigh'r1 tow'rds4 ,the termination ism is always used but as one syllable2 as1 ,where grisly ,schism and raging ,strife appear4--,cowley4 ,and ,rheumatisms ,i send to rack the ,joynts4--,dryden4 ,and1 indeed1 considering that it has but one vowel1 it may seem absurd to assert that it ought to be reckoned two syllables2 yet in my opinion those verses seem to have a syllable more than their due measure1 and would run better if we took one from them2 as1 ,where grisly ,schism1 raging ,strife appear1 ,i ,rheumatisms send to rack the ,joynts4 ,yet this opinion being contrary to the constant practice of our poets1 ,i shall not presume to advance it as a rule for others to follow1 but leave it to be decided by such as are better judges of poetical numbers4 ,the like may be said of the terminations asm and osm4 ,,section ,v4--,of the elisions that are allowed in our versification4 ,in verses consisting only of a certain number of syllables1 nothing can be of more ease1 or greater use to poets1 than the retaining or cutting off a syllable from a verse1 according as the measure of it requires2 and therefore it is requisite to treat of the elisions that are allowable in our poetry1 some of which have been already taken notice of in the preceding section4 ,by elision ,i mean the cutting off one or more letters from a word1 whereby two syllables come to be contracted into one1 or the taking away an entire syllable4 ,now when in a word of more than two syllables1 which is accented on the last save two1 the liquid r happens to be between two vowels1 that which precedes the liquid admits of an elision4 ,of this nature are many words in ance1 ence1 ent1 er1 ous1 and ry2 as temperance1 preference1 different1 flatterer1 amorous1 victory3 which are words of three syllables1 and often used as such in verse2 but they may be also contracted into two by cutting off the vowel that precedes the liquid1 as temp'rance1 pref'rence1 diff'rent1 flatt'rer1 am'rous1 vict'ry4 ,the like elision is sometimes used when any of the other liquids l1 m1 or n1 happen to be between two vowels in words accented like the former2 as fabulous1 enemy1 mariner1 which may be contracted fab'lous1 en'my1 mar'ner4 ,but this is not so frequent4 ,observe1 that ,i said accented on the last save two2 for if the word be accented on the last save one1 that is to say1 on the vowel that precedes the liquid1 that vowel may not be cut off4 ,and therefore it is a fault to make1 for example1 sonorous two syllables1 as in this verse2 ,with ,son'rous ,metals wak'd the drowsy ,day4--,blac4 ,which always ought to be three1 as in this1 ,sonorous ,metals blowing martial sounds4--,milton4 ,in like manner1 whenever the letter s happens to be between two vowels in words of three syllables1 accented on the first1 one of the vowels may be cut off2 as pris'ner1 bus'ness1 c4 ,or the letter c when it is sounded like s2 that is to say1 whenever it precedes the vowel e or i2 as med'cine for medicine4 ,or v consonant1 as cov'nant for covenant4 ,to these may be added the gerunds of all verbs whose infinities end in any of the liquids1 preceded by a vowel or a diphthong1 and that are accented on the last save one2 for the gerunds being formed by adding the syllable ing to the infinitive1 the liquid that was their final letter comes thereby to be between two vowels2 and the accent that was on the last save one of the infinitive1 comes to be on the last save two of the gerunds3 and therefore the vowel or diphthong that precedes the liquid may be cut off2 by means whereof the gerund of three syllables comes to be but of two2 as from travel1 travelling1 or trav'ling2 from endeavour1 endeavouring1 or endeav'ring1 c4 ,but if the accent be on the last syllable of such a verb1 its gerund will not suffer such an elision4 ,thus the gerund of devour must always be three syllables1 devouring1 not dev'ring2 because all derivatives still retain the accent of their primitives1 that is1 on the same syllable2 and the accent always obliges the syllable on which it is to remain entire4 ,the gerunds of the verbs in ow1 accented on the last save two1 suffer an elision of the o that precedes the w2 as foll'wing1 wall'wing4 ,the particle it admits of an elision of its vowel before it was1 were1 will1 would2 as 'tis1 'twas1 'twere1 'twill1 'twould1 for it is1 it was1 c4 ,it likewise sometimes suffers the like elision when placed after a word that ends in a vowel2 as by't for by it1 do't for do it2 or that ends in a consonant after which the letter t can be pronounced2 as was't for was it1 in't for in it1 and the like4 ,but this is not so frequent in heroic verse4 ,the particle is may lose its i after any word that ends in a vowel1 or in any of the consonants after which the letter s may be sounded2 as she's for she is1 the air's for the air is1 c4 ,to 7sign of the infinitive mood7 may lose its o before any verb that begins with a vowel2 as t'maze1 t'undo1 c4 ,to 7sign of the dative case7 may likewise lose its o before any noun that begins with a vowel2 as t'air1 t'every1 c4 ,but this elision is not so allowable as the former4 ,are may lose its a after the pronouns personal1 we1 you1 they2 as we're1 you're1 they're4 ,and thus it is that this elision ought to be made1 and not1 as some do1 by cutting off the final vowels of the pronouns personal1 w'are1 y'are1 th'are4 ,will and would may lose all their first letters1 and retain only their final one1 after any of the pronouns personal2 as ,i'll for ,i will1 he'd for he would2 or after who1 who'll for who will1 who'd for who would4 ,have may lose its two first letters after ,i1 you1 we1 they2 as ,i've1 you've1 we've1 they've4 ,not1 its two first letters after can2 as can't for cannot4 ,am1 its a after i2 ,i'm for ,i am4 ,us1 its u after let2 let's for let us4 ,taken1 its k1 ta'en2 for so it ought to be written1 not ta'ne4 ,heaven1 seven1 even1 eleven1 and the participles driven1 given1 thriven1 and their compounds1 may lose their last vowel2 as heav'n1 forgiv'n1 c4 ,see the foregoing section4 ,to these may be added1 bow'r1 pow'r1 flow'r1 tow'r1 show'r1 for bower1 tower1 c4 ,never1 ever1 over1 may lose their v1 and are contracted thus1 ne'er1 e'er1 o'er4 ,some words admit of an elision of their first syllable2 as 'tween1 'twixt1 'mong1 'mongst1 'gainst1 'bove1 'cause1 'fore1 for between1 betwixt1 among1 amongst1 against1 above1 because1 before1 and some others that may be observed in reading our poets4 ,i have already1 in the third section of this chapter1 spoken of the elision of the e of the particle the before vowels2 but it is requisite likewise to take notice1 that it sometimes loses its vowel before a word that begins with a consonant1 and then its two remaining letters are joined to the preceding word2 as to th' wall for to the wall1 by th' wall for by the wall1 c41 but this is scarcely allowable in heroic poetry4 ,the particles in1 of1 and on1 sometimes lose their consonants1 and are joined to the particle the in like manner1 as i'th'1 o'th'1 for in the1 of the4 ,in some of our poets we find the pronoun his loses its two first letters after any word that ends in a vowel2 as to's1 by's1 c41 for to his1 by his1 c42 or after many words that end in a consonant1 after which the letter s can be pronounced2 as in's1 for's1 for in his1 for his1 c4 ,this is frequent in ,cowley1 who often takes too great liberty in his contractions2 as t'your for to your1 t'which for to which1 and many others2 in which we must be cautious in following his example1 but the contracting of the pronoun his in the manner ,i mentioned is not wholly to be condemned4 ,we sometimes find the word who contracted before words that begin with a vowel2 as1 ,wh' expose to ,scorn and ,hate both them and it4--,cowley4 ,and the preposition in like manner2 as1 ,b' unequal ,fate and ,providence's ,crime4--,dryden4 ,well did he know how ,palms b' ,oppression speed4--,cowley4 ,and the pronouns personal1 he1 she1 they1 we2 as1 ,timely h' obeys her wise ,advice1 and strait ,to unjust ,force sh' opposes just ,deceit4--,cowley4 ,themselves at first against themselves th' excite4--,cowley4 ,shame and ,woe to us1 if w' our ,wealth obey4--,cowley4 ,but these and the like contractions are very rare in our most correct poets1 and indeed ought wholly to be avoided1 for 'tis a general rule that no vowel can be cut off before another1 when it cannot be sunk in the pronunciation of it3 and therefore we ought to take care never to place a word that begins with a vowel after a word that ends in one 7mute e only excepted71 unless the final vowel of the former can be lost in its pronunciation1 for to leave two vowels opening on each other1 causes a very disagreeable hiatus4 ,whenever therefore a vowel ends a word1 the next ought to begin with a consonant1 or what is equivalent to it2 as our w and h aspirate plainly are4 ,for which reason it is a fault in some of our poets to cut off the e of the particle the2 for example1 before a word that begins by an h aspirate2 as1 ,and th' hasty ,troops march'd loud and cheerful down4--,cowley4 ,but if the h aspirate be followed by another e1 that of the particle the may be cut off2 as1 ,th' ,heroick ,prince's ,courage or his love4--,waller4 ,th' ,hesperian ,fruit1 and made the ,dragon sleep4--,waller4 ,,chapter ,,ii4 ,,of ,,rhyme4 ,,section ,i4--,what rhyme is1 and the several sorts of it4 ,rhyme is a likeness or uniformity of sound in the terminations of two words4 ,i say of sound1 not of letters2 for the office of rhyme being to content and please the ear1 and not the eye1 the sound only is to be regarded1 not the writing3 thus maid and persuade1 laugh and quaff1 though they differ in writing1 rhyme very well3 but plough and cough1 though their terminations are written alike1 rhyme not at all4 ,in our versification we may observe three several sorts of rhyme3 single1 double1 and treble4 ,the single rhyme is of two sorts3 one1 of the words that are accented on the last syllable2 another1 of those that have their accent on the last save two4 ,the words accented on the last syllable1 if they end in a consonant1 or mute e1 oblige the rhyme to begin at the vowel that precedes their last consonant1 and to continue to the end of the word4 ,in a consonant2 as1 ,here might be seen1 the ,beauty1 ,wealth1 and ,wit1 ,and ,prowess1 to the ,pow'r of ,love submit4 --,dryden4 ,in mute e2 as1 ,a ,spark of ,virtue1 by the deepest ,shade ,of sad ,adversity1 is fairer made4 --,waller4 ,but if a diphthong precede the last consonant the rhyme must begin at that vowel of it whose sound most prevails2 as1 ,next to the ,pow'r of making ,tempest cease1 ,was in that storm to have so calm a ,peace4 --,waller4 ,if the words accented on the last syllable end in any of the vowels1 except mute e1 or in a diphthong1 the rhyme is made only to that vowel or diphthong4 ,to the vowel2 as1 ,so wing'd with ,praise we penetrate the ,sky1 ,teach ,clouds and ,stars to praise him as we fly4--,waller4 ,to the diphthong2 as1 ,so hungry ,wolves1 tho' greedy of their ,prey1 ,stop when they find a ,lion in the ,way4--,waller4 ,the other sort of single rhyme is of the words that have their accent on the last syllable save two1 and these rhyme to the other in the same manner as the former2 that is to say1 if they end in any of the vowels1 except mute e1 the rhyme is made only to that vowel2 as1 ,so seems to speak the youthful ,deity2 ,voice1 ,colour1 ,hair1 and all like ,mercury4--,waller4 ,but if they end in a consonant or mute e1 the rhyme must begin at the vowel that precedes that consonant1 and continue to the end of the word2 as has been shewn by the former examples4 ,but we must take notice1 that all the words that are accented on the last save two1 will rhyme not only to one another1 but also to all the words whose terminations have the same sound1 though they are accented on the last syllable4 ,thus tenderness rhymes not only to poetess1 wretchedness1 and the like1 that are accented on the last save two1 but also to confess1 excess1 c41 that are accented on the last2 as1 ,thou art my ,father now these ,words confess ,that ,name1 and that indulgent ,tenderness4--,dryden4 ,,section ,,ii4--,of double and treble rhyme4 ,all words that are accented on the last save one1 require rhyme to begin at the vowel of that syllable1 and to continue to the end of the word2 and this is what we call double rhyme2 as1 ,then all for ,women1 ,painting1 ,rhyming1 ,drinking1 ,besides ten thousands ,freaks that dy'd in ,thinking4--,dryden4 ,but it is convenient to take notice1 that the ancient poets did not always observe this rule1 and took care only that the last syllables of the words should be alike in sound without any regard to the seat of the accent4 ,thus nation and affection1 tenderness and hapless1 villany and gentry1 follow and willow1 and the like1 were allowed as rhymes to each other in the days of ,chaucer1 ,spenser1 and the rest of the ancients2 but this is now become a fault in our versification2 and these two verses of ,cowley rhyme not at all1 ,a dear and lively ,brown was ,merab's ,dye2 ,such as the proudest ,colours might envy4 ,nor these of ,dryden1 ,thus ,air was void of ,light1 and ,earth unstable1 ,and ,waters dark ,abyss unnavigable4 ,because we may not place an accent on the last syllable of envy1 nor on the last save one of unnavigable2 which nevertheless we must be obliged to do1 if we make the first of them rhyme to dye1 the last to unstable4 ,but we may observe1 that in burlesque poetry it is permitted to place an accent upon a syllable that naturally has none2 as1 ,when ,pulpit1 ,drum ,ecclesiastick1 ,was beat with ,fist instead of a ,stick4 ,where1 unless we pronounce the particle a with a strong accent upon it1 and make it sound like the vowel a in the last syllable but one of ecclesiastic1 the verse will lose all its beauty and rhyme4 ,but this is allowable in burlesque poetry only4 ,observe that these double rhymes may be composed of two several words1 provided the accent be on the last syllable of the first of them2 as these verses of ,cowley1 speaking of gold1 ,a ,curse on him who did refine it1 ,a ,curse on him who first did coin it4 ,or some of the verses may end in an entire word1 and the rhyme to it be composed of several2 as1 ,tho' stor'd with ,deletery ,med'cines ,which whosoever took is dead since4--,hudibras4 ,the treble rhyme is very seldom used1 and ought wholly to be exploded from serious subjects2 for it has a certain flatness unworthy the gravity required in heroic verse4 ,in which ,dryden was of opinion1 that even the double rhymes ought very cautiously to find place2 and in all his translations of ,virgil he has made use of none1 except only in such words as admit of a contraction1 and therefore cannot properly be said to be double rhymes2 as giv'n1 driv'n1 tow'r1 pow'r1 and the like4 ,and indeed1 considering their measure is indifferent from that of a heroic verse1 which consists but of ten syllables1 they ought not to be too frequently used in heroic poems2 but they are very graceful in the lyric1 to which1 as well as to the burlesque1 those rhymes more properly belong4 ,,section ,,iii4--,further instructions concerning rhyme4 ,the consonants that precede the vowels where the rhyme begins1 must be different in sound1 and not the same2 for then the rhyme will be too perfect2 as light1 delight2 vice1 advice1 and the like2 for though such rhymes were allowable in the days of ,spenser and the other old poets1 they are not so now1 nor can there be any music in one single note4 ,cowley himself owns1 that they ought not to be allowed except in ,pindaric odes1 which is a sort of free poetry1 and there too very sparingly and not without a third rhyme to answer to both2 as1 ,in barren ,age wild and inglorious lye1 ,and boast of past ,fertility1 ,the poor relief of present ,poverty4--,cowley4 ,where the words fertility and poverty rhyme very well to the last word of the first verse1 lye2 but cannot rhyme to each other1 because the consonants that precede the last vowels are the same1 both in writing and sound4 ,but this is yet less allowable1 if the accent be on the last syllable of the rhyme2 as1 ,her ,language melts ,omnipotence1 arrests ,his hand1 and thence the vengeful ,light'ning wrests4--,blac4 ,from hence it follows1 that a word cannot rhyme to itself though the signification be different2 as1 he leaves to the leaves1 c4 ,nor the words that differ both in writing and sense1 if they have the same sound1 as maid and made1 prey and pray1 to bow and a bough2 as1 ,how gaudy ,fate may be in ,presents sent1 ,and creep insensible by ,touch or ,scent4--,oldham4 ,nor a compound to its simple2 as move to remove1 taught to untaught1 c4 ,nor the compounds of the same words to one another1 as disprove to approve1 and the like4 ,all which proceeds from what ,i said before1 viz41 that the consonants that precede the vowels where the rhyme begins1 must not be the same in sound1 but different4 ,in all which we vary from our neighbours2 for neither the ,french1 ,italians1 nor ,spaniards1 will allow1 that a rhyme can be too perfect2 and we meet with frequent examples in their poetry1 where not only the compounds rhyme to their simples1 and to themselves1 but even where words written and pronounced exactly alike1 provided they have a different signification1 are made use of as rhymes to another4 ,but this is not permitted in our poetry4 ,we must take care not to place a word at the middle of a verse that rhymes to the last word of it2 as1 ,so young in show1 as if he still should grow4 ,but this fault is still more inexcusable1 if the second verse rhyme to the middle and end of the first2 as1 ,knowledge he only sought1 and so soon caught1 ,as if for him ,knowledge had rather sought4--,cowley4 ,here ,passion sways1 but there the ,muse shall raise ,eternal ,monuments of louder ,praise4--,waller4 ,or both the middle and end of the second to the last word of the first2 as1 ,farewell1 she cry'd1 my ,sister1 thou dear ,part1 ,thou sweetest ,part of my divided ,heart4--,dryden4 ,where the tenderness of expression will not atone for the jingle4 ,,chapter ,,iii4 ,,of ,,the ,,several ,,sorts ,,of ,,poems1 ,,or ,,composition ,,in ,,verse4 ,all our poems may be divided into two sorts3 the first are those composed in couplets2 the second those that are composed in stanzas1 consisting of several verses4 ,,section ,i4--,of the poems composed in couplets4 ,in the poems composed in couplets1 the rhymes follow one another1 and end at each couplet2 that is to say1 the second verse rhymes to the first1 the fourth to the third1 the sixth to the fifth1 and in like manner to the end of the poem4 ,the verses employed in this sort of poems are either verses of ten syllables2 as1 ,oh6 could ,i flow like thee1 and make thy ,stream ,my great ,example1 as it is my ,theme2 ,tho' dark yet clear2 tho' gentle1 yet not dull2 ,strong without ,rage2 without o'erflowing full4--,denham4 ,or of eight2 as1 ,o fairest ,piece of well-form'd ,earth1 ,why urge you thus your haughty ,birth8 ,the ,pow'r1 which you have o'er us lies1 ,not in your ,race1 but in your ,eyes4 ,smile but on me1 and you shall scorn ,henceforth to be of ,princes born3 ,i can describe the shady ,grove1 ,where your lov'd ,mother slept with ,jove3 ,and yet excuse the faultless ,dame1 ,caught with her ,spouse's ,shape and ,name3 ,thy matchless ,form will credit bring1 ,to all the ,wonders ,i shall sing4--,waller4 ,or of seven2 as1 ,phillis1 why should we delay ,pleasures shorter than the ,day8 ,could we1 which we never can1 ,stretch our ,lives beyond their ,span1 ,beauty like a ,shadow flies1 ,and our ,youth before us dies4 ,or would ,youth and ,beauty stay1 ,love has ,wings1 and will away4 ,love has swifter ,wings than ,time4 ,but the second verse of the couplet does not always contain a like number of syllables with the first2 as1 ,what shall ,i do to be for ever known1 ,and make the ,age to come my own8 ,i shall like ,beast and common ,people die1 ,unless you write my ,elegy4 ,,section ,,ii4--,of the poems composed in stanzas2 and first1 of the stanzas consisting of three and of four verses4 ,in the poems composed of stanzas1 each stanza contains a certain number of verses1 consisting for the most part of a different number of syllables2 and a poem that consists of several stanzas we generally call an ode2 and this is lyric poetry4 ,but we must not forget to observe1 that our ancient poets frequently made use of intermixed rhyme in their heroic poems1 which they disposed into stanzas and cantos4 ,thus the ,troilus and ,cressida of ,chaucer is composed in stanzas consisting of seven verses2 the ,fairy ,queen of ,spenser in stanzas of nine1 c42 and this they took from the ,italians1 whose heroic poems generally consist in stanzas of eight4 ,but this is now wholly laid aside1 and ,davenant1 who composed his ,gondibert in stanzas of four verses in alternate rhyme1 was the last that followed their example of intermingling rhymes in heroic poetry4 ,the stanzas employed in our poetry cannot consist of less than three1 and are seldom of more than twelve verses1 except in ,pindaric odes1 where the stanzas are different from one another in number of verses1 as shall be shown4 ,but to treat of all the different stanzas that are employed or may be admitted in our poetry would be a labour no less tedious than useless2 it being easy to demonstrate that they may be varied almost to an infinity1 that would be different from one another1 either in the number of the verses of each stanza1 or in the number of the syllables of each verse2 or1 lastly1 in the various intermingling of the rhyme4 ,i shall therefore confine myself to mention only such as are most frequently used by the best of our modern poets4 ,and first of the stanzas consisting of three verses4 ,in the stanzas of three verses1 or triplets1 the verses of each stanza rhyme to one another1 and are either heroic2 as1 ,nothing1 thou elder ,brother even to ,shade6 ,thou hadst a ,being ere the ,world was made1 ,and 7well fix'd7 art alone of ending not afraid4--,rochester4 ,or else they consist of eight syllables2 as these of ,waller1 ,of a fair lady playing with a snake1 ,strange that such ,horror and such ,grace ,should dwell together in one ,place1 ,a ,fairy's ,arm1 an ,angel's ,face4 ,nor do the verses of the stanzas always contain a like number of syllables2 for the first and third may have ten1 the second but eight2 as1 ,men without ,love have oft so cunning grown1 ,that something like it they have shown1 ,but none who had it1 ever seem'd t'have none4 ,love's of a strangely open1 simple ,kind1 ,can no ,arts or ,disguises find2 ,but thinks none sees it1 'cause itself is blind4--,cowley4 ,in the stanzas of four verses1 the rhyme may be intermixed in two different manners2 for either the first and third verse may rhyme to each other1 and by consequence the second and fourth1 and this is called alternate rhyme2 or the first and fourth may rhyme1 and by consequence the second and third4 ,but there are some poems1 in stanzas of four verses1 where the rhymes follow one another1 and the verses differ in number of syllables only2 as in ,cowley's ,hymn to the ,light1 which begins thus-- ,first-born of ,chaos6 who so fair didst come ,from the old ,negro's darksome ,womb3 ,which1 when it saw the lovely ,child1 ,the melancholy ,mass put on kind ,looks and smil'd4 ,but these stanzas are generally in alternate rhyme1 and the verses either consist of ten syllables2 as1 ,she ne'er saw ,courts1 but ,courts could have undone ,with untaught ,looks and an unpractis'd ,heart3 ,her nets the most prepar'd could never shun2 ,for ,nature spread them in the scorn of ,art4--,davenant4 ,or of eight2 as1 ,had ,echo with so sweet a ,grace1 ,narcissus loud ,complaint return'd3 ,not for ,reflection of his ,face1 ,but of his ,voice the ,boy had burn'd4--,waller4 ,or of ten and eight1 that is to say1 the first and third of ten1 the second and fourth of eight2 as1 ,love from ,time's ,wings has stol'n the ,feathers sure ,he has1 and put them to his own3 ,for ,hours of late as long as ,days endure1 ,and very ,minutes ,hours are grown4--,cowley4 ,or of eight and six in the like manner2 as1 ,then ask not ,bodies doom'd to die1 ,to what ,abode they go3 ,since ,knowledge is but ,sorrow's ,spy1 ',tis better not to know4--,davenant4 ,or of seven2 as1 ,not the silver ,doves that fly1 ,yoak'd in ,cythera's ,car2 ,nor the ,wings that lift so high1 ,and convey her ,son so far1 ,are so lovely sweet and fair1 ,or do more ennoble ,love2 ,are so choicely match'd a ,pair1 ,or with more consent do move4--,waller4 ,note4--,that it is absolutely necessary that both the construction and sense should end with the stanza1 and not fall into the beginning of the following one as it does in the last example1 which is a fault wholly to be avoided4 ,,section ,,iii4--,of the stanzas of six verses4 ,the stanzas of six verses are generally only one of the before-mentioned quadrans or stanzas of four verses1 with two verses at the end1 that rhyme to one another2 as1 ,a rural ,judge dispos'd of ,beauty's ,prize1 ,a simple ,shepherd was preferr'd to ,jove3 ,down to the ,mountains from the ,partial ,skies1 ,came ,juno1 ,pallas1 and1 the ,queen of ,love1 ,to plead for that which was so justly giv'n1 ,to the bright ,carlisle of the ,courts of ,heaven4 ,where the four first verses are only a quadran1 and consist of ten syllables1 each in alternate rhyme4 ,the following stanza1 in like manner1 is composed of a quadran1 whose verses consist of eight syllables1 and to which two verses that rhyme to one another are added to the end2 as1 ,hope waits upon the flow'ry ,prime1 ,and ,summer1 tho' it be less gay1 ,yet is not look'd on as a ,time ,of ,declination and ,decay2 ,for with a full ,hand that does bring ,all that was promis'd by the ,spring4--,waller4 ,sometimes the quadran ends the stanza1 and the two lines of the same rhyme begin it2 as1 ,here's to thee1 ,dick2 this whining ,love despise2 ,pledge me my ,friend1 and drink till thou be'st wise4 ,it sparkles brighter far than she2 ',tis pure and right without ,deceit2 ,and such no ,woman e'er can be3 ,no2 they are all sophisticate4--,cowley4 ,or as in these1 where the first and last verse of the stanza consist of ten syllables1 ,when ,chance or cruel ,bus'ness parts us two1 ,what do our ,souls1 ,i wonder1 do8 ,while ,sleep does our dull ,bodies tie1 ,methinks at ,home they should not stay1 ,content with ,dreams1 but boldly fly ,abroad1 and meet each other half the way4--,cowley4 ,or as in the following stanza1 where the fourth and fifth verses rhyme to each other1 and the third and sixth1 ,while what ,i write ,i do not see1 ,i dare thus ev'n to you write ,poetry4 ,ah6 foolish ,muse6 thou dost so high aspire1 ,and knows't her judgment well1 ,how much it does thy ,pow'r excel2 ,yet dar'st be read by thy just ,doom the ,fire4--,cowley4 7,written in ,juice of ,lemon47 ,but in some of these stanzas the rhymes follow one another2 as1 ,take heed1 take heed1 thou lovely ,maid1 ,nor be by glitt'ring ,ills betray'd3 ,thyself for ,money6 ,oh6 let no ,man know ,the ,price of ,beauty fall'n so low4 ,what ,dangers ought'st thou not to dread1 ,when ,love1 that's blind1 is by blind ,fortune led8--,cowley4 ,lastly1 some of these stanzas are composed of two triplets2 as1 ,the ,lightning which tall ,oaks oppose in vain1 ,to strike sometimes does not disdain ,the humble ,furzes of the ,plain4 ,she being so high and ,i so low1 ,her ,pow'r by this does greater show1 ,who at such ,distance gives so sure a blow4--,cowley4 ,,section ,,iv4--,of the stanzas of eight verses4 ,i have already said that the ,italians compose their heroic poems in stanzas of eight verses1 where the rhyme is disposed as follows3 ,the first1 third1 and fifth verses rhyme to one another1 and the second1 fourth1 and sixth1 the two last always rhyme to each other4 ,now our translators of their heroic poems have observed the same stanza and disposition of rhyme1 of which take the following example from ,fairfax's translation of ,tasso's ,goffredo1 cant4 #a1 stan4 #c1 ,thither thou know'st the ,world is best inclin'd1 ,where luring ,parnass most his ,beams imparts2 ,and ,truth1 convey'd in verse of gentlest ,kind1 ,to read sometimes will move the dullest ,hearts2 ,so we1 if ,children young diseas'd we find1 ,anoint with ,sweets the ,vessel's foremost parts1 ,to make them take the ,potions sharp we give2 ,they drink deceiv'd1 and so deceiv'd they live4 ,but our poets seldom employ this stanza in compositions of their own2 where the following stanza of eight verses are most frequent1 ,some others may with ,safety tell ,the mod'rate ,flames which in them dwell2 ,and either find some ,med'cine there1 ,or cure themselves ev'n by ,despair3 ,my ,love's so great1 that it might prove ,dang'rous to tell her that ,i love4 ,so tender is my ,wound it cannot bear ,any ,salute1 tho' of the kindest ,air4--,cowley4 ,where the rhymes follow one another1 and the six first verses consist of eight syllables each1 the two last of ten4 ,we have another sort of stanza of eight verses1 where the fourth rhymes to the first1 the third to the second1 and the four last are two couplets2 and where the first1 fourth1 sixth1 and eighth are of ten syllables each1 the four others but of eight2 as1 ,i've often wish'd to love3 ,what shall ,i do8 ,me still the cruel ,boy does spare2 ,and ,i a double ,task must bear1 ,first to woo him1 and then a ,mistress too4 ,come at last1 and strike for shame1 ,if thou art any ,thing besides a ,name2 ,i'll think thee else no ,god to be1 ,but ,poets rather ,gods1 who first created thee4--,cowley4 ,another1 when the two first and two last verses consist of ten syllables each1 and rhyme to one another1 the four other but of eight in alternate rhyme4 ,tho' you be absent hence1 ,i needs must say1 ,the ,trees as beauteous are1 and ,flow'rs as gay1 ,as ever they were wont to be3 ,nay the ,birds rural ,musick too ,is as melodious and free1 ,as if they sung to pleasure you4 ,i saw a ,rose bud ope this ,morn2 ,i'll swear ,the blushing ,morning open'd not more fair4--,cowley4 ,another1 where the four first verses are two couplets1 the four last in alternate rhyme2 as in ,cowley's ,ode of a ,lady that made ,posies for ,rings1 ,i little thought the ,time would ever be1 ,that ,i should ,wit in dwarfish ,posies see1 ,as all ,words in few ,letters live1 ,thou to few ,words all ,sense dost give4 ',twas ,nature taught you this rare ,art1 ,in such a ,little1 ,much to show2 ,who all the ,good she did impart ,to womankind1 epitomiz'd in you4 ,,section ,v4--,of the stanzas of ten and twelve verses4 ,the stanzas of ten and twelve verses are seldom employed in our poetry1 it being very difficult to confine ourselves to a certain disposition of rhyme1 and measure of verse1 for so many lines together2 for which reason those of four1 six1 and eight verses are the most frequent4 ,however1 we sometimes find some of ten and twelve2 as in ,cowley's ode1 which he calls ,verses ,lost upon a ,wager1 where the rhymes follow one another2 but the verses differ in the number of syllables4 ,as soon hereafter will ,i ,wagers lay ',gainst what an ,oracle shall say2 ,fool that ,i was to venture to deny ,a ,tongue so us'd to ,victory2 ,a ,tongue so blest by ,nature and by ,art1 ,that never yet it spoke1 but gain'd a heart4 ,tho' what you said had not been true1 ,if spoke by any else but you2 ,your speech will govern ,destiny1 ,and ,fate will change rather than you shall lye4--,cowley4 ,the same poet furnishes us with an example of a stanza of twelve verses in the ode he calls ,the ,prophet1 where the rhymes are observed in the same manner as in the former examples4 ,teach me to love6 ,go teach thy self ,wit3 ,i chief ,professor am of it4 ,teach ,craft to ,scots1 and ,thrift to ,jews1 ,teach ,boldness to the ,stews4 ,in ,tyrants ,courts teach supple ,flattery1 ,teach ,jesuits that have travell'd far too lie1 ,teach fire to burn1 and ,winds to blow1 ,teach restless ,fountains how to flow1 ,teach the dull ,earth fixt to abide1 ,teach ,womankind ,inconstancy and ,pride1 ,see if your ,diligence there will useful prove2 ,but prithee teach not me to love4 ,,section ,,vi4--,of the stanzas that consist of an odd number of verses4 ,we have also stanzas that consist of odd numbers of verses1 as of five1 seven1 nine1 and eleven2 in all which it of necessity follows that three verses of the stanza rhyme to one another1 or that one of them be a blank verse4 ,in the stanzas of five verses the first and third may rhyme1 and the second and two last2 as1 ,see not my ,love how ,time resumes ,the ,beauty which he lent these ,flow'rs3 ,tho' none should taste of their ,perfumes1 ,yet they must live but some few ,hours3 ,time what we forbear devours4--,waller4 ,which is only a stanza of four verses in alternate rhyme1 to which a fifth verse is added that rhymes to the second and fourth4 ,see also an instance of a stanza of five verses1 where the rhymes are intermixed in the manner as the former1 but the first and third verses are composed but of four syllables each4 ,go1 lovely ,rose1 ,tell her that wastes her time and me1 ,that now she knows1 ,when ,i resemble her to thee1 ,how sweet and fair she seems to be4--,waller4 ,in the following example the two first verses rhyme1 and the three last4 ',tis well1 'tis well with them1 said ,i1 ,whose short-liv'd ,passions with themselves can die4 ,for none can be unhappy1 who ',midst all his ,ills a ,time does know1 ,tho' ne'er so long1 when he shall not be so4--,cowley4 ,in this stanza the two first and the last1 and the third and fourth rhyme to one another4 ,it is enough1 enough of ,time and ,pain ,hast thou consum'd in vain2 ,leave1 wretched ,cowley1 leave1 ,thy self with ,shadows to deceive4 ,think that already lost which thou must never gain4--,cowley4 ,the stanzas of seven verses are frequent enough in our poetry1 especially among the ancients1 who composed many of their poems in this sort of stanza2 see the example of one of them taken from ,spenser in the ,ruins of ,time1 where the first and third verses rhyme to one another1 the second1 fourth1 and fifth1 and the two last4 ,but ,fame with golden ,wings aloft does fly ,above the ,reach of ruinous ,decay1 ,and with brave ,plumes does beat the ,azure ,sky1 ,admir'd of base-born ,men from far away3 ,then whoso will with virtuous ,deeds assay1 ,to mount to ,heaven1 on ,pegasus must ride1 ,and in sweet ,poets verse be glorify'd4 ,i have rather chosen to take notice of this stanza1 because that poet and ,chaucer have made use of it in many of their poems1 though they have not been followed in it by any of the moderns1 whose stanzas of seven verses are generally composed as follows4 ,either the four first verses are a quadran in alternate rhyme1 and the three last rhyme to one another2 as1 ,now by my ,love1 the greatest ,oath that is1 ,none loves you half so well as ,i2 ,i do not ask your ,love for this2 ,but for ,heav'ns sake believe me or ,i die4 ,no ,servant sure but did deserve ,his ,master should believe that he did serve2 ,and ,i'll ask no more ,wages1 tho' ,i starve4 ,or the four first two couplets1 and the three last a triplet2 as1 ,indeed ,i must confess ,when ,souls mix 'tis a ,happiness1 ,but not compleat 'till ,bodies too combine1 ,and closely as our ,minds together join4 ,but half of ,heav'n the ,souls in ,glory taste ',till by ,love in ,heav'n at last ,their ,bodies too are plac'd4 ,or1 on the contrary1 the three first may rhyme1 and the four last be in rhymes that follow one another2 as1 ,from ,hate1 ,fear1 ,hope1 ,anger1 and ,envy free1 ,and all the ,passions else that be1 ,in vain ,i boast of ,liberty3 ,in vain this ,state a ,freedom call1 ,since ,i have ,love2 and ,love is all4 ,sot that ,i am6 who think it fit to brag ,that ,i have no ,disease besides the ,plague4--,cowley4 ,or the first may rhyme to the two last1 the second to the fifth1 and third and fourth to one another2 as1 ,in vain thou drowsy ,god ,i thee invoke1 ,for thou who dost from ,fumes arise1 ,thou who ,man's ,soul dost overshade ,with a thick ,cloud by ,vapours made1 ,canst have no ,pow'r to shut his ,eyes1 ,or ,passage of his ,spirits to choak1 ,whose ,flame's so pure1 that it sends up no ,smoak4--,cowley4 ,or lastly1 the four first and two last may be in the following rhyme1 and the fifth a blank verse2 as1 ,thou robb'st my ,days of ,bus'ness and ,delights1 ,of ,sleep thou robb'st my ,nights4 ,ah lovely ,thief6 what wilt thou do8 ,what1 rob me of ,heav'n too6 ,thou e'en my ,prayers dost from me steal1 ,and ,i with wild ,idolatry ,begin to ,god1 and end them all in thee4--,cowley4 ,the stanzas of nine and of eleven syllables are not so frequent as those of five and seven4 ,spenser has composed his ,fairy ,queen in stanzas of nine verses1 where the first rhymes to the third1 the second to the fourth1 fifth and seventh1 and the sixth to the last2 but this stanza is very difficult to maintain1 and the unlucky choice of it reduced him often to the necessity of making use of many exploded words2 nor has he1 ,i think1 been followed in it by any of the moderns1 whose six first verses of the stanzas that consist of nine are generally in rhymes that follow one another1 and the three last a triplet2 as1 ,beauty1 ,love's ,scene and ,masquerade1 ,so well by well-plac'd ,lights1 and ,distance made2 ,false ,coin6 with which th' ,imposter cheats us still1 ,the ,stamp and ,colour good1 but ,metal ill3 ,which light or base we find1 when we ,weigh by ,enjoyment1 and examine thee4 ,for tho' thy ,being be but ,show1 ',tis chiefly ,night which ,men to thee allow1 ,and chuse t' enjoy thee1 when thou least art thou4 --,cowley4 ,in the following example the like rhyme is to be observed1 but the verses differ in measure from the former1 ,beneath this gloomy ,shade1 ,by ,nature only for my ,sorrows made1 ,i'll spend this ,voice in ,cries2 ,in ,tears ,i'll waste these ,eyes1 ,by ,love so vainly fed2 ,so ,lust of old the ,deluge punished4 ,ah wretched ,youth6 said ,i2 ,ah wretched ,youth6 twice did ,i sadly cry2 ,ah wretched ,youth6 the ,fields and ,floods reply4--,cowley4 ,the stanzas consisting of eleven verses are yet less frequent than those of nine1 and have nothing particular to be observed in them4 ,take an example of one of them1 where the six first are three couplets1 the three next a triplet1 the two last a couplet2 and where the fourth1 the seventh1 and the last verses are of ten syllables each1 the others of eight1 ,no1 to what ,purpose should ,i speak8 ,no1 wretched ,heart1 swell till you break3 ,she cannot love me if she would1 ,and1 to say ,truth1 'twere ,pity that she should4 ,no1 to the ,grave thy ,sorrows bear1 ,as silent as they will be there2 ,since that lov'd ,hand this mortal ,wound does give4 ,so handsomely the ,thing contrive1 ,that she may guiltless of it live3 ,so perish1 that her killing thee ,may a ,chance-,medley1 and no ,murder be4--,cowley4 ,,section ,,vii4--,of ,pindaric odes1 and poems in blank verse4 ,the stanzas of ,pindaric odes are neither confined to a certain number of verses1 nor the verses to a certain number of syllables1 nor the rhymes to a certain distance4 ,some stanzas contain fifty verses or more1 others not above ten1 and sometimes not so many2 some verses fourteen1 nay1 sixteen syllables1 others not above four3 sometimes the rhymes follow one another for several couplets together1 sometimes they are removed six verses from each other2 and all this in the same stanza4 ,cowley was the first who introduced this sort of poetry into our language3 nor can the nature of it be better described than as he himself has done it1 in one of the stanzas of his ode upon liberty1 which ,i will transcribe1 not as an example1 for none can properly be given where no rule can be prescribed2 but to give an idea of the nature of this sort of poetry4 ,if ,life should a well-order'd ,poem be1 ,in which he only hits the ,white1 ,who joins true ,profit with the best ,delight2 ,the more heroick ,strain let others take1 ,mine the ,pindarick ,way ,i'll make3 ,the ,matter shall be grave1 the ,numbers loose and free2 ,it shall not keep one settled ,pace to ,time1 ,in the same ,tune it shall not always ,chime1 ,nor shall each ,day just to his ,neighbour rhyme4 ,a thousand ,liberties it shall dispense1 ,and yet shall manage all without ,offence1 ,or to the ,sweetness of the ,sound1 or ,greatness of the ,sense1 ,nor shall it ever from one ,subject start1 ,nor seek ,transitions to depart2 ,nor its set ,way o'er ,stiles and ,bridges make1 ,nor thro' ,lanes a compass take1 ,as if fear'd some ,trespass to commit1 ,when the wide ,air's a ,road for it4 ,so the ,imperial ,eagle does not stay ',till the whole ,carcass he devour1 ,that's fall'n into his ,pow'r1 ,as if his gen'rous ,hunger understood1 ,that he can never want ,plenty of ,food2 ,he only sucks the tasteful ,blood1 ,and to fresh ,game flies cheerfully away1 ,to ,kites and meaner ,birds1 he leaves the mangled ,prey4 ,this sort of poetry is employed in all manner of subjects2 in pleasant1 in grave1 in amorous1 in heroic1 in philosophical1 in moral1 and in divine4 ,blank verse is where the measure is exactly kept without rhyme4 ,shakespeare1 to avoid the troublesome constraint of rhyme1 was the first who invented it2 our poets since him have made use of it in many of their tragedies and comedies2 but the most celebrated poem in this kind of verse is ,milton's ,paradise ,lost1 from the fifth book of which ,i have taken the following lines for an example of blank verse4 ,these are thy glorious ,works1 ,parent of ,good6 ,almighty6 thine this universal ,frame1 ,thus wond'rous fair6 thyself how wond'rous then6 ,speak you1 who best can tell1 ye ,sons of ,light1 ,angels6 for you behold him1 and with ,songs1 ,and ,choral ,symphonies1 ,day without ,night1 ,circle his ,throne rejoycing1 you in ,heaven4 ,on ,earth1 join all ye ,creatures1 to extol ,him first1 him last1 him midst1 and without ,end6 ,fairest of ,stars1 last in the ,train of ,night1 ,if better thou belong not to the ,dawn1 ,sure ,pledge of ,day1 that crown'st the smiling ,morn ,with the bright ,circlet1 praise him in thy ,sphere1 ,while ,day arises1 that sweet hour of ,prime6 ,thou ,sun6 of this great ,world both ,eye and ,soul1 ,acknowledge him thy ,creator1 sound his ,praise ,in thy eternal ,course1 both when thou climb'st1 ,and when high ,noon hast gain'd and when thou fall'st4 ,moon6 that now meet'st the ,orient ,sun1 now fly'st ,with the fix'd ,stars1 fix'd in their ,orb that flies1 ,and ye five other wand'ring ,fires6 that move ,in ,mystick ,dance1 not without ,song resound ,his ,praise1 who out of ,darkness call'd up ,light4 ,air6 and ye ,element6 the eldest ,birth ,of ,nature's ,womb1 that in ,quaternion run ,perpetual ,circle multiform and mix ,and nourish all ,things2 let your ceaseless ,change ,vary to our great ,maker still new praise4 ,ye ,mists and ,exhalations6 that now rise ,from ,hill or standing ,lake1 dusky or gray1 ,till the ,sun paint your fleecy ,skirts with gold1 ,in ,honour to the ,world's great ,author rise2 ,whether to deck with ,clouds th' uncolour'd ,sky1 ,or wet the thirsty ,earth with falling show'rs1 ,rising or falling still advance his ,praise4 ,his ,praise1 ye ,winds6 that from our ,quarters blow1 ,breathe soft or loud2 and wave your ,tops1 ye ,pines6 ,with ev'ry ,plant1 in sign of ,worship1 wave4 ,fountains6 and ye that warble as you flow ,melodious ,murmurs1 warbling tune his ,praise4 ,join ,voices all ye living ,souls1 ye ,birds6 ,that singing1 up to ,heav'ns high ,gate ascend1 ,bear on your ,wings1 and in your ,notes his ,praise ,ye that in ,waters glide6 and ye that walk ,the ,earth6 and stately tread1 or lovely creep2 ,witness if ,i be silent1 ,ev'n or ,morn1 ,to ,hill or ,valley1 ,fountain1 or fresh ,shade1 ,made ,vocal by my ,song1 and taught his ,praise4 ,thus ,i have given a short account of all the sorts of poems that are most used in our language4 ,the acrostics1 anagrams1 c41 deserve not to be mentioned1 and we may say of them what an ancient poet said long ago1 ,stultum est difficiles habere nugas1 ,et stultus labor est ineptarum4 ,,finis4 ---------------------------------------- -------------------------------- ,decidedly1 this ,life of ,de ,quincey is the best biography of the year in the ,english language4--,vide ,critical ,notices4 ,in ,two ,volumes1 crown #hvo1 cloth1 with ,portrait1 price #bas4 ,,thomas ,,de ,,quincey3 ,,his ,,life ,,and ,,writings4 ,,with ,,unpublished ,,correspondence4 ,by ,h4 ,a4 ,,page1 ,author of ,memoir of ,hawthorne1 ,golden ,lives1 c4 ---------- ,the letters comprise nearly one hundred1 from ,mr4 de ,quincey to his family1 the ,wordsworths1 and others2 and to him from ,mr4 ,thomas ,carlyle1 ,professor ,wilson1 and others4 ---------- ,times4--,the work is enriched by letters which his two surviving daughters have brought out of long-closed repositories4444 ,in taking leave of this creditable book1 we thank ,mr4 ,page for his labour of love1 and congratulate him on the collaboration that he has been favoured with4 ,academy4--,at last we are indulged with a ,life of ,de ,quincey1 444 and we are mistaken if the result be not to set ,thomas de ,quincey on a higher pinnacle as a man with conduct and conscience1 a man with responsible family relations1 a true gentleman as well as a cultivated scholar1 than he had hitherto reached4 ,the author is one practised in kindred pursuits1 and has had the great advantage of ,mr4 ,james ,hogg's reminiscences of ,de ,quincey1 as well as free access to ,de ,quincey's daughters1 and the papers and documents in their possession4 ,pall ,mall ,gazette4--,this biography deserves to be commended4 ,mr4 ,page's mastery of the subject is evident1 and his criticism exhibits many delicate touches4444 ,among the reminiscences1 those by ,mr4 ,hogg will be read with special interest2 they give us a life-like portrait of ,de ,quincey1 and tell some quaint anecdotes1 which give us a better insight into some of his characteristics than the most elaborate disquisition4 ,illustrated ,london ,news4--,it would be as well to consult these two volumes before any rash assertion be made that everybody knows all that can be known1 or is worthy of being known1 about the celebrated ,english ,opium-,eater4 ,new ,york ,herald4--,after reading ,mr4 ,page's biography1 we have a very home-like feeling for ,de ,quincey1 and we cannot help saying1 ,dear old man6 as we read his letters4444 ,mr4 ,hogg's reminiscences are very entertaining1 and show the genial side of ,de ,quincey's nature2 and ,dr4 ,eatwell's medical view is curious and interesting4 ,altogether ,mr4 ,page's ,life of ,de ,quincey is one of the most valuable books of the year1 and is as full of anecdote as a nut is of meat4 ,glasgow ,herald4--,mr4 ,page merits great praise for the pains he has taken to fix ,de ,quincey's position in literature1 and to trace the workings of a mind richly endowed indeed with gifts1 even when measured by the standard of his own bright compeers4 ,a ,prospectus will be forwarded on application1 giving ,extracts from ,,all the ,criticisms which have appeared1 upwards of fifty4 ,,london3 ,,john ,,hogg1 ,,paternoster ,,row4 ,a ,,handbook ,,of ,,reference ,,and ,,quotation4 ,,mottoes ,,and ,,aphorisms ,,from ,,shakespere3 a ,collection of ,two ,thousand ,seven ,hundred ,mottoes and ,aphorisms1 alphabetically arranged1 with a copious ,index of ,nine ,thousand ,references to the infinitely varied ,words and ,ideas of the ,mottoes4 ,any word or idea can be traced at once1 and the correct quotation 7with name of play1 act1 and scene7 had without going further4 ,second edition1 fcap4 #hvo1 cloth1 price #bs4 #f;d4 ,a very useful ,handbook1 444 rendering the wit and wisdom of ,shakespere practically available to all speakers and writers1--yea1 it may even be adapted to ordinary conversation4444 ,the book might almost be called a ,shakespere concordance4--,cambridge ,chronicle4 ,,wood ,,engravings ,,by ,,thomas ,,bewick4 ,,the ,,parlour ,,menagerie3 wherein are exhibited1 in a ,descriptive and ,anecdotical ,form1 the ,habits1 ,instinct1 ,natural ,peculiarities1 and ,mysterious ,existences of the more ,interesting ,portions of the ,animal ,creation1 with upwards of #cjj ,wood ,engravings1 chiefly by ,bewick and two of his pupils4 ,large crown #hvo1 gilt edges1 price #gs4 #f;d4 ,one of the best of the gossiping natural history books for an intelligent boy that we have seen for some time4 ,it is brimfull of interesting anecdotes4444 ,the eulogistic note from ,professor ,owen is a good guaranty of the accuracy of the information which it contains4--,church ,times4 ---------- ,,the ,,posthumous ,,works ,,of ,,the ,,late ,,rev4 ,g4 ,,oliver1 ,d4,d41 ,author of ,,the ,,landmarks ,,of ,,masonry1 c4 c4 ,i4--,,the ,,discrepancies ,,of ,,freemasonry3 ,examined during a ,week's ,gossip with the late celebrated ,bro4 ,gilkes1 and other ,eminent ,masons4 ,crown #hvo1 cloth1 with numerous ,diagrams1 price #gs4 #f;d4 ,it is difficult to imagine a more charming book1 or one more calculated to inspire the ,masonic ,student with enthusiasm for the ,royal ,art4--,freemason's ,chronicle4 ,a most amusing and curious book4--,standard4 99 99 99 99 99 ,,ii4--,,the ,,pythagorean ,,triangle2 or1 ,the ,science of ,numbers4 ,crown #hvo1 cloth1 with ,diagrams1 price #fs4 ,in addition to all its stores of curious and varied learning1 as connected with the ,craft1 the ,rev4 ,doctor's treatise contains many sage remarks on a host of other interesting topics1 which will please all curious readers4--,standard4 ---------- ,dedicated by permission to ,,john ,,hervey1 ,esq41 ,grand ,secretary4 ,,the ,,royal ,,masonic ,,cyclop,,dia ,,of ,,history1 ,,rites1 ,,symbolism1 ,,and ,,biography4 ,containing upwards of #cjjj ,subjects1 together with numerous ,original ,articles on ,archological and other topics4 ,edited by ,kenneth ,r4 ,h4 ,mackenzie4 ,demy #hvo1 #gib pp41 half morocco1 ,roxburgh style1 gilt top1 price #bas4 ,the work is marked by extreme learning and moderation4-- ,public ,opinion4 ---------- ,,london3 ,,john ,,hogg1 ,,paternoster ,,row4 ---------------------------------------- -------------------------------- ,,transcriber',s ,,note ,indents are as per the original4 ,variations in spelling hyphenation1 punctuation and accentuation were maintained4 ,italicized words and phrases are presented by surrounding the text with underscores and bold text with equals signs4