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padding: 1.5em; } - div.footnotes h2 { margin-top: 1em; } - </style> - </head> - <body> - - -<pre> - -Project Gutenberg's Practical Guide to English Versification, by Tom Hood - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Practical Guide to English Versification - With a Compendious Dictionary of Rhymes, an Examination - of Classical Measures, and Comments Upon Burlesque and - Comic Verse, Vers de Société, and Song-writing - -Author: Tom Hood - -Release Date: April 26, 2016 [EBook #51873] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK PRACTICAL GUIDE TO ENGLISH *** - - - - -Produced by Jonathan Ingram, readbueno and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - -</pre> - - -<div class='figcenter id001'> -<img src='images/cover.jpg' alt='' class='ig001' /> -</div> - -<div> - <span class='pageno' id='Page_i'>i</span> - <p class='c000 c012'><span class='xlarge'>A PRACTICAL GUIDE</span><br /> - TO<br /> - <span class='xxlarge'>ENGLISH VERSIFICATION.</span></p> -</div> -<div class='chapter'> - <span class='pageno' id='Page_iii'>iii</span> - <h1 class='c000'><span class='xlarge'>PRACTICAL GUIDE</span><span class='large'><br /> <br />TO</span><br /> <br /><span class='xxlarge'><span class='sc'>English Versification.</span></span></h1> -</div> - -<div class='nf-center-c1'> -<div class='nf-center c002'> - <div>WITH A COMPENDIOUS DICTIONARY OF RHYMES,</div> - <div class='c003'>AN EXAMINATION OF CLASSICAL MEASURES</div> - <div class='c003'>AND COMMENTS UPON BURLESQUE AND COMIC VERSE,</div> - <div class='c003'>VERS DE SOCIÉTÉ, AND SONG-WRITING.</div> - <div class='c002'><span class='sc'>By</span> TOM HOOD.</div> - <div class='c002'><i>A New and Enlarged Edition.</i></div> - <div class='c003'><span class='small'>TO WHICH ARE ADDED,</span></div> - <div class='c003'>BYSSHE'S "RULES FOR MAKING ENGLISH<br />VERSE," &c.</div> - <div class='c003'>LONDON:<br />JOHN HOGG, PATERNOSTER ROW.<br />1877.</div> - </div> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_v'>v</span> - <h2 class='c001'>PREFACE.</h2> -</div> -<p class='drop-capa0_6_0_4 c004'>I am anxious at the first outset that the object -of this work should not be misunderstood. -It does not assume to be a handbook for poets, -or a guide to poetry. The attempt to compile -such a book as is implied by either of those -titles would be as absurd as pretentious.</p> - -<p class='c005'>A Poet, to paraphrase the Latin, is created, -not manufactured. Cicero's "nascimur poetæ, -fimus oratores," is, with some modification, even -more to the point. In a word, poetical genius -is a gift, but education and perseverance will -make almost any man a versifier.</p> - -<p class='c005'>All, therefore, that this book aims to teach is -<span class='pageno' id='Page_vi'>vi</span>the art of Versification. That art, like Logic, -is "ars instrumentalis, dirigens mentem inter -cognitionem rerum." As Logic does not supply -you with arguments, but only defines the mode -in which they are to be expressed or used, so -Versification does not teach you how to write -poetry, but how to construct verse. It may be -a means to the end, but it does not pretend to -assure its attainment. Versification and Logic -are to Poetry and Reason what a parapet is to -a bridge: they do not convey you across, but -prevent you from falling over. The difference -is that which exists between τεχνη and ἐπιστήμη.</p> - -<p class='c005'>This definition is rendered necessary by the -Dogberry spirit which is now abroad, and which -insists that "to be a well-favoured man is the -gift of fortune,"—fortune in the sense of wealth, -I presume,—"but to write and read comes by -nature;" in fact, that to be "a poet" a man -needs to be advantageously placed in the world, -but that any one can "write poetry."</p> - -<p class='c005'><span class='pageno' id='Page_vii'>vii</span>With this conviction, I have discarded the title -of a guide for "Poets," feeling that there is -much real poetry that is not in verse, and a -vast deal of verse that is not poetry; and that -therefore "a hard and fast line" was of the -first importance to mark the boundary of my -undertaking. Poetry is far less a question of -manner than of matter, whereas versification is -purely a question of form. I will even venture -to say that some of our noblest poems are in -prose; and that many great poets have been -but inferior versifiers. But what these last wrote -has possessed qualities compared with which the -mere mechanism of their verse is as nothing. -The poet gives to the world in his sublime -thoughts diamonds of the purest water. It -would be idle to quibble about minor points of -the polishing and setting of such gems—they -would lose in the process! But the writer of -verse does not—and should not—pretend to give -us diamonds. He offers paste-brilliants; and -<span class='pageno' id='Page_viii'>viii</span>therefore it the more behoves him to see -to the perfection of the cutting, on which their -beauty depends.</p> - -<p class='c005'>The thoughts presented by the poet may be -rough-hewn; the fancies of the versifier must -be accurately finished, and becomingly set. -Poetry, therefore, abounds in licences, while -Versification boasts only of laws.</p> - -<p class='c005'>To enumerate, explain, and define these laws -is the object of this work. Nor is such a task -a waste of time, as those may be inclined to -think, who argue that if one cannot write poetry, -'tis absurd to try to write verse. Yet versification -is an elegant accomplishment to say the -least—"emollit mores, nec sinit esse feros." -But it is something more than an elegant accomplishment—much -more.</p> - -<p class='c005'>In the dead languages—leaving in abeyance -the question of classical <i>versus</i> mathematical -education—nothing gives such scholarly finish as -the practice of Greek and Latin verse-writing, -<span class='pageno' id='Page_ix'>ix</span>nothing such an intimate knowledge and understanding -of the genius of either language.</p> - -<p class='c005'>Were English versification taught in our schools, -I believe the boys would acquire a better understanding -and appreciation of their own tongue. -With such training, a lad would shrink from a -mispronunciation as he does from a false quantity -in Latin or Greek. He would not fall into -the slipshod way of pronouncing "doing" as if -it were spelt "doin'," "again" as if "agen," -and "written and spoken" as if "writtun and -spokun." He would not make dissyllables of -words like "fire" and "mire," or of the trisyllable -"really." Nor would he make another -mistake (very common now, as revealed in -magazine verse where such words are put to -rhyme, "before" and "more") of pronouncing -"ure" as "ore,"—"shore" and "asshore" for -"sure" and "assure," of which, of course, the -correct pronunciation is "shewre," "ashewre."<a id='r1' /><a href='#f1' class='c006'><sup>[1]</sup></a></p> - -<p class='c005'><span class='pageno' id='Page_x'>x</span>The purging of our pronunciation would be -of general benefit. At present it is shifting and -uncertain—because it is never taught. The -dropping of the "h" is almost the only error -in pronunciation that is ever noticed at school; -and there being no standard set up, the pronunciation -of English becomes every day more -and more degraded by the mere force of the majority -of uneducated vulgar. The Americanising -of our language—which seems to me a less -remote and no less undesirable possibility than -"the Americanising of our institutions," about -which we hear so much—can only be checked -by some such educational system. Surely the -deterioration of our language is not a minor -matter, and when it can be removed by the -encouragement of verse-writing at our schools, -<span class='pageno' id='Page_xi'>xi</span>strictly and clearly taught, it seems astonishing -that no effort has been made in that direction.<a id='r2' /><a href='#f2' class='c006'><sup>[2]</sup></a></p> - -<p class='c005'>However, whether, by establishing a system of -English versifying at our schools, we shall ever -endeavour to give fixity to our pronunciation, is a -question hardly likely, I fear, to be brought to -the test yet awhile. That English versifying is a -strong educational power, I do not doubt, and in -that belief, have endeavoured to render this handbook -as complete as possible. I have therefore -laid down the most stringent rules and the clearest -formulæ in my power.</p> - -<p class='c005'>Verse is but the A B C of Poetry, and the -student must learn his alphabet correctly. We -<span class='pageno' id='Page_xii'>xii</span>should not allow a child to arrange the letters as -he chose,—"A, Z, B, G, C,"—nor must the -beginner in verse dream of using any licences -of a similar kind. I should fail in my duty if I -admitted anything of the kind; for while it would -be presumption to lay down laws for poets, it -would be incapacity to frame licences for versifiers.</p> - -<p class='c005'>I therefore conclude these prefatory remarks -by adducing the two chief regulations for the -student.</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line in6'>First, That he must use such rhymes only as</div> - <div class='line in8'>are perfect to the ear, when correctly pronounced.</div> - </div> - <div class='group'> - <div class='line in6'>Second, That he must never write a line</div> - <div class='line in8'>which will not sooner or later in the</div> - <div class='line in8'>stanza have a line to correspond with a rhyme.</div> - </div> - </div> -</div> - -<p class='c005'>To these I may add, as a rider, this piece of -advice (somewhat in the style of the whist maxim, -"When in doubt, play a trump"): If you have -<span class='pageno' id='Page_xiii'>xiii</span>reason to choose between two styles of versification, -select the more difficult.</p> - -<p class='c005'>It is only by sustaining your verse at the highest -elevation that you can hope even to approach -poetry.</p> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div>"Be bold—be bold—but not too bold!"</div> - </div> -</div> - -<p class='c005'>And bear in mind the words of Sir Philip -Sidney:—"Who shootes at the midday Sonne, -though he be sure he shall neuer hit the marke; -yet as sure he is, he shall shoote higher than -who aymes but at a bush."</p> -<div class='c008'>T. H.</div> -<div class='chapter'> - <span class='pageno' id='Page_xv'>xv</span> - <h2 class='c001'>CONTENTS.</h2> -</div> -<table class='table0' summary=''> -<colgroup> -<col width='10%' /> -<col width='78%' /> -<col width='10%' /> -</colgroup> - <tr> - <td class='c009'>CHAP.</td> - <td class='c010'> </td> - <td class='c011'>PAGE</td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c009'>I.</td> - <td class='c010'><span class='sc'>Verse Generally</span>,</td> - <td class='c011'><a href='#Page_1'>1</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c009'>II.</td> - <td class='c010'><span class='sc'>Classic Versification</span>,</td> - <td class='c011'><a href='#Page_8'>8</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c009'>III.</td> - <td class='c010'><span class='sc'>Guides and Handbooks</span>,</td> - <td class='c011'><a href='#Page_16'>16</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c009'>IV.</td> - <td class='c010'><span class='sc'>Of Feet and Cæsura</span>,</td> - <td class='c011'><a href='#Page_23'>23</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c009'>V.</td> - <td class='c010'><span class='sc'>Of Metre and Rhythm</span>,</td> - <td class='c011'><a href='#Page_27'>27</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c009'>VI.</td> - <td class='c010'><span class='sc'>Of Rhyme</span>,</td> - <td class='c011'><a href='#Page_44'>44</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c009'>VII.</td> - <td class='c010'><span class='sc'>Of Figures</span>,</td> - <td class='c011'><a href='#Page_49'>49</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c009'>VIII.</td> - <td class='c010'><span class='sc'>Of Burlesque and Comic Verse, and <i>Vers de Société</i>,</span></td> - <td class='c011'><a href='#Page_54'>54</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c009'>IX.</td> - <td class='c010'><span class='sc'>Of Song-writing</span>,</td> - <td class='c011'><a href='#Page_61'>61</a></td> - </tr> - <tr> - <td class='c009'> </td> - <td class='c010'><span class='sc'>The Dictionary of Rhymes</span>,</td> - <td class='c011'><a href='#Page_65'>65</a></td> - </tr> - <tr><td> </td></tr> - <tr><td class='c012' colspan='3'>APPENDIX.</td></tr> - <tr><td> </td></tr> - <tr> - <td class='c009'>1.</td> - <td class='c010'><span class='sc'>An Essay on English Versification</span>,</td> - <td class='c011'><a href='#Page_151'>151</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c009'>2.</td> - <td class='c010'><span class='sc'>Bysshe's "Rules for making English Verse</span>,"</td> - <td class='c011'><a href='#Page_207'>207</a></td> - </tr> -</table> -<table class='table0' summary=''> -<colgroup> -<col width='16%' /> -<col width='73%' /> -<col width='9%' /> -</colgroup> - <tr><td class='c012' colspan='3'><span class='sc'>Chapter I.</span>—<i>Of the Structure of English Verses.</i></td></tr> - <tr><td> </td></tr> - <tr> - <td class='c009'><span class='sc'>Sect. 1.</span></td> - <td class='c010'>Of the several Sorts of Verses; and, first, of those of Ten Syllables: of the due Observation of the Accents, and of the Pause.</td> - <td class='c011'><a href='#Page_209'>209</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c009'><span class='pageno' id='Page_xvi'>xvi</span><span class='sc'>Sect. 2.</span></td> - <td class='c010'>Of the other Sorts of Verses that are used in our Poetry.</td> - <td class='c011'><a href='#Page_213'>213</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c009'><span class='sc'>Sect. 3.</span></td> - <td class='c010'>Several Rules conducing to the Beauty of our Versification.</td> - <td class='c011'><a href='#Page_215'>215</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c009'><span class='sc'>Sect. 4.</span></td> - <td class='c010'>Doubts concerning the number of Syllables of certain Words.</td> - <td class='c011'><a href='#Page_217'>217</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c009'><span class='sc'>Sect. 5.</span></td> - <td class='c010'>Of the Elisions that are allowed in our Versification.</td> - <td class='c011'><a href='#Page_219'>219</a></td> - </tr> - <tr><td> </td></tr> - <tr><td class='c012' colspan='3'><span class='sc'>Chapter II.</span>—<i>Of Rhyme.</i></td></tr> - <tr><td> </td></tr> - <tr> - <td class='c009'><span class='sc'>Sect. 1.</span></td> - <td class='c010'>What Rhyme is, and the Several Sorts of it.</td> - <td class='c011'><a href='#Page_223'>223</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c009'><span class='sc'>Sect. 2.</span></td> - <td class='c010'>Of Double and Treble Rhyme.</td> - <td class='c011'><a href='#Page_224'>224</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c009'><span class='sc'>Sect. 3.</span></td> - <td class='c010'>Further Instructions concerning Rhyme.</td> - <td class='c011'><a href='#Page_224'>224</a></td> - </tr> - <tr><td> </td></tr> - <tr><td class='c012' colspan='3'><span class='sc'>Chapter III.</span>—<i>Of the Several Sorts of Poems, or Composition in Verse.</i></td></tr> - <tr><td> </td></tr> - <tr> - <td class='c009'><span class='sc'>Sect. 1.</span></td> - <td class='c010'>Of the Poems composed in Couplets.</td> - <td class='c011'><a href='#Page_227'>227</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c009'><span class='sc'>Sect. 2.</span></td> - <td class='c010'>Of the Poems composed in Stanzas; and, first, of the Stanzas consisting of Three, and of Four Verses.</td> - <td class='c011'><a href='#Page_228'>228</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c009'><span class='sc'>Sect. 3.</span></td> - <td class='c010'>Of the Stanzas of Six Verses.</td> - <td class='c011'><a href='#Page_230'>230</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c009'><span class='sc'>Sect. 4.</span></td> - <td class='c010'>Of the Stanzas of Eight Verses.</td> - <td class='c011'><a href='#Page_231'>231</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c009'><span class='sc'>Sect. 5.</span></td> - <td class='c010'>Of the Stanzas of Ten and of Twelve Verses.</td> - <td class='c011'><a href='#Page_233'>233</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c009'><span class='sc'>Sect. 6.</span></td> - <td class='c010'>Of the Stanzas that consist of an odd Number of Verses.</td> - <td class='c011'><a href='#Page_234'>234</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c009'><span class='sc'>Sect. 7.</span></td> - <td class='c010'>Of Pindaric Odes, and Poems in Blank Verse.</td> - <td class='c011'><a href='#Page_236'>236</a></td> - </tr> -</table> -<div class='pbb'> - <hr class='pb c003' /> -</div> -<div class='chapter'> - <span class='pageno' id='Page_1'>1</span> - <h2 class='c001'>CHAPTER I.<br /> <br />VERSE GENERALLY.</h2> -</div> - -<p class='drop-capa0_9_0_3 c004'>There is no better text for this chapter than -some lines from Pope's "Essay on Criticism":—</p> -<div class='lg-container-b c013'> - <div class='linegroup'> - <div class='group'> - <div class='line in4'>"But most by numbers judge a poet's song,</div> - <div class='line in4'>And smooth or rough, with them, is right or wrong:</div> - <div class='line in4'>These equal syllables alone require,</div> - <div class='line in4'>Tho' oft the ear the open vowels tire;</div> - <div class='line in4'>While expletives their feeble aid do join;</div> - <div class='line in4'>And ten low words oft creep in one dull line:</div> - <div class='line in4'>While they ring round the same unvaried chimes,</div> - <div class='line in4'>With sure returns of still recurring rhymes;</div> - <div class='line in4'>Where'er you find 'the cooling western breeze,'</div> - <div class='line in4'>In the next line it 'whispers through the trees:'</div> - <div class='line in4'>If crystal streams 'with pleasing murmurs creep,'</div> - <div class='line in4'>The reader's threaten'd—not in vain—with 'sleep.'</div> - <div class='line in4'>Then at the last and only couplet, fraught</div> - <div class='line in4'>With some unmeaning thing they call a thought,</div> - <div class='line in4'>A needless Alexandrine ends the song,</div> - <div class='line in4'>That like a wounded snake, drags its slow length along.</div> - <div class='line in4'>Leave such to tune their own dull rhymes, to know</div> - <div class='line in4'>What's roundly smooth, or languishingly slow;</div> - <div class='line in4'>And praise the easy vigour of a line</div> - <div class='line in4'>Where Denham's strength, and Waller's sweetness join.</div> - <div class='line in4'>True ease in writing comes from art, not chance,</div> - <div class='line in4'>As those move easiest who have learnt to dance.</div> - <div class='line in4'>'Tis not enough no harshness gives offence,</div> - <div class='line in4'>The sound must seem an echo to the sense.</div> - <div class='line in4'><span class='pageno' id='Page_2'>2</span>Soft is the strain when zephyr gently blows,</div> - <div class='line in4'>And the smooth stream in smoother numbers flows;</div> - <div class='line in4'>But when loud surges lash the sounding shore,</div> - <div class='line in4'>The hoarse rough verse should like the torrent roar:</div> - <div class='line in4'>When Ajax strives some rock's vast weight to throw,</div> - <div class='line in4'>The line, too, labours, and the words move slow.</div> - <div class='line in4'>Not so, when swift Camilla scours the plain,</div> - <div class='line in4'>Flies o'er th' unbending corn, and skims along the main."</div> - </div> - </div> -</div> - -<p class='c005'>Johnson sneers somewhat at the attempt at what he -styles "representative metre." He quotes "one of -the most successful attempts,"—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"With many a weary step, and many a groan,</div> - <div class='line in1'>Up a high hill he heaves a huge round stone;</div> - <div class='line in1'>The huge round stone, resulting with a bound,</div> - <div class='line in1'>Thunders impetuous down and smokes along the ground."</div> - </div> - </div> -</div> - -<p class='c005'>After admitting that he sees the stone move slowly -upward, and roll violently back, he says, "try the -same numbers to another sense—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"While many a merry tale and many a song</div> - <div class='line in1'>Cheer'd the rough road, we wish'd the rough road long.</div> - <div class='line in1'>The rough road then returning in a round</div> - <div class='line in1'>Mock'd our impatient steps, for all was fairy ground."</div> - </div> - </div> -</div> - -<p class='c005'>"We have now," says the Doctor, "lost much of -the delay and much of the rapidity." Truly so!—but -why? The choice of words has really altered the -measure, though not the number of syllables. If we -look at the second line of the first extract, we see how -the frequent use of the aspirate, with a long sound -after it, gives the labour of the ascent. There is -nothing of this in the corresponding line, where the -"r" gives a run rather than a halt to the measure. -<span class='pageno' id='Page_3'>3</span>But Johnson more decidedly shows how he was mistaken -when he finds fault with Pope's—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"The varying verse, the full resounding line,</div> - <div class='line in1'>The long majestic march, and energy divine."</div> - </div> - </div> -</div> - -<p class='c005'>His objection to this is, that the same sequence of -syllables gives "the rapid race" and "the march of -slow-paced majesty;" and he adds, "the exact prosodist -will find the line of <i>swiftness</i> by one time longer -than that of <i>tardiness</i>." By this it is to be presumed -he alludes to the trisyllabic nature of the first foot of -the first line—"varying." But it is just that which -gives the rapidity. The other half of the line is not -meant to give rapidity, but "resounding." The second -line, by the repetition of the "a" in "march" and -"majesty," gives the tramp of the march to admiration.</p> - -<p class='c014'>So much for Johnson's objections. We will now see -how far the lines of Pope can guide us in the construction -of verse.</p> - -<p class='c014'><span class='sc'>Line Third</span> indicates the necessity—which Pope -himself, even, did not adequately recognise—the necessity -of varying the fall of the verse on the ear. -Pope did this by graduating his accents. The line -should scan with an accented syllable following an -unaccented one—</p> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div>"And smo´oth or ro´ugh, with the´m, is ri´ght or wro´ng."</div> - </div> -</div> - -<p class='c005'>Pope varied this by a sort of compromise—</p> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div>"And the´ smooth strea´m in smo´other nu´mbers flo´ws,"</div> - </div> -</div> - -<p class='c015'>would be the right scansion. But the accent passes -in a subdued form from "the" to "smooth," which -<span class='pageno' id='Page_4'>4</span>pleasantly modulates the line, and gives the flow -required for the figure treated of.<a id='r3' /><a href='#f3' class='c006'><sup>[3]</sup></a></p> - -<p class='c014'>But there was another means of varying the verse -which was not in those days adopted. It was not -then recognised that there were some cases in which -the unaccented syllable might have two "beats." -Pope wrote,</p> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div>"The gen'rous pleasure to be charm'd with wit."</div> - </div> -</div> - -<p class='c005'>Had he written "generous," it might have stood, and -would have given a variety. And this would have -saved the eyesore of such lines as—</p> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div>"T' admire superior sense and doubt our own."</div> - </div> -</div> - -<p class='c014'><span class='sc'>Line Fourth</span> does not exactly describe the fault -it commits. "The open vowel" is no offence, but -rather a beauty, though like all beauty it must not be -too lavishly displayed. The fault of the line really -lies in the repetition of the same broad sound—"o." -The same vowel-sounds should not be repeated in a -line.<a id='r4' /><a href='#f4' class='c006'><sup>[4]</sup></a> This especially holds good where they are so -associated with consonants as to form a rhyme, or -anything approaching to it.</p> - -<p class='c014'><span class='pageno' id='Page_5'>5</span><span class='sc'>Line Fifth</span> points out an inelegance which no one -with any ear could be guilty of—the use of "do" and -"did," to eke out a line or help a rhyme.</p> - -<p class='c014'><span class='sc'>Line Sixth</span> indicates a practice which those who -have studied Latin versification would avoid without -such a hint, since the nature of the cæsura compels -the avoidance of monosyllables.</p> - -<p class='c014'><span class='sc'>Line Ninth</span>, with the following three lines, warns -against an error which naturally becomes the more -frequent the longer English verse is written, since -rhymes become more and more hackneyed every -day.</p> - -<p class='c014'><span class='sc'>Line Sixteenth.</span> The Alexandrine will come -under discussion in its place among metres.</p> - -<p class='c014'><span class='sc'>Line Twenty-first</span> might well serve for a motto -for this little treatise. If a poet said this of poetry, -how much more does it apply to versification!</p> - -<p class='c014'><span class='sc'>Line Twenty-fifth.</span> Here, and in the following -line, by delicate manipulation of the accent, Pope gets -the desired effect. Instead of "So so´ft the stra´in," -he attracts the ear with "So´ft is," and the unexpected -word gives the key-note of the line.</p> - -<p class='c014'><span class='sc'>Line Twenty-seventh.</span> It is almost needless to -point out how in this, and the next line, the poet, by -artful management of accent and careful selection of -onomatopoetic words, gives the required assonance to -the lines.</p> - -<p class='c014'><span class='sc'>Line Twenty-ninth.</span> The broad vowels here give -the requisite pause and "deliberation" to the verse. -In the following line, the introduction of "too"—(under -some circumstances it might well come under the condemnation -<span class='pageno' id='Page_6'>6</span>of Line Fifth)—makes the line labour, and -the open "o" at the end of the line "tires the ear."</p> - -<p class='c014'><span class='sc'>Line Thirty-first.</span> Here the poet gets the slide -of the "s" to give the idea of motion. In the following -line by the elision and the apt introduction of short -syllables he repeats the notion. In my opinion the -artistic skill of Pope is peculiarly observable in the last -few couplets. In the first line in each instance the -effect is produced by the use of a different artifice -from that employed in the second.</p> - -<p class='c005'>These rules were of course intended by Pope to -apply only to the measure called "heroic," <i>i.e.</i>, decasyllabic -verse. But, <i>mutatis mutandis</i>, they will be -equally applicable to general verse.</p> - -<p class='c005'>Coleridge in his "Christabel" struck out what he -considered a new metre, which he describes as "not, -properly speaking, irregular, though it may seem so -from its being founded on a new principle: namely, -that of counting in each line the accents, not the -syllables. Though the latter may vary from seven to -twelve, yet in each line the accents will be found to be -only four." This was a decided step in the right direction, -being in truth a recognition of the principle that -measure in English was not exhausted—was, indeed, -hardly satisfied—by the old rule of thumb; that, in -short, it needed a compromise between <i>accent</i> and -<i>quantity</i>.</p> - -<p class='c005'>Southey in his "Thalaba" essayed a new style of -versification, of which he writes as follows:—</p> - -<p class='c005'>"It were easy to make a parade of learning by enumerating -the various feet which it admits; it is only -<span class='pageno' id='Page_7'>7</span>needful to observe that no two lines are employed in -sequence, which can be read into one. Two six-syllable -lines (it will perhaps be answered) compose -an Alexandrine; the truth is, that the Alexandrine, -when harmonious, is composed of two six-syllable -lines. One advantage this metre assuredly possesses; -the dullest reader cannot distort it into discord.... -I do not wish the <i>improvisatore</i> time, but something -that denotes the sense of harmony; something like -the accent of feeling; like the tone which every poet -necessarily gives to poetry."</p> - -<p class='c014'>Of course, by "six syllables" Southey means "six -feet." He was evidently struggling for emancipation -from the old rule of thumb.</p> - -<p class='c014'>Of late many eccentricities of versification have -been attempted after the manner of Mr Whitman, -but for these, like the Biblical echo of Mr Tupper's -muse, there seem to be no perceptible rules, even -should it be desirable to imitate them.</p> - -<p class='c014'>I would here add a few words of advice to those -who, by the study of our greatest writers, would endeavour -to improve their own style. For smoothness -I should say Waller, in preference even to Pope, because -the former wrote in far more various measures, -and may challenge comparison with Pope, on Pope's -own ground, with "The Ode to the Lord Protector," -in decasyllabic verse. For music—"lilt" is an expressive -word that exactly conveys what I mean—they -cannot do better than choose Herrick. Add to -these two George Herbert, and I think the student -will have a valuable guide in small space.</p> -<div class='chapter'> - <span class='pageno' id='Page_8'>8</span> - <h2 class='c001'>CHAPTER II.<br /> <br />CLASSIC VERSIFICATION.</h2> -</div> -<p class='drop-capa0_9_0_3 c004'>There is little doubt that the best and easiest -way of learning English grammar is through -the Latin. That English versification cannot be -similarly acquired through the Latin is due to the fact -that the Latin system depends on quantity, and the -English chiefly on accent and rhyme. Nevertheless, -a slight acquaintance with the classic measures will -prove useful to the student of English verse. In the -absence of all teaching of English versification at our -schools, they have done good service in giving our boys -some insight into the structure of verse.</p> - -<p class='c014'>The structure of Latin and Greek verse depends on -the quantity—the length or shortness expressed by -the forms — ᴗ. A long syllable is equal in duration -to two short syllables, which may therefore take its -place (as it may take theirs) in certain positions. The -combinations of syllables are called feet, of which -there are about nine-and-twenty. Twelve of the most -common are here given:—</p> - -<table class='table1' summary=''> -<colgroup> -<col width='50%' /> -<col width='50%' /> -</colgroup> - <tr> - <td class='c010'>Spondee</td> - <td class='c016'>— —</td> - </tr> - <tr> - <td class='c010'>Pyrrhic</td> - <td class='c016'>ᴗ ᴗ</td> - </tr> - <tr> - <td class='c010'>Trochee</td> - <td class='c016'>— ᴗ</td> - </tr> - <tr> - <td class='c010'>Iambus</td> - <td class='c016'>ᴗ —</td> - </tr> - <tr> - <td class='c010'>Molossus</td> - <td class='c016'>— — —</td> - </tr> - <tr> - <td class='c010'>Tribrach</td> - <td class='c016'>ᴗ ᴗ ᴗ</td> - </tr> - <tr> - <td class='c010'>Dactyl</td> - <td class='c016'>— ᴗ ᴗ</td> - </tr> - <tr> - <td class='c010'>Anapæst</td> - <td class='c016'>ᴗ ᴗ —</td> - </tr> - <tr> - <td class='c010'>Bacchic</td> - <td class='c016'>ᴗ — —</td> - </tr> - <tr> - <td class='c010'>Antibacchic</td> - <td class='c016'>— — ᴗ</td> - </tr> - <tr> - <td class='c010'>Amphimacer</td> - <td class='c016'>— ᴗ —</td> - </tr> - <tr> - <td class='c010'>Amphibrach</td> - <td class='c016'>ᴗ — ᴗ</td> - </tr> -</table> -<p class='c005'><span class='pageno' id='Page_9'>9</span>Of the styles of verse produced by combinations of -these feet the most important are the Heroic, or -Hexameter; the Elegiac, alternate Hexameters and -Pentameters; and the Dramatic or Iambic. All others -may be classed as Lyrics.</p> - -<p class='c005'>The Cæsura (division) is the separation of each verse -into two parts by the ending of a word in the middle -of a certain foot.<a id='r5' /><a href='#f5' class='c006'><sup>[5]</sup></a> It may be here noted that this -principle (the ending of a word in the middle of a -foot) applies generally to the verse, it being an inelegance -to construct lines of words of which each -constitutes a foot. The well-known line of Virgil, -marked to show the feet, will explain this at a -glance—</p> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div>"Arma vi|rumque ca|no || Tro|jæ qui | primus ab | oris."</div> - </div> -</div> - -<p class='c005'>In this the cæsura occurs in the third foot, between -<i>cano</i> and <i>Trojæ</i>. But in no case is one foot composed -of one word only.</p> - -<p class='c005'>The Hexameter line consists of, practically, five -dactyls and a spondee or trochee. A spondee may -take the place of each of the first four dactyls—and -sometimes, but very rarely, of the fifth. The cæsura -falls in the third foot at the end of the first—and -sometimes at the end of the second—syllable of the -dactyl. In some cases it is in the fourth foot, after -the first syllable. The last word in the line should be -either a dissyllable or trisyllable.</p> - -<p class='c005'>The Pentameter is never used alone, but, with a -Hexameter preceding it in the distich, forms Elegiac -<span class='pageno' id='Page_10'>10</span>Verse. It consists of two parts, divided by a cæsura, -each part composed of two dactyls (interchangeable -with spondees) and a long syllable.<a id='r6' /><a href='#f6' class='c006'><sup>[6]</sup></a> The last place in -the line should be occupied by a dissyllabic word—at -least it should not be a monosyllable or trisyllable.</p> - -<p class='c014'>The Iambic is most commonly used in a six-foot -line of iambics (the trimeter iambic, <i>vide</i> note on -last paragraph). In the first, third, and fifth place -a spondee may be substituted, and there are other -licenses which we need not here enter upon, as the -measure is not of much importance for our purposes. -The cæsura occurs in the third or fourth foot.</p> - -<p class='c014'>The Lyrics are, as a rule, compound verses; different -sorts of feet enter into the formation of the lines; and -the stanzas consist of lines of different kinds, and are -styled strophes.</p> - -<p class='c014'>The chief of the lyric measures are the Sapphic and -Alcaic.</p> - -<p class='c014'>The Sapphic is a combination of three Sapphic -verses with an Adonic.</p> - -<div class='lg-container-l'> - <div class='linegroup'> - <div class='group'> - <div class='line'>Lines 1, 2, 3, — ᴗ | — — | — || ᴗ ᴗ | — ᴗ | — ᴗ | — —ᴗ</div> - </div> - <div class='group'> - <div class='line'>Line 4, — ᴗ ᴗ | — —</div> - </div> - </div> -</div> - -<p class='c005'>The double line represents the cæsura, which in rare -instances falls a syllable later.</p> - -<p class='c014'><span class='pageno' id='Page_11'>11</span>The Alcaic is, like the Sapphic, a four-line stanza. -Its scheme is—</p> - -<div class='lg-container-l'> - <div class='linegroup'> - <div class='group'> - <div class='line'>Lines 1 and 2, —ᴗ — | ᴗ — | — || — ᴗ ᴗ | — ᴗ —ᴗ</div> - </div> - <div class='group'> - <div class='line in6'>Line 3, —ᴗ — | ᴗ — | — — | ᴗ — | —ᴗ</div> - </div> - <div class='group'> - <div class='line in6'>Line 4, — ᴗ ᴗ | — ᴗ ᴗ | — ᴗ | — —ᴗ</div> - </div> - </div> -</div> - -<p class='c005'>That is to say, it consists of two eleven-syllable, one -nine-syllable, and one ten-syllable Alcaic lines (Alcaici -hendeka-, ennea-, and deka-syllabici). Much of the -success of the stanza depends on the flow of the third -line, which, according to the best models, should consist -of three trisyllables (or equivalent combinations, <i>e.g.</i> -a dissyllable noun with its monosyllabic preposition).</p> - -<p class='c014'>When it is stated that Horace wrote in four or -five-and-twenty lyric measures, it will be obvious -that I cannot exhaust, or attempt to exhaust, the list -of measures in a work like this. The reader will -have acquired some notion of the nature of classic -versification, from what I have stated of Latin composition -applying with unimportant differences to Greek. -Those who have the leisure or the inclination might -do worse than study Greek and Latin poetry, if only -to see if they can suggest no novelties of metre. I -can recall no English verse that reproduces Horace's -musical measure:—</p> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div>"Mĭsĕrār' est | nĕqu' ămōrī dărĕ lūdūm | nĕqŭe dūlcī</div> - <div>Mălă vīnō | lăvĕr' āut ēx|ănĭmārī | mĕtŭēntēs</div> - <div>Pătrŭǣ vēr| bĕră līnguǣ."</div> - </div> -</div> - -<p class='c005'>Greek verse seems a less promising field than Latin -at a first glance. But one of the choruses in Aristophanes's -"Plutus" has an exact echo in English verse.</p> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_12'>12</span>"ἄνδρες φίλοι κὰι δημόται κὰι τοῦ πονεῖν ἐραστάι."</div> - </div> -</div> - -<p class='c015'>may fairly run in a curricle with</p> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div>"A captain bold of Halifax who lived in country quarters."</div> - </div> -</div> - -<p class='c014'>The great difficulty of finding a corresponding measure -in English for Latin or Greek verse, on the accepted -theory that the English acute accent answers -to the Latin long quantity, and the grave accent to the -short, will be found in the spondee. We have no -means of replacing the two longs in juxtaposition, and -are compelled to find refuge in what, according to the -accent-quantity theory, is either an iamb or a trochee.</p> - -<p class='c014'>I subjoin the following attempts to render a few -Latin metres, commencing with a translation of the -Horatian measure just alluded to:—</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Hapless lasses who in glasses may not drown those pangs of passion,</div> - <div class='line in1'>Or disclose its bitter woes, it's—so they tell you—not the fashion."</div> - </div> - </div> -</div> - -<p class='c005'>Yet this, in spite of the sub-rhymes which give the -swing of the Ionicus ( ᴗ ᴗ — ´ — ) may well be read as -a succession of trochees—that is to say, according to -the quantity-accent system.</p> - -<p class='c014'>Here is an attempt at the Sapphic:—</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Never—ah me—now, as in days aforetime</div> - <div class='line in1'>Rises o'erwhelming memory—'tis banish'd!</div> - <div class='line in1'>Scenes of loved childhood, cannot ye restore time,</div> - <div class='line in5'>Though it has vanish'd?"</div> - </div> - </div> -</div> - -<p class='c014'>The Alcaic measure is essayed in the following:—</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Ah woe! the men who gallantly sallying</div> - <div class='line in1'>Strode forth undaunted, rapidly rallying—</div> - <div class='line'><span class='pageno' id='Page_13'>13</span>No longer advancing attack-ward,</div> - <div class='line'>Rush'd a disorderly tumult backward."</div> - </div> - </div> -</div> - -<p class='c005'>In these, again, the difficulty of exactly replacing -quantity by accent is great—if not insurmountable. -Hence it is that, as a rule, the attempts at giving the -exact reproductions of Latin measures have failed. -Nevertheless I believe that corresponding measures, -suitable to the genius of our language, may be suggested -by a study of the classics.</p> - -<p class='c005'>The often-quoted lines of Coleridge on the hexameter -and pentameter appear to me faulty:—</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"In the hex|ameter | rises || the | fountain's | silvery | column—</div> - <div class='line in1'>In the pen|tameter | aye || falling in | melody | back."</div> - </div> - </div> -</div> - -<p class='c005'>The first feet of both lines are less dactyls than -anapæsts. The cæsura of the first line is not the -"worthier" cæsura. In the second line the monosyllable -is inadmissible in the last place.</p> - -<p class='c014'>Here I may as well point out what seems to me to -be a difficulty of English versification which has given -much trouble. The substitution of accent for quantity -is not all that is required to make the best verse. -Quantity enters into the consideration too. A combination -of consonants, giving an almost imperceptible -weight to the vowel preceding them, goes far to disqualify -it for a place as an unaccented syllable. To -my thinking "rises a" would be a better English dactyl -than "rises the," and "falls it in" than "falling in." -But no agglomeration of consonants can make such -a syllable accented. Two lines from Coleridge's -"Mahomet" will evidence this—</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='pageno' id='Page_14'>14</span>"Huge wasteful | empires | founded and | hallowed | slow</div> - <div class='line in4'>perse|cution,</div> - <div class='line in1'>Soul-wither|ing but | crush'd the | blasphemous | rites of</div> - <div class='line in4'>the | Pagan."</div> - </div> - </div> -</div> - -<p class='c005'>"Huge wasteful" is not a dactyl, and "ing but" is -certainly not a spondee—nor is "crushed the." -"Hallowed," by force of the broad "o," is almost -perfect as a spondee, on the other hand; as is "empires" -also. Longfellow, in his "Evangeline," has -perhaps done the best that can be done to give an -exact rendering of the Latin hexameter; but Tennyson, -in portions of "Maud," has caught its spirit, and -transfused it into an English form. No poet, indeed, -has done so much as the Laureate to introduce new -or revive old forms of versification, and enrich the -language with musical measure.</p> - -<p class='c014'>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—</p> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div>"The sound must seem an echo to the sense."</div> - </div> -</div> - -<p class='c005'>In this they were greatly assisted by the use of the -quantity, which enabled them the more readily to give -rapidity or weight to their lines. Nothing could -more admirably represent a horse's gallop than the -beat of the words—</p> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div>"Quadrupedante putrem sonittu quatit ungula campum."</div> - </div> -</div> - -<p class='c005'>The unwieldiness of the Cyclops is splendidly shadowed -in the line—</p> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div>"Monstrum, horrendum, informe, ingens cui lumen ademptum."</div> - </div> -</div> - -<p class='c005'><span class='pageno' id='Page_15'>15</span>And again the beat of the Cyclopean hammers is well -imitated in the verse—</p> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div>"Illi inter sese magnâ vi brachia tollunt."</div> - </div> -</div> - -<p class='c005'>Too much stress may easily be laid on this adornment, -and some poets have carried it to excess. But -the beginner in verse will do well not to overlook it.</p> - -<hr class='c017' /> - -<p class='c018'><span class='sc'>Note.</span>—The Poet Laureate, whose mastery of metre is remarkable, -has given us alcaics in his lines to Milton—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Oh, mighty-mouth'd inventor of harmonies,</div> - <div class='line in1'>Oh, skill'd to sing of time and eternity,</div> - <div class='line in3'>God-gifted organ-voice of England—</div> - <div class='line in5'>Milton, a name to resound for ages."</div> - </div> - </div> -</div> - -<p class='c005'>I would especially commend to those whom these remarks have -interested in any way, the perusal, with a view to this particular -object, of "Father Prout's Reliques."</p> - -<div class='figcenter id002'> -<img src='images/i_015.jpg' alt='' class='ig001' /> -</div> -<div class='chapter'> - <span class='pageno' id='Page_16'>16</span> - <h2 class='c001'>CHAPTER III.<br /> <br />GUIDES AND HANDBOOKS.</h2> -</div> -<p class='drop-capa0_9_0_3 c004'>The earliest handbook of verse appears to be -that of Bysshe, who is, by the way, described -in the British Museum Catalogue as "the Poet." -The entry is the only ground I can find for so describing -him. He is, however, amusingly hard on -simple versifiers. "Such Debasers of Rhyme, 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-Maker, than -by being an indifferent or second-Rate Poet." Furthermore, -with touching modesty, he says, "I pretend -not by the following sheets to teach a man to be a -Poet in Spight of Fate and Nature." His "Rules for -making English Verse" are reprinted in the Appendix.</p> - -<p class='c014'>His dictionary of rhymes is better than those of -his successors,—perhaps I should say "that" of his -successors, for Walker's has been repeated with all its -errors, or nearly all, in every subsequent handbook. -Bysshe is to be praised for setting his face against what -Walker styles "allowable" rhymes, such as "haste" -and "feast."<a id='r7' /><a href='#f7' class='c006'><sup>[7]</sup></a></p> - -<p class='c014'><span class='pageno' id='Page_17'>17</span>Bysshe's theory of verse was "the seat of the accent, -and the pause," as distinguished from quantity—that -is, it depended on the number of syllables. As a result -of this undivided devotion, he misses much of the power -to be attained by making the sound the echo of the -sense, as Pope puts it. He proposes to alter a line of -Dryden's from</p> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div>"But forced, harsh, and uneasy unto all."</div> - </div> -</div> - -<p class='c015'>into</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"But forced and harsh, uneasy unto all."</div> - </div> - </div> -</div> - -<p class='c005'>One would fancy the merest tyro would see the intentional -harshness of the line as Dryden wrote it, and its -utter emasculation as Bysshe reforms it.</p> - -<p class='c014'>Bysshe is strongly in favour of clipping syllables, a -very pitiable error, for the chief drawback of English -as a poetical language is the preponderance of consonants. -He prefers to make "beauteous" dissyllabic, -and "victorious" trisyllabic. He recommends the -elision which makes "bower," "Heaven," "Prayer" -and "higher," monosyllables, and advises the use of -such abortions as "temp'rance," "fab'lous," "med'cine," -"cov'nant," and even "wall'wing," for wallowing! To -<span class='pageno' id='Page_18'>18</span>compensate for these clippings, however, he considers -"ism" a dissyllable!</p> - -<p class='c014'>As a consequence of his narrowing verse to a question -of syllable and accent only, he vulgarises many -words unnecessarily. The student of verse who considers -quantity as well as accent will find no difficulty -in reading the following lines without eliding any -vowels.</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"From diamond quarries hewn, and rocks of gold."—<i>Milton.</i></div> - </div> - <div class='group'> - <div class='line'>"A violet by a mossy stone."—<i>Wordsworth.</i></div> - </div> - <div class='group'> - <div class='line'>"With vain but violent force their darts they threw."—<i>Cowley.</i></div> - </div> - <div class='group'> - <div class='line'>"His ephod, mitre, well-cut diadem on."—<i>Cowley.</i></div> - </div> - <div class='group'> - <div class='line'>"My blushing hyacinth and my bays I keep."—<i>Dryden.</i></div> - </div> - </div> -</div> - -<p class='c014'>Bysshe cuts down to "di'mond," "vi'let," "vi'lent," -"di'dem," "hy'cinth," words which need no such debasing -elision. As in music two short sharp beats are -equivalent to one long one (two minims = one semi-breve) -so in verse two brief vowels, or syllables even, -are admissible—indeed, at times desirable for the sake -of variety in lieu of one.</p> - -<p class='c005'>Among less questionable maxims of Bysshe's is one, -"avoid a concourse of vowels," instanced by—</p> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div>"Should th<i>y</i> <i>I</i>ambics swell into a book."</div> - </div> -</div> - -<p class='c005'>This means, it is to be presumed, "avoid a concourse -of repetitions of one sound," a very necessary rule. -Some poets are careful not to get the same vowel -sound twice in any line. "Avoid ending a verse with -an adjective whose substantive follows in the next -line" is another sound precept, instanced by—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='pageno' id='Page_19'>19</span>"Some lost their quiet rivals, some their kind</div> - <div class='line in1'>Parents."</div> - </div> - </div> -</div> - -<p class='c005'>The same rule applies to the separation of a preposition -from the case which it governs, as exemplified -in—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"The daily lessening of our life shows by</div> - <div class='line in1'>A little dying," &c.</div> - </div> - </div> -</div> - -<p class='c005'>With less reason Bysshe condemns alliteration. It is -an artifice that can be overdone, as is often the case -in Poe's poems, and those of Mr Swinburne,<a id='r8' /><a href='#f8' class='c006'><sup>[8]</sup></a></p> - -<p class='c014'>Following the example of the old <i>Gradus ad Parnassum</i>, -Bysshe gives an anthology with his guide. -An anthology in a guide to English verse is worse -than useless, for it serves no purpose save to provoke -plagiarism and imitation. 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 substitute; while it will -but cripple and hamper his fancy and originality by -supplying him with quotations on any given subject, -from "April" to "Woman."</p> -<p class='c014'>Walker's Rhyming Dictionary has greater faults, -<span class='pageno' id='Page_20'>20</span>but also greater merits than Bysshe's Art of Poetry. -Walker admits and defends "allowable" rhymes. -"It may be objected," he says, "that a work of this -kind contributes to extend poetical blemishes, by -furnishing imperfect materials and apologies for using -them. But it may be answered, that if these imperfect -rhymes were allowed to be blemishes, it would still be -better to tolerate them than cramp the imagination by -the too narrow boundaries of exactly similar sounds." -Now, it is perfectly true, of course, that a <i>poet</i> may -well be allowed to effect the compromise of sacrificing -a rhyme for a thought; but the versifier (for whom -Walker's book is meant) must have no such license. -He must learn to walk before he runs. Yet apart -from this, Walker's argument is singularly illogical;—there -can be no need to catalogue the blemishes, even -on the ground he urges, since the imagination would -suggest the license, not the license stimulate the imagination. -Walker's book being simply mechanical -should have been confined to the correct machinery -of verse, and imagination should have been allowed -to frame for itself the licenses, which it would not -dream of seeking in a handbook.</p> - -<p class='c014'>But for this defect, Walker's Dictionary would be -the best book of the sort possible. It contains, beside -an Index in which rhymes are arranged under various -terminations, as in Bysshe's work, a terminational -dictionary of three hundred pages; a dictionary, that -is, in which the words are arranged as in ordinary -dictionaries, save that the last and not the first letter -of the word is that under which it is ranged.</p> - -<p class='c014'><span class='pageno' id='Page_21'>21</span>Walker's Index is by no means exhaustive. In -arranging the index of this little book I have added -about a hundred terminations to his list, beside subdividing -headings which have two sounds (as ASH, in -"cash" and "wash"). Walker's <i>Dictionary</i> of rhymes, -though by no means exhaustive, is useful, and is the -only one extant. His <i>Index</i> of rhymes has been copied -so servilely by all compilers of "handbooks of poetry" -that, in dismissing it now, we dismiss all so-called -rhyming dictionaries of later date.</p> - -<p class='c014'>Of these recent books there are but two of any note -or importance. One claims to be a "complete practical -guide to the whole subject of English versification"—"an -exhaustive treatise," in which the writer, -by way of simplifying matters, proposes to supersede -the old titles of spondee, dactyl, &c., by the titles of -"march," "trip," "quick," and "revert," and makes -accents intelligible by calling them "backward" and -"forward," with such further lucidities as "hover," -"main," "midabout," and other technicalities afford. -Its chief characteristic, however, is a decided condemnation -of rhyme altogether, and a suggestion -of the substitution of "assonance," under which -"path" and "ways," and "pride" and "wife" would -do duty for rhyme! The treatise, though spoiled by -pedantic aiming after novelties of nomenclature, and -too assertive language, is worth perusal. But as "a -practical guide" it is at present useless, and will -remain so until English rhyme is disestablished and -disendowed by Act of Parliament. Although its -author modestly describes it as "the first treatise of -<span class='pageno' id='Page_22'>22</span>the kind ever completed," and considers it "will in -no mean degree serve to advance" the study of English -verse, it is to be feared that there is little danger -of its setting the Pierian spring on fire.</p> - -<p class='c014'>A more practical "Handbook of Poetry" is the -best work of the kind I have met with, but it is full -of grave errors. It begins with a definition of "Poetry" -which makes it identical with "Verse," and it tends -too much to the side of license in consequence, from -the fact of permitting to the versifier freedoms which -poets only can claim. On rhyme it is singularly inconsistent. -It pronounces as no rhyme "heart" and -"art," which to any but a cockney ear are perfect -rhymes. Yet, a few paragraphs farther on, its only -objection to the coupling of "childhood" and "wildwood" -as a double rhyme, is that it is hackneyed; -whereas it is not a double rhyme at all! In a chapter -on "Imagery," though "metaphor" is catalogued, -"simile" is omitted, and both together reappear under -the needless subdivision "tropes." An anthology is -added, and a dictionary of double and treble rhymes—as -if it were possible to give anything like an exhaustive -list of them in twenty pages!</p> - -<p class='c014'>Such being the imperfections, whether of shortcoming -or excess, of the various existing handbooks, -I venture to hope that this little treatise may plead -some excuse for its appearance.</p> -<div class='chapter'> - <span class='pageno' id='Page_23'>23</span> - <h2 class='c001'>CHAPTER IV.<br /> <br />OF FEET AND CÆSURA.</h2> -</div> -<p class='drop-capa0_9_0_3 c004'>The feet most often met with in English verse -are those corresponding with the trochee and -iambus,<a id='r9' /><a href='#f9' class='c006'><sup>[9]</sup></a> that is approximately. The iambic -is most common perhaps, represented by two syllables -with the accent on the last syllable. The trochee has -two syllables, with the accent on the first. An example -of a line in each metre will show the difference—</p> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div><i>Four Foot Iambic.</i></div> - <div class='c003'>"To fai´r Fide´le's gra´ssy to´mb."</div> - <div class='c003'><i>Four Foot Trochaic.</i></div> - <div class='c003'>"No´t a si´ngle ma´n depa´rted."</div> - </div> -</div> - -<p class='c014'>Dactyls (an accented followed by two unaccented -syllables) and anapæsts (two unaccented syllables -followed by an accented one) are most frequently -used in combination with the other feet—</p> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div><i>Anapæstic.</i></div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"O´r the wo´rld | from the hou´r | of her bi´rth."</div> - </div> - </div> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_24'>24</span><i>Dactylic.</i></div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Ma´ke no deep | scru´tiny</div> - <div class='line in1'>I´nto her | mu´tiny."</div> - </div> - </div> -</div> - -<p class='c005'>It appears to me preferable to retain the classic -names for these feet, rather than to try and invent -new titles for them. One writer on versification has -attempted to do this, and calls the iambic "march" -measure, and the trochaic "trip." This seems to me -to render the nature of the measure liable to misconstruction, -as if the former only suited elevated -themes, and the latter light ones; whereas the metre -of Hudibras is iambic, and Aytoun's ballad of the -"Battle of Flodden" is trochaic. The truth is, that -the form of the foot has little to do with the "march" -or "trip" of the verse, for "The Bridge of Sighs" is -written in a dactylic form; and, according to the -authority just alluded to, if the trochee be a "trip," -the dactyl must be a "jig"!</p> - -<p class='c014'>By the combinations of these feet in certain numbers -a line is constituted. Those in which two, three, -and four feet occur—dimeters, trimeters, and tetrameters—are -not so general as lines of more feet, and -in these latter a new feature has to be recognised and -provided for—the cæsura or pause. Strictly, the -cæsura causes poetry to be written in lines, the end -of each being a cæsura; but there are other cæsuras -in the line, one or more according to its length. In -the best verse they correspond with a natural pause in -the sense of the words. When they do not, the artificial -punctuation injures the harmony with which the -<span class='pageno' id='Page_25'>25</span>sound and the sense should flow together. It is by -varying the fall of the cæsura that the best writers of -blank decasyllabic verse contrive to divest it of monotony. -In some of the more irregular forms of verse, -especially when it is unrhymed, the cæsura is all-important, -giving to the lines their rise and fall—a -structure not altogether unlike what has been termed -the parallelism of Hebrew versification.</p> - -<p class='c014'>It is scarcely possible to lay down rules for the use -of the cæsura, or pause, in English verse. It differs -from the classic cæsura in falling at the end of both -foot and word. Of its possible varieties we may gain -some idea when we note that, in the decassyllabic -line, for instance, it may fall after each foot, and it is -by the shifting of its place that in this, as in blank -verse, monotony is avoided. In shorter measures, -especially of a lyric nature, it generally falls midway -in the line.</p> - -<p class='c014'>The plan of giving to our accentual feet the titles -given to the classical quantitative feet has been strongly -condemned by some writers. I venture to think they -have hardly considered the matter sufficiently. It -must be better to use these meaningless terms (as we -use the gibberish of Baroko and Bramantip in logic) -than to apply new names which, by aiming at being -expressive, may be misleading. But there is something -more than this to be considered. There is in -accent this, in common with quantity, that just as two -shorts make a long, and can be substituted for it, so -two unaccented syllables may take the place of one -rather more accented; or perhaps it will be found that -<span class='pageno' id='Page_26'>26</span>the substitution is due less to the correspondence in -accent alone, than to correspondence of quantity as -well as accent. To put it briefly, these resolutions of -the foot into more syllables are—like similar resolutions -in music—a question of time, and time means quantity -rather than accent. As an instance of this, I may give -the much-quoted, often-discussed line—</p> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div>"Than tired eyelids upon tired eyes."</div> - </div> -</div> - -<p class='c005'>The ordinary method of scanning this is to make a -dissyllable of "tired," as if it were "ti-erd," a vulgarism -of which its author would never have been guilty. -The truth is, that the long "i" and the roll of the "r" -correspond in time to a dissyllable, and by changing -the run of the line, carry out perfectly Pope's notion -of the sound echoing the sense.</p> - -<p class='c014'>These resolutions, therefore, need a most accurate -ear, and no slight experience. The versifier will do -well, as a beginner, to refrain from attempting them. -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 variation, he may fairly try -his hand at it—but not until then. Before that, his -redundancy of syllables would be the result of faulty -or unfinished expression, not the studied cause of a -change in run.</p> -<div class='chapter'> - <span class='pageno' id='Page_27'>27</span> - <h2 class='c001'>CHAPTER V.<br /> <br />METRE AND RHYTHM.</h2> -</div> -<p class='drop-capa0_6_0_4 c004'>I t was scarcely possible to explain what the feet in -verse are without assuming the existence of -lines, in order to give intelligible examples of the -various feet. But the consideration of the construction -of lines really belongs to this chapter.</p> - -<p class='c014'>A line is composed of a certain number of feet, from -two to almost any number short of ten or so—if indeed -we may limit the number exactly, 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 verse. As a -rule, we seldom meet with more than eight feet in a -line.</p> - -<p class='c014'>A line may consist of feet of the same description, -or of a combination of various feet. And this combination -may be exactly repeated in the corresponding -line or lines, or one or more of the feet may be replaced -by another corresponding in time or quantity. Here -is an instance—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"I knew | by the smoke that so gracefully curled ...</div> - <div class='line in1'>And I said | 'if there's peace to be found in the world.'"</div> - </div> - </div> -</div> - -<p class='c005'>Here the iambic "I kne´w" is resolved into the -<span class='pageno' id='Page_28'>28</span>anapæst, "and I sa´id,"<a id='r10' /><a href='#f10' class='c006'><sup>[10]</sup></a>—or rather (as the measure is -anapæstic) the iambic takes the place of the anapæst.</p> - -<p class='c014'>When only two feet go to a line, it is a dimeter. -Three form a trimeter, four a tetrameter, five a pentameter, -six a hexameter, seven a heptameter, eight an -octameter, which, however, is usually resolved into two -tetrameters. If the feet be iambics or trochees, of -course the number of syllables will be double that of -the feet—thus a pentameter will be decasyllabic. -When dactyls or anapæsts are used, of course the -number of syllables exceeds the double of the feet. -But there is no necessity for enlarging on this point: -I have given enough to explain terms, with which -the student may perhaps meet while reading up the -subject of versification. As he may also meet with the -terms "catalectic" and "acatalectic," it may be as well -to give a brief explanation of them also. A catalectic -line is one in which the last foot is not completed. -An acatalectic is one in which the line and the foot -terminate together. An extract from the "Bridge -of Sighs," a dactylic poem, will illustrate this.</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='pageno' id='Page_29'>29</span>"Make no deep | scrutiny</div> - <div class='line in1'>Into her | mutiny;</div> - <div class='line in2'>Rash and un|dutiful,</div> - <div class='line'>Past all dis|honour;</div> - <div class='line'>Death has left | on her</div> - <div class='line in2'>Only the | beautiful.</div> - </div> - <div class='group'> - <div class='line in2'>Take her up | tenderly,</div> - <div class='line'>Lift her with | care;</div> - <div class='line'>Fashion'd so | slenderly</div> - <div class='line in2'>Young and so | fair."</div> - </div> - </div> -</div> - -<p class='c014'>Here the fourth and fifth, the eighth and tenth lines -are catalectic. In the first two the last foot needs one -syllable, in the others it requires two. It is scarcely -necessary to point out how such variations improve -and invigorate the measure, by checking the gallop of -the verse.</p> - -<p class='c014'>We have now seen that the line may be composed of -various numbers of the different feet. The next step -to consider is the combination of lines into stanzas.</p> - -<p class='c014'>Stanzas are formed of two or more lines. Two -lines are styled a couplet, three a triplet, and four a -quatrain, while other combinations owe their titles to -those who have used them first or most, as in the case -of the Spenserian stanza.</p> - -<p class='c014'>The reader will see at once that, each of these kinds -of stanzas being constructible of any of the styles of -line before enumerated, each style of line being in its -turn constructible of any of the sorts of feet described -in a previous chapter, to make any attempt to give an -exhaustive list of stanzas would be to enter upon an -arithmetical progression alarming to think of.<a id='r11' /><a href='#f11' class='c006'><sup>[11]</sup></a> I -<span class='pageno' id='Page_30'>30</span>shall therefore only enumerate a few, giving, as seems -most useful for my purpose, examples of the most -common form of a peculiar stanza, as in the case of -the decasyllabic couplet of Pope, and the nine-line -stanza of Spenser, or the least common, as when, in the -quatrain, it appears preferable to give, instead of the -alternate-rhymed octosyllabic tetrameters which have -been repeated <i>ad nauseam</i>, such fresh forms as will be -found in the extracts from "The Haunted House," or -Browning's "Pretty Woman."</p> - -<div class='nf-center-c0'> -<div class='nf-center c002'> - <div>EXAMPLES.</div> - </div> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c002'> - <div>THE COUPLET OR DISTICH.<a id='r12' /><a href='#f12' class='c006'><sup>[12]</sup></a></div> - </div> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c019'> - <div>Dimeter (four-syllabled).</div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Here, here I live</div> - <div class='line in1'>And somewhat give."</div> - <div class='c008'>—<i>Herrick</i>, <i>Hesperides</i>.</div> - </div> - </div> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div>Tetrameter (eight-syllabled).</div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"His tawny beard was th' equal grace</div> - <div class='line in1'>Both of his wisdom and his face."</div> - <div class='c008'>—<i>Butler</i>, <i>Hudibras</i>.</div> - </div> - </div> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div>Tetrameter (seven-syllabled).</div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"As it fell upon a day</div> - <div class='line in1'>In the merry month of May."</div> - <div class='c008'>—<i>Shakespeare.</i></div> - </div> - </div> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div><span class='pageno' id='Page_31'>31</span>Pentameter (ten-syllabled, "Pope's decasyllable").</div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Truth from his lips prevail'd with double sway,</div> - <div class='line in1'>And fools who came to scoff remained to pray."</div> - <div class='c008'>—<i>Goldsmith</i>, <i>Deserted Village</i>.</div> - </div> - </div> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div>Hexameter (twelve-syllabled).</div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Doth beat the brooks and ponds for sweet refreshing soil:</div> - <div class='line in1'>That serving not—then proves if he his scent may foil."</div> - <div class='c008'>—<i>Drayton</i>, <i>Polyolbion</i>.</div> - </div> - </div> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div>Heptameter (fourteen-syllabled).</div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Now glory to the Lord of Hosts, from whom all glories are;</div> - <div class='line in1'>And glory to our sovereign liege, king Henry of Navarre."</div> - <div class='c008'>—<i>Macaulay</i>, <i>Battle of Ivry</i>.</div> - </div> - </div> -</div> - -<p class='c014'>The couplet may also be formed of two lines of -irregular length.</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Belovëd, O men's mother, O men's queen!</div> - <div class='line in6'>Arise, appear, be seen."</div> - <div class='c008'>—<i>Swinburne</i>, <i>Ode to Italy</i>.</div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Where the quiet-coloured end of evening smiles</div> - <div class='line in6'>Miles on miles."</div> - <div class='c008'>—<i>Browning</i>, <i>Love among the Ruins</i>.</div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Morning, evening, noon, and night,</div> - <div class='line in1'>'Praise God,' sang Theocrite."</div> - <div class='c008'>—<i>Browning</i>, <i>The Boy and the Angel</i>.</div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Take the cloak from his face and at first</div> - <div class='line in1'>Let the corpse do its worst."</div> - <div class='c008'>—<i>Browning</i>, <i>After</i>.</div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Or for a time we'll lie</div> - <div class='line in4'>As robes laid by."</div> - <div class='c008'>—<i>Herrick</i>, <i>Hesperides</i>.</div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Give me a cell</div> - <div class='line in6'>To dwell."</div> - <div class='c008'>—<i>Herrick</i>, <i>Hesperides.</i></div> - </div> - </div> -</div> - -<p class='c014'><span class='pageno' id='Page_32'>32</span>Two couplets are at times linked together into a -quatrain. More often they are formed into six-line -stanzas, that is a couplet followed by a line which -has its rhyme in another line following the second -couplet. But indeed the combination of stanzas is -almost inexhaustible.</p> - -<div class='nf-center-c0'> -<div class='nf-center c002'> - <div>TRIPLETS.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>Trimeter (six-syllabled).</div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"And teach me how to sing</div> - <div class='line in1'>Unto the lyric string</div> - <div class='line in1'>My measures ravishing."</div> - <div class='c008'>—<i>Herrick</i>, <i>Hesperides</i>.</div> - </div> - </div> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div>Tetrameter (seven-syllabled).</div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"O, thou child of many prayers,</div> - <div class='line in1'>Life hath quicksands, life hath snares,</div> - <div class='line in1'>Care and age come unawares."</div> - <div class='c008'>—<i>Longfellow</i>, <i>Maidenhood</i>.</div> - </div> - </div> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div>Octameter (fifteen syllabled).</div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Was a lady such a lady, cheeks so round and lips so red—</div> - <div class='line in1'>On her neck the small face buoyant, like a bell-flower o'er its bed,</div> - <div class='line in1'>O'er the breast's superb abundance where a man might base his head."</div> - <div class='c008'>—<i>Browning</i>, <i>A Toccata</i>.</div> - </div> - </div> -</div> - -<p class='c014'>The triplet pure and simple, is not a very common -form; it is most frequently combined with other -forms to make longer stanzas. At times the second -line, instead of rhyming with the first or third, finds an -echo in the next triplet—sometimes in the second, but -more often in the first and third lines.</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Make me a face on the window there,</div> - <div class='line in1'>Waiting, as ever mute the while,</div> - <div class='line in1'>My love to pass below in the square.</div> - <div class='line in1'><span class='pageno' id='Page_33'>33</span>And let me think that it may beguile</div> - <div class='line in1'>Dreary days, which the dead must spend</div> - <div class='line in1'>Down in their darkness under the aisle."</div> - <div class='c008'>—<i>Browning</i>, <i>The Statue and the Bust</i>.</div> - </div> - </div> -</div> - -<p class='c014'>Another species of triplet occurs in the Pope -measure (pentameter-decasyllabic). It is formed by -the introduction, after an ordinary couplet, of a third -line, repeating the rhyme and consisting of eleven -syllables and six feet. Dryden, however, and some -other writers, gave an occasional triplet without the -extra foot. The Alexandrine, <i>i.e.</i>, the six-foot line, -ought to close the sense, and conclude with a full stop.</p> - -<div class='nf-center-c0'> -<div class='nf-center c002'> - <div>THE QUATRAIN.</div> - </div> -</div> - -<p class='c020'>Of this form of stanza the name is legion. Of the -most common styles, the reader's memory will supply -numerous examples. I shall merely give a few of the -rarer kinds. The quatrain may consist practically of -two couplets, or of a couplet divided by a couplet, as -in Tennyson's "In Memoriam." But the usual rule -is to rhyme the first and third, and second and fourth. -The laxity which leaves the two former unrhymed, is -a practice which cannot be too strongly condemned. -Quatrains so formed should in honesty be written as -couplets, but such a condensation would possibly -not suit the views of the mob of magazine-versifiers, -who have inflicted this injury, with many others, upon -English versification.</p> - -<p class='c014'>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 fourth. -<span class='pageno' id='Page_34'>34</span>This is, in fact, a part of the rule which forbids repetitions -of the same vowel-sounds in a line—chief of all, -a repetition of the particular vowel-sound of the -rhyme. The rhymes recurring give a beat which is -something like a cæsura, and when therefore the -rhyme-sound occurs elsewhere than at its correct post -it mars the flow. Here follow a few examples of the -quatrain. I have not specified the syllables or feet, as -the reader by this time will have learned to scan -for himself; and, owing to the varieties of measure, -such a specification would be cumbrous:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"The woodlouse dropp'd and roll'd into a ball,</div> - <div class='line in3'>Touch'd by some impulse, occult or mechanic,</div> - <div class='line in1'>And nameless beetles ran along the wall</div> - <div class='line in7'>In universal panic."</div> - <div class='c008'>—<i>Hood</i>, <i>Haunted House</i>.</div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"That fawn-skin-dappled hair of hers,</div> - <div class='line in5'>And the blue eye,</div> - <div class='line in5'>Dear and dewy,</div> - <div class='line in1'>And that infantine fresh air of hers."</div> - <div class='c008'>—<i>Browning, A Fair Woman</i>.</div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"All thoughts, all passions, all delights,</div> - <div class='line in3'>Whatever stirs this mortal frame;</div> - <div class='line in1'>All are but ministers of love,</div> - <div class='line in3'>And feed his sacred flame."</div> - <div class='c008'>—<i>Coleridge</i>, <i>Love</i>.</div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line in4'>"What constitutes a state?</div> - <div class='line'>Not high-raised battlement or labour'd mound,</div> - <div class='line in5'>Thick wall, or moated gate,</div> - <div class='line'>Nor cities proud with spires and turrets crown'd."</div> - <div class='c008'>—<i>Jones</i>, <i>Ode</i>.</div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line in4'>"Whither, midst falling dew,</div> - <div class='line'>While glow the heavens with the last steps of day,</div> - <div class='line'>Far through their rosy depths, dost thou pursue</div> - <div class='line in5'>Thy solitary way."</div> - <div class='c008'>—<i>Bryant</i>, <i>To a Waterfowl</i>.</div> - </div> - <div class='group'> - <div class='line'><span class='pageno' id='Page_35'>35</span>"Sweet day, so calm, so cool, so bright,</div> - <div class='line in1'>The bridal of the earth and sky,</div> - <div class='line in1'>The dews shall weep thy fall to-night,</div> - <div class='line in7'>For thou must die."</div> - <div class='c008'>—<i>Herbert</i>, <i>Virtue</i>.</div> - </div> - </div> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c002'> - <div>THE FIVE-LINE STANZA.</div> - </div> -</div> - -<p class='c014'>I am inclined to think this one of the most musical -forms of the stanza we possess. It is capable of almost -endless variety, and the proportions of rhymes, three -and two, seem to be especially conducive to harmony. -It would be curious to go into the question how many -popular poems are in this form. Here are two examples—both -of them from favourite pieces:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line in6'>"Go, lovely rose,</div> - <div class='line'>Tell her that wastes her time and me,</div> - <div class='line in7'>That now she knows</div> - <div class='line'>When I resemble her to thee,</div> - <div class='line'>How sweet and fair she seems to be."</div> - <div class='c008'>—<i>Waller</i>, <i>To a Rose</i>.</div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line in5'>"Higher still and higher</div> - <div class='line in8'>From the earth thou springest;</div> - <div class='line in6'>Like a cloud of fire,</div> - <div class='line in8'>The blue deep thou wingest,</div> - <div class='line'>And singing still dost soar, and soaring ever singest."</div> - <div class='c008'>—<i>Shelley</i>, <i>The Skylark</i>.</div> - </div> - </div> -</div> - -<p class='c014'>Mr Browning frequently uses this stanza, and with -admirable effect. Although he has been accused of -ruggedness by some critics, there is no modern poet -who has a greater acquaintance with the various forms -of verse, or can handle them more ably. The following -are examples of his treatment:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='pageno' id='Page_36'>36</span>"Is it your moral of life?</div> - <div class='line in3'>Such a web, simple and subtle,</div> - <div class='line'>Weave we on earth here, in impotent strife</div> - <div class='line in2'>Backward and forward each throwing his shuttle—</div> - <div class='line'>Death ending all with a knife?"</div> - <div class='c008'>—<i>Master Hugues.</i></div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"And yonder at foot of the fronting ridge,</div> - <div class='line in3'>That takes the turn to a range beyond,</div> - <div class='line in1'>Is the chapel, reach'd by the one-arch'd bridge,</div> - <div class='line in3'>Where the water is stopp'd in a stagnant pond,</div> - <div class='line in1'>Danced over by the midge."</div> - <div class='c008'>—<i>By the Fireside.</i></div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Stand still, true poet that you are!</div> - <div class='line in3'>I know you; let me try and draw you.</div> - <div class='line in1'>Some night you'll fail us; when afar</div> - <div class='line in3'>You rise, remember one man saw you—</div> - <div class='line in1'>Knew you—and named a star,"</div> - <div class='c008'>—<i>Popularity.</i></div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Not a twinkle from the fly,</div> - <div class='line in3'>Not a glimmer from the worm.</div> - <div class='line in1'>When the crickets stopp'd their cry,</div> - <div class='line in3'>When the owls forbore a term,</div> - <div class='line in1'>You heard music—that was I!"</div> - <div class='c008'>—<i>A Serenade.</i></div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"When the spider to serve his ends,</div> - <div class='line in7'>By a sudden thread,</div> - <div class='line in7'>Arms and legs outspread,</div> - <div class='line in1'>On the table's midst descends—</div> - <div class='line in1'>Comes to find God knows what friends!"</div> - <div class='c008'>—<i>Mesmerism.</i></div> - </div> - </div> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c002'> - <div>THE SIX-LINE STANZA.</div> - </div> -</div> - -<p class='c014'>With the increasing number of lines comes an increasing -number of combinations of rhymes. There -is the combination of three couplets, and there is that -of two couplets, with another pair of rhymes one -line after the first, the other after the second couplet. -Then there is a quatrain of alternate rhymes, and a -final couplet—to mention no others.</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Fear no more the heat o' the sun,</div> - <div class='line in3'>Nor the furious winter's rages;</div> - <div class='line in1'><span class='pageno' id='Page_37'>37</span>Thou thy worldly task hast done.</div> - <div class='line in3'>Home art gone, and ta'en thy wages—</div> - <div class='line in1'>Golden lads and girls all must</div> - <div class='line in3'>Like chimney-sweepers come to dust."</div> - <div class='c008'>—<i>Shakespeare.</i></div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line in3'>"One day, it matters not to know</div> - <div class='line in4'>How many hundred years ago,</div> - <div class='line'>A Spaniard stopt at a posada door;</div> - <div class='line in4'>The landlord came to welcome him and chat</div> - <div class='line in4'>Of this and that,</div> - <div class='line'>For he had seen the traveller here before."</div> - <div class='c008'>—<i>Southey</i>, <i>St Romuald</i>.</div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"And wash'd by my cosmetic brush,</div> - <div class='line in1'>How Beauty's cheeks began to blush</div> - <div class='line in5'>With locks of auburn stain—</div> - <div class='line in1'>Not Goldsmith's Auburn, nut-brown hair</div> - <div class='line in1'>That made her loveliest of the fair,</div> - <div class='line in5'>Not loveliest of the plain."</div> - <div class='c008'>—<i>Hood</i>, <i>Progress of Art</i>.</div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Some watch, some call, some see her head emerge</div> - <div class='line in1'>Wherever a brown weed falls through the foam;</div> - <div class='line in1'>Some point to white eruptions of the surge—</div> - <div class='line in1'>But she is vanish'd to her shady home,</div> - <div class='line in1'>Under the deep inscrutable, and there</div> - <div class='line in1'>Weeps in a midnight made of her own hair."</div> - <div class='c008'>—<i>Hood</i>, <i>Hero and Leander</i>.</div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Ever drifting, drifting, drifting,</div> - <div class='line in7'>On the shifting</div> - <div class='line in1'>Currents of the restless heart—</div> - <div class='line in1'>Till at length in books recorded,</div> - <div class='line in7'>They like hoarded</div> - <div class='line in1'>Household words no more depart."</div> - <div class='c008'>—<i>Longfellow</i>, <i>Seaweed</i>.</div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Before me rose an avenue</div> - <div class='line in3'>Of tall and sombrous pines;</div> - <div class='line in1'><span class='pageno' id='Page_38'>38</span>Abroad their fanlike branches grew,</div> - <div class='line in1'>And where the sunshine darted through,</div> - <div class='line in1'>Spread a vapour, soft and blue,</div> - <div class='line in3'>In long and sloping lines."</div> - <div class='c008'>—<i>Longfellow</i>, <i>Prelude</i>.</div> - </div> - </div> -</div> - -<p class='c005'>The following form may be looked upon as Burns's -exclusively:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Wee, modest, crimson-tipped flower,—</div> - <div class='line in1'>Thou'st met me in an evil hour,</div> - <div class='line in1'>For I maun crush among the stour</div> - <div class='line in13'>Thy slender stem;</div> - <div class='line in1'>To spare thee now is past my power,</div> - <div class='line in13'>Thou bonnie gem."</div> - <div class='c008'>—<i>To a Mountain Daisy.</i></div> - </div> - </div> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c002'> - <div>THE SEVEN-LINE STANZA.</div> - </div> -</div> - -<p class='c014'>This form is not very common. It may be formed -of a quatrain and triplet; of a quatrain, a line rhyming -the last of the quatrain, and a couplet; of a -quatrain, a couplet, and a line rhyming the fourth line. -Or these may be reversed.</p> - -<div class='nf-center-c0'> -<div class='nf-center c002'> - <div>THE EIGHT-LINE STANZA.</div> - </div> -</div> - -<p class='c014'>This is susceptible of endless variety, commencing -with two quatrains, or a six-line stanza and a couplet, -or two triplets with a brace of rhyming lines, one after -each triplet.</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Thus lived—thus died she; nevermore on her</div> - <div class='line in3'>Shall sorrow light or shame. She was not made</div> - <div class='line in1'>Through years or moons the inner weight to bear,</div> - <div class='line in3'>Which colder hearts endure till they are laid</div> - <div class='line in1'>By age in earth; her days and pleasures were</div> - <div class='line in3'>Brief but delightful; such as had not staid</div> - <div class='line'>Long with her destiny. But she sleeps well</div> - <div class='line'>By the sea-shore whereon she loved to dwell."</div> - <div class='c008'>—<i>Byron</i>, <i>Don Juan</i>.</div> - </div> - </div> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c002'> - <div><span class='pageno' id='Page_39'>39</span>THE NINE-LINE STANZA.</div> - </div> -</div> - -<p class='c014'>Of this form the most generally used is the Spenserian, -or the following variation of it:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"A little, sorrowful, deserted thing,</div> - <div class='line in1'>Begot of love and yet no love begetting;</div> - <div class='line in1'>Guiltless of shame, and yet for shame to wring;</div> - <div class='line in1'>And too soon banish'd from a mother's petting</div> - <div class='line in1'>To churlish nature and the wide world's fretting,</div> - <div class='line in1'>For alien pity and unnatural care;</div> - <div class='line in1'>Alas! to see how the cold dew kept wetting</div> - <div class='line in1'>His childish coats, and dabbled all his hair</div> - <div class='line in1'>Like gossamers across his forehead fair."</div> - <div class='c008'>—<i>Hood</i>, <i>Midsummer Fairies</i>.</div> - </div> - </div> -</div> - -<p class='c014'>The Spenserian has the same arrangement of the -rhymes, but has an extra foot in the last line. The -two last lines of a stanza from "Childe Harold" will -illustrate this:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"To mingle with the universe and feel</div> - <div class='line in1'>What I can ne'er express, yet cannot all conceal."</div> - <div class='c008'>—<i>Byron.</i></div> - </div> - </div> -</div> - -<p class='c014'>The formation of the ten, eleven, twelve, &c., -line stanzas is but an adaptation of those already -described. A single fourteen-line stanza of a certain -arrangement of rhyme is a sonnet, but as the sonnet -is scarcely versifiers' work, I will not occupy space by -the lengthy explanation it would require. On the -same grounds, I am almost inclined to omit discussion -of blank verse, but will give a brief summary of its -<span class='pageno' id='Page_40'>40</span>varieties. The ordinary form of blank verse is the -decasyllabic in which Milton's "Paradise Lost" is -written—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Of man's first disobedience and the fruit</div> - <div class='line in1'>Of that forbidden tree whose mortal taste</div> - <div class='line in1'>Brought death into the world and all our woe."</div> - </div> - </div> -</div> - -<p class='c014'>This consists of ten syllables with an accented following -an unaccented syllable. It is preserved from -monotony by the varying fall of the cæsura or pause. -It occurs but rarely after the first foot or the eighth -foot, and not often after the third and seventh. -Elisions and the substitution of a trisyllable, equivalent -in time for a dissyllable, are met with, and at -times the accent is shifted, when by the change the -sense of the line gains in vigour of expression, as in—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Once found, which yet unfound, most would have thought</div> - <div class='line in1'>Impossible."</div> - </div> - </div> -</div> - -<p class='c005'>According to scansion "most wo'uld," but by the -throwing back of the accent strengthened and distinguished -into "<i>most</i> would have thought." [In -addition to this in the blank verse of the stage, we -find occasionally additional syllables, as—</p> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div>"Or to take arms against a sea of troub(les)."]</div> - </div> -</div> - -<p class='c005'>Other forms of blank verse follow:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>1. "If aught of oaten stop or pastoral song</div> - <div class='line in4'>May hope, chaste Eve, to soothe thy modest ear,</div> - <div class='line in8'>Like thy own solemn springs,</div> - <div class='line in8'>Thy springs and dying gales."</div> - <div class='c008'>—<i>Collins</i>, <i>Ode to Evening.</i></div> - </div> - <div class='group'> - <div class='line'><span class='pageno' id='Page_41'>41</span>2. "But never could I tune my reed</div> - <div class='line in4'>At morn, or noon, or eve, so sweet,</div> - <div class='line in4'>As when upon the ocean shore</div> - <div class='line in12'>I hail'd thy star-beam mild."</div> - <div class='c008'>—<i>Kirke White</i>, <i>Shipwrecked Solitary's Song</i>.</div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>3. "Who at this untimely hour</div> - <div class='line in7'>Wanders o'er the desert sands?</div> - <div class='line in11'>No station is in view,</div> - <div class='line in3'>No palm-grove islanded amidst the waste,—</div> - <div class='line in11'>The mother and her child,</div> - <div class='line in3'>The widow'd mother and the fatherless boy,</div> - <div class='line in11'>They at this untimely hour</div> - <div class='line in7'>Wander o'er the desert sands."<a id='r13' /><a href='#f13' class='c006'><sup>[13]</sup></a></div> - <div class='c008'> —<i>Southey</i>, <i>Thalaba</i>.</div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>4. "Friend of my bosom, thou more than a brother,</div> - <div class='line in4'>Why wast not thou born in my father's dwelling?</div> - <div class='line in4'>So might we talk of the old familiar faces."</div> - <div class='c008'>—<i>Lamb</i>.</div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>5. "See how he scorns all human arguments</div> - <div class='line in4'>So that no oar he wants, nor other sail</div> - <div class='line in4'>Than his own wings between so distant shores."<a id='r14' /><a href='#f14' class='c006'><sup>[14]</sup></a></div> - <div class='c008'>—<i>Longfellow</i>, <i>Translation of Dante</i>.</div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>6. "Yet dost thou recall</div> - <div class='line in4'>Days departed, half-forgotten,</div> - <div class='line in4'>When in dreamy youth I wander'd</div> - <div class='line in4'>By the Baltic."</div> - <div class='c008'>—<i>Longfellow</i>, <i>To a Danish Song-Book</i>.</div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>7. "All things in earth and air</div> - <div class='line in4'>Bound were by magic spell</div> - <div class='line in4'>Never to do him harm;</div> - <div class='line in4'>Even the plants and stones,</div> - <div class='line in4'><span class='pageno' id='Page_42'>42</span>All save the mistletoe,</div> - <div class='line in4'>The sacred mistletoe."</div> - <div class='c008'>—<i>Longfellow</i>, <i>Tegner's Drapa</i>.</div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>8. "Give me of your bark, O birch-tree!</div> - <div class='line in4'>Of your yellow bark, O birch-tree!</div> - <div class='line in4'>Growing by the rushing river,</div> - <div class='line in4'>Tall and stately in the valley."</div> - <div class='c008'>—<i>Longfellow</i>, <i>Hiawatha</i>.</div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>9. "Heard he that cry of pain; and through the hush that succeeded</div> - <div class='line in4'>Whisper'd a gentle voice, in accents tender and saintlike,</div> - <div class='line in4'>'Gabriel, oh, my beloved!' and died away into silence."</div> - <div class='c008'>—<i>Longfellow, Evangeline</i>.</div> - </div> - </div> -</div> - -<p class='c014'>An extremely musical form of blank verse, the -trochaic, will be found in Browning's "One Word -More":—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"I shall never in the years remaining,</div> - <div class='line in1'>Paint you pictures, no, nor carve you statues,</div> - <div class='line in1'>Make you music that should all-express me;</div> - <div class='line in1'>So it seems; I stand on my attainment:</div> - <div class='line in1'>This of verse alone one life allows me;</div> - <div class='line in1'>Verse and nothing else have I to give you.</div> - <div class='line in1'>Other heights in other loves, God willing—</div> - <div class='line in1'>All the gifts from all the heights, your own, love!"</div> - </div> - </div> -</div> - -<p class='c014'>This by no means exhausts the varieties of blank -verse; but, as I have already said, blank verse is, on the -whole, scarcely to be commended to the student for -practice, because it is, while apparently the easiest, in -reality the most difficult form he could attempt. It is -in fact particularly easy to attain the blankness—but -the verse is another matter. The absence of rhymes -necessitates the most perfect melody and harmony, -<span class='pageno' id='Page_43'>43</span>if the lines are to be anything beyond prose chopped -up into lengths.</p> - -<p class='c014'>There are, I should mention before closing this -chapter, many more styles of stanza than I have -named, and many varieties of them. The ode is of -somewhat irregular construction, but like the sonnet -it is, I consider, beyond the scope of those for whom -this book is intended, and it needs not to be discussed -on that account.</p> - -<div class='figcenter id002'> -<img src='images/i_043.jpg' alt='' class='ig001' /> -</div> -<div class='chapter'> - <span class='pageno' id='Page_44'>44</span> - <h2 class='c001'>CHAPTER VI.<br /> <br />OF RHYME.</h2> -</div> -<p class='drop-capa0_9_0_4 c004'>A rhyme must commence on an accented -syllable. From the accented vowel of that -syllable to the end, the two or more words intended to -rhyme must be identical in sound; but the letters -preceding the accented vowel must in each case be -dissimilar in sound. Thus "learn," "fern," "discern," -are rhymes, with the common sound of "ern" preceded -by the dissimilar sounds of "l," "f," "sc." "Possess" -and "recess" do not rhyme, having besides the -common "ess" the similar pronunciation of the "c" -and the double "s" preceding it. The letters "r" and -"l," when preceded by other consonants, so as -practically to form new letters, can be rhymed to the -simple "r" and "l" respectively, thus "track" and -"rack," "blame" and "lame," are rhymes. The same -rule applies to letters preceded by "s," "smile" being -a rhyme to "mile." Similarly "h" and its compound -rhyme, <i>e.g.</i>, "shows," "those," "chose," and any word -ending in "phose" with "hose."</p> - -<p class='c014'>The aspirate to any but a Cockney would of course -pass as constituting the needful difference at the -<span class='pageno' id='Page_45'>45</span>beginning of a rhyme, as in "heart" and "art," "hair" and "air."<a id='r15' /><a href='#f15' class='c006'><sup>[15]</sup></a></p> - -<p class='c014'>In the case of "world" and "whirl'd," however, I -fear common usage must compel us to declare against -the rhyme, since the practice of pronouncing the "h" -after "w" is daily becoming more and more uncommon.</p> - -<p class='c014'>Rhymes are single, double, or treble—or more -properly one-syllabled, two-syllabled, and three-syllabled. -Rhymes of four or more syllables are -peculiar to burlesque or comic verse. Indeed, Dryden -declared that only one-syllabled rhymes were suitable -for grave subjects: but every one must have at his -fingers' ends scores of proofs to the contrary, of which -I will instance but one—"The Bridge of Sighs."</p> - -<p class='c014'>Monosyllables or polysyllables accented on the last -syllable are "single" rhymes. Words accented on the -penultimate or last syllable but one supply "double" -rhymes; <i>e.g.</i>, agita´ted, ela´ted. When the accent is -thrown another syllable back, and falls on the antepenultimate -as in "a´rrogate," it is in the first place a -"triple" rhyme. But as in English there is a tendency -to alternate the acute and grave accent, the trisyllable -has practically two rhymes, a three-syllabled and a -<span class='pageno' id='Page_46'>46</span>one-syllabled—thus "arrogate" and "Harrogate" -rhyme, but "arrogate" may also pair off with -"mate." Nevertheless it is necessary to be cautious -in the use of words with this spurious accent—it is -perhaps better still to avoid them. Such words as -"merrily," "beautiful," "purity," ought never to be -used as single-syllabled rhymes:—even such words -as "merited" and "happiness" have a forced sound -when so used.</p> - -<p class='c014'>Elisions should be avoided, though "bow'r" and -"flow'r" may pass muster, with some others. "Ta'en," -"e'er," "e'en," and such contractions may of course be -used. The articles, prepositions, and such, cannot in -serious verse stand as rhymes, under the same rule -which condemns the separation of the adjective from -its substantive in the next line.</p> - -<p class='c014'>It is scarcely necessary to premise that to write -verse decently the student must have a thorough -knowledge of grammar. From ignorance on that score -arise naturally blemishes enough to destroy verse, as -they would poetry, almost. I have seen verses which, -beginning by apostrophising some one as "thou," -slipped in a few lines into "yours" and "you"—or, -worse still, have said "thou doeth," or "thou, who is."</p> - -<p class='c014'>Expletives and mean expressions also must be -excluded. The verse should never soar to "high-falutin," -or sink to commonplace language. Simplicity -is not commonplace, and nobility is not "high-falutin," -and they should be aimed at accordingly;—when -you have acquired the one, you will as a rule -find the other in its company.</p> - -<p class='c014'><span class='pageno' id='Page_47'>47</span>When three or more lines are intended to rhyme -together, the common base or accented vowel in each -instance must be preceded by a different sound. For -example "born," "corn," and "borne," will not serve -for a triplet, because, though the first and third are -both rhymes to the second, they are not rhymes to -each other.</p> - -<p class='c014'>It is as well, unless you are thoroughly acquainted -with the pronunciation of foreign languages, to abstain -from using them in verse, especially in rhymes. I -met with the following instance of the folly of such -rhyming in a magazine, not long ago—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Prim Monsieurs fresh from Boulogne's <i>Bois</i>...</div> - <div class='line in1'>For these the Row's a certain <i>draw</i>."</div> - </div> - </div> -</div> - -<p class='c005'>This is about as elegant as rhyming "Boulogne" and -"Song."</p> - -<p class='c014'><i>It</i> is wise—on the principle of rhyme, the difference -of sounds preceding the common base—to avoid any -similarity by combination. For example, "is" is a -good rhyme for "'tis," but you should be careful not -to let "it" immediately precede the "is," as it mars -the necessary dissimilarity of the opening sound of the -two rhymes.</p> - -<p class='c014'>Let the beginner remember one thing:—rhyme is a -fetter, undoubtedly. Let him therefore refrain from -attempting measures with frequent rhymes, for experience -alone can give ease in such essays. Only the -skilled can dance gracefully in fetters. Moreover, -a too frequent repetition of rhyme at short intervals -gives a jigginess to the verse. It is on this account -<span class='pageno' id='Page_48'>48</span>that the use in a line of a sound similar to the rhyme -should be avoided.<a id='r16' /><a href='#f16' class='c006'><sup>[16]</sup></a></p> - -<p class='c014'>As a final warning, let me entreat the writer of -verses to examine his rhymes carefully, and see that -they chime to an educated ear. Such atrocities as -"morn" and "dawn," "more" and "sure," "light in" -and "writing," "fought" and "sort," are fatal to the -success of verse. They stamp it with vulgarity, as -surely as the dropping of the "h" stamps a speaker. -Furthermore, do not make a trisyllable of a dissyllable—as, -for instance, by pronouncing "ticklish" "tick-el-ish," -and if you have cause to rhyme "iron," try -"environ" or "Byron," not "my urn," because only -the vulgar pronounce it "iern," or "apron" "apern," &c.</p> - -<div class='figcenter id002'> -<img src='images/i_048.jpg' alt='' class='ig001' /> -</div> -<div class='chapter'> - <span class='pageno' id='Page_49'>49</span> - <h2 class='c001'>CHAPTER VII.<br /> <br />OF FIGURES.</h2> -</div> -<p class='drop-capa0_9_0_3 c004'>The figures most commonly used in verse are -similes and metaphors. A simile is a figure -whereby one thing is likened to another. It is ushered -in by a "like" or an "as."</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Like sportive deer they coursed about"</div> - <div class='c008'>—<i>Hood</i>, <i>Eugene Aram</i>.</div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line in18'>"Such a brow</div> - <div class='line'>His eyes had to live under, clear as flint."</div> - <div class='c008'>—<i>Browning</i>, <i>A Contemporary</i>.</div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line in8'>"Resembles sorrow only</div> - <div class='line'>As the mist resembles rain."</div> - <div class='c008'>—<i>Longfellow</i>, <i>The Day is Done</i>.</div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Look how a man is lower'd to his grave ...</div> - <div class='line in1'>So is he sunk into the yawning wave."</div> - <div class='c008'>—<i>Hood</i>, <i>Hero and Leander</i>.</div> - </div> - </div> -</div> - -<p class='c014'>A metaphor is a figure whereby the one thing, -instead of being likened to the other, is, as it were, -transformed into it, and is described as doing what it -(the other) does.</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line in18'>"Poetry is</div> - <div class='line'>The grandest chariot wherein king-thoughts ride."</div> - <div class='c008'>—<i>Smith</i>, <i>Life Drama</i>.</div> - </div> - <div class='group'> - <div class='line in8'><span class='pageno' id='Page_50'>50</span>"The anchor, whose giant hand</div> - <div class='line'>Would reach down and grapple with the land."</div> - <div class='c008'>—<i>Longfellow</i>, <i>Building of the Ship</i>.</div> - </div> - </div> -</div> - -<p class='c014'>Sometimes the two are united in one passage, as -in—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line in14'>"The darkness</div> - <div class='line'>Falls from the wings of night,</div> - <div class='line'>As a feather is wafted downward."</div> - <div class='c008'>—<i>Longfellow</i>, <i>The Day is Done</i>.</div> - </div> - </div> -</div> - -<p class='c014'>The last line is a simile, but "the wings of night" -is metaphorical. "A simile," says Johnson, "to be -perfect, must both illustrate and ennoble the subject; -but either of these qualities may be sufficient to -recommend it."</p> - -<p class='c014'>Alliteration, when not overdone, is an exquisite -addition to the charm of verse. The Poet Laureate -thoroughly understands its value. Mr Swinburne -allows it too frequently to run riot. Edgar Allan Poe -carried it to extravagance. I select an example from -each:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"The moan of doves in immemorial elms,</div> - <div class='line'>And murmur of innumerable bees."</div> - <div class='c008'>—<i>Tennyson.</i></div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"The lilies and languors of virtue,</div> - <div class='line in3'>For the raptures and roses of vice."</div> - <div class='c008'>—<i>Swinburne, Dolores</i>.</div> - </div> - </div> -</div> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Come up through the lair of the lion</div> - <div class='line in3'>With love in her luminous eyes."</div> - <div class='c008'>—<i>Poe</i>, <i>Ulalume</i>.</div> - </div> - </div> -</div> - -<p class='c014'>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 elms. The alternation in -<span class='pageno' id='Page_51'>51</span>the others is only pleasing to the ear, and the artifice -in the last instance certainly is too obvious. 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 "m." In Poe's, -one is surprised to find the apparent excess of alliteration -is due to but four repetitions. But the "l's" are -identical with the strongest beats in the line, whereas -the "m's" in Tennyson's line are interspersed with -other letters at the beats. He uses this artifice more -frequently than those would suspect who have not -closely examined his poems, for he thoroughly -appreciates the truth of the maxim, <i>ars est celare -artem</i>. A few lines from "The Princess" will -illustrate this:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line in20'>"The baby that by us,</div> - <div class='line'>Half-lapt in glowing gauze and golden brede,</div> - <div class='line'>Lay like a new-fall'n meteor on the grass,</div> - <div class='line'>Uncared-for, spied its mother and began</div> - <div class='line'>A blind and babbling laughter, and to dance</div> - <div class='line'>Its body, and reach its falling innocent arms</div> - <div class='line'>And lazy ling'ring fingers."</div> - </div> - </div> -</div> - -<p class='c014'>Here a careful study will reveal alliteration within -alliteration, and yet the effect is perfect, for there is -no sign of labour.</p> - -<p class='c014'>Under this category may come, I think, a description -of the Rondeau—a poem of which the first few -words are repeated at the end. It was at one time -ruled to be of a certain number of lines, but the restriction -scarcely holds good now. The best rondeau in -the language is Leigh Hunt's:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='pageno' id='Page_52'>52</span>"Jenny kiss'd me when we met,</div> - <div class='line in2'>Jumping from the chair she sat in;</div> - <div class='line'>Time, you thief, who love to get</div> - <div class='line in2'>Sweets upon your list, put that in!</div> - <div class='line'>Say I'm weary, say I'm sad;</div> - <div class='line in2'>Say that health and wealth have miss'd me;</div> - <div class='line'>Say I'm growing old, but add—</div> - <div class='line in22'>Jenny kiss'd me!"</div> - </div> - </div> -</div> - -<p class='c014'>Elision must be used with a sparing hand. Generally -speaking, a vowel that is so slightly pronounced -that it can be elided, as in "temperance"—"temp'rance," -may just as well be left in, and accounted -for by managing to get the "quantity" to cover it. -Where it is too strongly pronounced, to cut it out is -to disfigure and injure the line, as in the substitution -of "wall'wing" for "wallowing." That elision is often -used unnecessarily may be seen in the frequency with -which, in reading verse, we—according to most -authorities—elide the "y" of "many"—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Full many a flower is doom'd to blush unseen."</div> - <div class='c008'>—<i>Gray.</i></div> - </div> - </div> -</div> - -<p class='c005'>Here we are told we elide the "y" of "many," and -some would replace "flower" by "flow'r." Yet to the -most sensitive ear these may receive, in reading, their -share of pronunciation, without damage to the flow of -the line, if the reader understands quantity. "To" -is often similarly "elided," as in—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Can he to a friend—to a son so bloody grow?"</div> - <div class='c008'>—<i>Cowley.</i></div> - </div> - </div> -</div> - -<p class='c014'>On the other hand, it is as well not to make too -frequent use of the accented "ed," as in "amazéd." -In "belovéd" and a few more words it is commonly -<span class='pageno' id='Page_53'>53</span>used, and does not, therefore, sound strange. In -others it gives a forced and botched air to the -verse.</p> - -<p class='c014'>In verse some latitude is allowed in arranging the -order of words in a sentence, but it must not be -indulged in too freely. A study of the style of our -best poets is the only means of learning what is allowable -and what is not; it is impossible to explain it -within the limits of this treatise. It may, however, -be laid down, as a first principle, that no change in -the order of words is admissible, if it gives rise to any -doubt as to their real meaning:—for example, if you -wish to say, "the dog bit the cat," although such an -inversion of construction as putting the objective -before, and the nominative after, the verb, is allowed -in verse, it is scarcely advisable to adopt it, and say, -"the cat bit the dog."</p> - -<div class='figcenter id002'> -<img src='images/i_053.jpg' alt='' class='ig001' /> -</div> -<div class='chapter'> - <span class='pageno' id='Page_54'>54</span> - <h2 class='c001'>CHAPTER VIII.<br /> <br />OF BURLESQUE AND COMIC VERSE, AND<br /><i>VERS DE SOCIÉTÉ</i>.</h2> -</div> -<p class='drop-capa0_6_0_4 c004'>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 essay, or that the -rules which govern it are more lax than those which -sway serious composition. The exact contrary is the -case. Comic or burlesque verse is ordinary verse -<i>plus</i> something. Ordinary verse may pass muster if -its manner be finished, but comic verse must have -some matter as well. Yet it does not on that account -claim any license in rhyme, for it lacks the gravity -and importance of theme which may at times, in -serious poetry, be pleaded as outweighing a faulty rhyme.</p> - -<p class='c014'>This style of writing needs skill in devising novel -and startling turns of rhyme, rhythm, or construction, -and can hardly be employed by those who do not -possess some articulate wit or humour—that is to say, -the power of expressing, not merely of appreciating, -those qualities.</p> - -<p class='c014'>A defective rhyme is a fault in serious verse—it is -a crime in comic. It is no sin to be ignorant of Greek -or Latin, but it is worse than a blunder, under such -<span class='pageno' id='Page_55'>55</span>circumstances, to quote them—and quote them incorrectly. -In the same way, one is not compelled to -write comic verse, but if he does write it, and cannot -do so correctly, he deserves severe handling.</p> - -<p class='c014'>One of the leading characteristics of this style is -dexterous rhyming—and the legerdemain must be -effected with genuine coin, not dumps. In the very -degree that clever composite rhyming assists in making -the verse sparkling and effective, it must bear the -closest scrutiny and analysation—must be real Moet, -not gooseberry.</p> - -<p class='c014'>All, then, that has been said with regard to serious -verse applies with double force to the lighter form of -<i>vers de société</i>. According to the definition of Mr -Frederick Locker, no mean authority, <i>vers de société</i> -should be "short, elegant, refined, and fanciful, not -seldom distinguished by chastened sentiment, and -often playful. The tone should not be pitched high; -it should be idiomatic, and rather in the conversational -key; the rhythm should be crisp and sparkling, and -the rhyme frequent, and never forced, while the entire -poem should be marked by tasteful moderation, high -finish, and completeness: <i>for however trivial the -subject-matter may be,—indeed, rather in proportion to -its triviality,—subordination to the rules of composition, -and perfection of execution, should be strictly enforced</i>."</p> - -<p class='c014'>Let me entreat the reader to bear that italicised -sentence in memory when writing any style of verse, -but most especially when he essays the comic or burlesque.</p> - -<p class='c014'>No precedent for laxity can be pleaded because the -<span class='pageno' id='Page_56'>56</span>poets who have at times indulged in such trifling, have -therein availed themselves of the licenses which they -originally took out for loftier writing. <i>Non semper -arcum tendit Apollo</i>, and the poet may be excused for -striking his lyre with careless fingers. But we, who do -not pretend to possess lyres, must be careful about the -fingering of our kits. Apollo's slackened bow offers -no precedent for the popgun of the poetaster.</p> - -<p class='c014'>As I have already said, much of the merit of this -style depends on the scintillations, so to speak, of its -rhymes. They must therefore be perfect. When -Butler wrote the much-quoted couplet:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"When pulpit, drum ecclesiastick,</div> - <div class='line in1'>Was beat with fist instead of a stick."</div> - </div> - </div> -</div> - -<p class='c015'>he was guilty of coupling "astick" and "a stick" -together as a rhyme, which they do not constitute. -But he who on that account claims privilege to commit -a similar offence, not only is guilty of the vanity of -demanding to be judged on the same level as Butler, -but is illogical. Two wrongs cannot constitute a -right, and all the bad rhyming in the world can be no -extenuation of a repetition of the offence.</p> - -<p class='c014'>The results of carelessness in such matters are but -too apparent! The slipshod that has been for so long -suffered to pass for comic verse, has brought the art into -disrepute. In the case of burlesque, this is even more -plainly discernible. It is held in so small esteem, that -people have come to forget that it boasts Aristophanes -as its founder! Halting measures, cockney rhymes, -and mere play on sound, instead of sense, in punning, -<span class='pageno' id='Page_57'>57</span>have gone near to being the death of what at its -worst was an amusing pastime, at its best was healthy -satire.</p> - -<p class='c014'>The purchase of half-a-dozen modern burlesques at -Mr Lacy's, will account for the declining popularity of -burlesque. <i>All</i> of them will be found defaced by defective -rhymes, and cockneyisms too common to provoke -a smile. In the majority of them the decasyllabic -metre will be found to range from six or eight -syllables to twelve or fourteen! Most bear the same -relation to real burlesque-writing, that the schoolboy's -picture of his master—a circle for head and four -scratches for arms and legs—bears to genuine caricature.</p> - -<p class='c014'>The most telling form of rhyme in comic versification -is the polysyllabic, and the greater the number of -assonant syllables in such rhymes the more effective -they prove. The excellence is co-extensive, however, -with the unexpectedness and novelty, and there is -therefore but small merit in such a polysyllabic -rhyme as—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"From Scotland's mountains down he came,</div> - <div class='line in1'>And straightway up to town he came."</div> - </div> - </div> -</div> - -<p class='c014'>This merely consists of the single rhymes "down" -and "town," with "he came" as a common affix. -Such polysyllables may be admitted here and there in -a long piece, but when they constitute the whole or -even a majority of the rhymes, the writer is imposing -on his readers. He is swelling his balance at his -banker's by adding noughts on the right hand of the -pounds' figure without paying in the cash.</p> - -<p class='c014'><span class='pageno' id='Page_58'>58</span>Another feature of this style of verse is the repetition -of rhymes. Open the "Ingoldsby Legends,"<a id='r17' /><a href='#f17' class='c006'><sup>[17]</sup></a> which -may be taken as the foundation of one school of comic -verse, and you will scarcely fail to light upon a succession -of rhymes, coming one after the other, like a -string of boys at leap-frog, as if the well-spring of -rhyme were inexhaustible.</p> - -<p class='c014'>Although punning scarcely comes within the scope -of this treatise, it may not be amiss to remind those -who may desire to essay comic verse, that a pun is a -double-<i>meaning</i>. It is not sufficient to get two words -that clink alike, or to torture by mispronunciation a -resemblance in sound between words or combinations -of words. There must be an echo in the sense—"a -likeness in unlikeness" in the idea.</p> - -<p class='c014'>Proper names should not be used as rhymes. The -only exception is in the case of any real individual of -note—a statesman, author, or actor, when to find a -telling rhyme to the name, a rhyme suggestive of the -habits or pursuits of the owner of that name, has -some merit, especially if the name be long and peculiar. -But to introduce an imaginary name for the -sake of a rhyme, is work that is too cheap to be good. -A child can write such rhyme as—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"A man of strict veracity</div> - <div class='line in1'>Was Peter James M'Assity."</div> - </div> - </div> -</div> - -<p class='c014'>In composite rhyming the greatest care should be -<span class='pageno' id='Page_59'>59</span>taken to see that each syllable after the first is -identical in sound in each line. In "use he was" and -"juicy was," the "h" destroys the rhyme, and the difference -in sound in the last syllable (however carelessly -pronounced) between such words as "oakum" -and "smoke 'em" has a similar disqualifying power. -It is scarcely necessary to refer to such inadmissible -couples as "protector" and "neglect her," "birching" -and "urchin," "oracle" and "historical."</p> - -<p class='c014'>One trick in rhyming is often very effective, but it -must not be put into force too often. In some instances, -however, it tells with great comical effect, by -affording a rhyme to a word which at first glance the -reader thinks it is impossible to rhyme. Canning, in -the "Anti-Jacobin," used it with ludicrous effect in -Rogero's song, and a few lines from that will illustrate -and explain the trick I allude to:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Here doom'd to starve on water gru-</div> - <div class='line in1'>-el, never shall I see the U-</div> - <div class='line in18'>-niversity of Gottingen!"</div> - </div> - </div> -</div> - -<p class='c014'>Here the division of the words "gruel" and "University" -has an extremely absurd effect. But the -artifice must be used sparingly, and those who employ -it must beware of one pitfall. The moiety of the word -which is carried over to begin the next line must be -considered as a fresh word occupying the first foot. -There is a tendency to overlook it, and count it as part -of the previous line, and that of course is a fatal error.</p> - -<p class='c014'>Parody may be considered as a form of comic versification. -It is not enough that a parody should be in -the same metre as the original poem it imitates. Nor -<span class='pageno' id='Page_60'>60</span>is it sufficient that the first line or so has such a similarity -as to suggest the original. In the best parodies -each line of the original has an echo in the parody, -and the words of the former are retained as far as -possible in the latter, or replaced by others very similar.</p> - -<p class='c014'>Another form of parody is the parody of style, when, -instead of selecting a particular poem to paraphrase, -we imitate, in verse modelled on the form he usually -adopts, the mannerisms of thought or expression for -which any particular writer is distinguished.</p> - -<p class='c014'>Examples of both kinds of parody will be found in -the "Rejected Addresses" of James and Horace Smith, -which should be studied together with Hood, Barham, -Wolcot, and Thackeray, by those who would read -the best models of humorous, comic, or burlesque -writing. I may add here that <i>vers de société</i> will -be best studied in the writings of Praed, Prior, and -Moore. From living writers it would be invidious to -single out any, either as models or warnings.</p> - -<div class='figcenter id002'> -<img src='images/i_060.jpg' alt='' class='ig001' /> -</div> -<div class='chapter'> - <span class='pageno' id='Page_61'>61</span> - <h2 class='c001'>CHAPTER IX.<br /> <br />OF SONG-WRITING.</h2> -</div> -<p class='drop-capa0_9_0_4 c004'>Although song-writing is one of the most -difficult styles of versification, it is now held -in but little repute, owing to the unfortunate -condition of the musical world in England. "Any -rubbish will do for music" is the maxim of the music-shopkeeper, -who is practically the arbiter of the art -now-a-days, and who has the interests, he is supposed -to represent, so little at heart that he would not scruple -to publish songs, consisting of "nonsense verses"—as -schoolboys call them,—set to music, 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 them.</p> - -<p class='c014'>Another reason why "any rubbish will do for -music" has passed into a proverb is, that few amateur -singers—and not too many professionals—understand -"phrasing." How rarely can one hear what the words -of a song are! Go to a "musical evening" and take -note, and you will see that, in nine cases out of ten, -when a new song has been sung, people take the piece -of music and look over the words. A song is like a -cherry, and ought not to require us to make two bites -at it.</p> - -<p class='c014'><span class='pageno' id='Page_62'>62</span>Nor is the injury inflicted on music due only to the -amount of rubbish which is made to do duty for songs. -The writings of our poets are ransacked for "words," -and accompaniments are manufactured to poems which -were never intended, and are absolutely unfitted, for -musical treatment. Then, because it is found that -poems are not to be converted into songs so easily -as people think, the cry is not merely that "any -rubbish will do for songs," but that "<i>only</i> rubbish -will do,"—a cry that is vigorously taken up by interested persons.</p> - -<p class='c014'>The truth lies between the two extremes. A peculiar -style of verse is required, marked by such characteristics, -and so difficult of attainment, that some of -our greatest poets—Byron for one—have failed as -song-writers. English literature reckons but few -really good song-writers. When you have named -Moore, Lover, Burns, and Barry Cornwall, you have -almost exhausted the list.</p> - -<p class='c014'>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-writing. The sum of what he says is, -that "the song being necessarily of brief compass, the -writer must have powers of condensation. He must -possess ingenuity in the management of metre. He -must frame it of open vowels, with as few guttural or -hissing sounds as possible, and he must be content -sometimes to sacrifice grandeur or vigour to the necessity -of selecting <i>singing</i> words and not <i>reading</i> ones." -He adds that "the simplest words best suit song, but -<span class='pageno' id='Page_63'>63</span>simplicity must not descend to baldness. There must -be a thought in the song, gracefully expressed, and it -must appeal either to the fancy or feelings, or both, -but rather by suggestion than direct appeal; and -philosophy and didactics must be eschewed."</p> - -<p class='c014'>He adduces Shelley, with his intense poetry and -exquisite sensitiveness to sweet sounds, as an instance -of a poet who failed to see the exact necessities of -song-writing, and gives a quotation from one of -Shelley's "songs" to prove this. The line is—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"The fresh earth in new leaves drest."</div> - </div> - </div> -</div> - -<p class='c015'>and he says very pertinently, "It is a sweet line, and -a pleasant image—but I defy any one to sing it: -<i>nearly every word shuts up the mouth instead of -opening it</i>." That last sentence is the key to song-writing. -I use the word song-writing in preference to -"lyrical writing," because "lyrical" has been warped -from its strict meaning, and applied to verse which -was not intended for music. It is not absolutely -necessary that a song-writer should have a practical -knowledge of music, but it is all the better if he have: -beyond doubt, Moore owed much of his success to his -possession of musical knowledge.</p> - -<div class='figcenter id002'> -<img src='images/i_063.jpg' alt='' class='ig001' /> -</div> - -<div> - <span class='pageno' id='Page_65'>65</span> - <h3 class='c021'>DICTIONARY OF RHYMES.</h3> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c002'> - <div><i>Explanation of Signs, etc.</i></div> - </div> -</div> - -<p class='c022'>† Words obsolete, antiquated, and rare.</p> - -<p class='c023'>* Provincialisms, or local terms.</p> - -<p class='c023'>§ Slang, vulgar, or commonplace words.</p> - -<p class='c023'>¶ Technical or unusual words.</p> - -<p class='c023'>|| Foreign words, naturalised to some extent.</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'><i>N.B.</i>—When under one termination other spellings occur,—<i>e.g.</i>, under</div> - <div class='line in4'>IRM, <i>term</i> and <i>worm</i>,—the reader should refer to them; <i>i.e.</i>,</div> - <div class='line in4'>ERM and ORM.</div> - </div> - </div> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c002'> - <div>A.</div> - </div> -</div> - -<p class='drop-capa0_9_0_3 c024'>There is an uncertainty, and therefore a -choice, as to the pronunciation of many words -ending in "a." Most are of classical or foreign -derivation, and hence may come under A1, or A2; -or perhaps even under a third sound, not exactly corresponding -with either, as for instance "Julia," which -is neither "Juli<i>ay</i>" nor "Juli<i>ah</i>" exactly. Here are -a few:—Angelica, Basilica, sciatica, area, Omega (?), -assafœtida, apocrypha, cyclopædia, regalia, paraphernalia, -battalia, aurelia, parabola, cupola, nebula, -phenomena, ephemera, amphora, plethora, etc.</p> - -<p class='c014'><span class='pageno' id='Page_66'>66</span>A1 (as "a," definite article<a id='r18' /><a href='#f18' class='c006'><sup>[18]</sup></a>), rhymes AY, EY, -EIGH, EH, appliqué and similar French words; but -A2 (as in "mamma"), rhymes AH, baa, ha, ah, la, -papa, mamma, huzza, psha.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AB, or ABB.</div> - </div> -</div> - -<p class='c005'>(As in "cab"), bab,§ cab, dab, Mab, gab,§ nab, -blab,§ crab, drab,§ scab, stab, shab,§ slab, St Abb. -(As in "squab"), see OB.§</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ABE.</div> - </div> -</div> - -<p class='c005'>Babe, astrolabe.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AC.</div> - </div> -</div> - -<p class='c005'>Rhymes ACK, zodiac, maniac, demoniac, ammoniac, -almanac, symposiac, hypochondriac, aphrodisiac, -crack, lac.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ACE.</div> - </div> -</div> - -<p class='c005'>Ace, dace, pace, face, lace, mace, race, brace, chace, -grace, place, Thrace, space, trace, apace, deface, efface, -disgrace, displace, misplace, embrace, grimace, interlace, -retrace, populace, carapace, base, case, abase, -debase, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ACH.</div> - </div> -</div> - -<p class='c005'>(As in "attach"), rhymes ATCH, attach, detach, -batch, match, etc. (As in "brach"), rhymes AC, ACK, -brach.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_67'>67</span>ACHE.</div> - </div> -</div> - -<p class='c005'>(As in "ache"), rhymes EAK, AKE, AQUE. (As -in "tache"), rhymes ASH, tache,† patache,† -panache.||</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ACK.</div> - </div> -</div> - -<p class='c005'>Back, brack,† hack, jack, lack, pack, quack, tack, -sack, rack, black, clack,§ crack, knack, slack, snack,§ -stack, track, wrack, attack, zodiac, demoniac, symposiac, -almanac, smack, thwack,§ arrack.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ACS.</div> - </div> -</div> - -<p class='c005'>Genethliacs, rhymes AX, ACKS, plural of nouns, or -third person singular present of verbs in ACK, AC.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ACT.</div> - </div> -</div> - -<p class='c005'>Act, fact, fract,† pact, tract, attract, abstract, extract, -compact, contract, subact, co-act, detract, distract, -exact, protract, enact, infract, subtract, transact, retract, -charact,§ re-act, cataract, counteract, the preterites -and participles of verbs in ACK.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AD, or ADD.</div> - </div> -</div> - -<p class='c005'>(As in "bad"), add, bad, dad,§ gad, fad,§ had, lad, -mad, pad, sad, brad, clad, glad, plaid (?), cad,§ chad,† -etc. (As in "wad"), rhymes OD, ODD, quad,¶ wad.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ADE.</div> - </div> -</div> - -<p class='c005'>Cade, fade, made, jade, lade, wade, blade, bade, -glade, shade, spade, trade, degrade, evade, dissuade, -<span class='pageno' id='Page_68'>68</span>invade, persuade, blockade, brigade, estrade, arcade, -esplanade, cavalcade, cascade, cockade, crusade, -masquerade, renegade, retrograde, serenade, gambade, -brocade, ambuscade, cannonade, pallisade, -rhodomontade,§ aid, maid, raid, braid, afraid, etc. -and the preterites and participles of verbs in AY, EY, -and EIGH. [The word "pomade" still retains the -French "ade," and rhymes with huzzaed, psha'd, baad.]</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ADGE.</div> - </div> -</div> - -<p class='c005'>Badge, cadge,§ fadge.§</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ADZE.</div> - </div> -</div> - -<p class='c005'>Adze, rhymes plural of nouns, or third person -singular present of verbs, in AD, ADD.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AEN.</div> - </div> -</div> - -<p class='c005'>Ta'en, rhymes AIN, ANE, AIGN, EIGN.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AFE.</div> - </div> -</div> - -<p class='c005'>Safe, chafe, vouchsafe, waif, nafe,† naif,|| etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AFF.</div> - </div> -</div> - -<p class='c005'>Gaff, chaff, draff, graff, quaff, staff, distaff, engraff, -epitaph, cenotaph, paragraph, laugh, half, calf. [Here -varieties of pronunciation interfere, some giving the -short vowel "chăff," others the long "chāff."]</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AFT.</div> - </div> -</div> - -<p class='c005'>Aft, haft, raft, daft,* waft, craft, shaft, abaft, graft, -<span class='pageno' id='Page_69'>69</span>draft, ingraft, handicraft, draught, and the preterites -and participles of verbs in AFF and AUGH, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AG.</div> - </div> -</div> - -<p class='c005'>Bag, cag, dag,† fag, gag, hag, jag, lag, nag, quag,* -rag, sag,† tag, wag, brag, crag, drag, flag, knag, shag, -snag, stag, swag,§ scrag,§ Brobdingnag.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AGD.</div> - </div> -</div> - -<p class='c005'>Smaragd,† preterites and participles of verbs in AG.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AGE.</div> - </div> -</div> - -<p class='c005'>Age, cage, gage, mage,† page, rage, sage, wage, -stage, swage, assuage, engage, disengage, enrage, presage, -appanage, concubinage, heritage, hermitage, -parentage, personage, parsonage, pasturage, patronage, -pilgrimage, villanage, equipage, and gauge.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AGM.</div> - </div> -</div> - -<p class='c005'>Diaphragm,¶ rhymes AM, AHM.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AGUE.</div> - </div> -</div> - -<p class='c005'>Plague, vague.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AHM.</div> - </div> -</div> - -<p class='c005'>Brahm,|| rhymes AM, AGM.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AH.</div> - </div> -</div> - -<p class='c005'>Ah, bah, pah, rhymes A.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AI.</div> - </div> -</div> - -<p class='c005'>Serai,|| almai,|| ai,|| papai,|| ay.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_70'>70</span>AIC</div> - </div> -</div> - -<p class='c005'>[Really, a dissyllable], haic,|| caic,|| alcaic,¶ saic.|| See AKE.</p> - -<p class='c005'>AID, see ADE and AD. AIGHT, see ATE. -AIGN, see ANE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AIL.</div> - </div> -</div> - -<p class='c005'>Bail, brail,¶ fail, grail,† hail, jail, mail, nail, -pail, quail, rail, sail, shail,† tail, wail, flail, frail, snail, -trail, assail, avail, detail, bewail, entail, prevail, aventail,† -wassail,† retail, countervail, curtail, Abigail,§ ale, -bale, dale, gale, hale, male, pale, sale, tale, vale, wale, -scale, shale, stale, swale,† whale, wale,† impale, exhale, -regale, veil, nightingale, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AIM, see AME.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AIN.</div> - </div> -</div> - -<p class='c005'>Cain, blain, brain, chain, fain, gain, grain, lain, main, -pain, rain, vain, wain, drain, plain, slain, Spain, stain, -swain, train, twain, sprain, strain, abstain, amain, -attain, complain, contain, constrain, detain, disdain, -distrain, enchain, entertain, explain, maintain, ordain, -pertain, obtain, refrain, regain, remain, restrain, retain, -sustain, appertain, thane,† Dane, bane, cane, -crane, fane, Jane, lane, mane, plane, vane, wane, profane, -hurricane, etc., deign, arraign, campaign, feign, -reign, vein, rein, skein, thegn,† etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AINST.</div> - </div> -</div> - -<p class='c005'>Against, rhymes abbreviated second person singular -<span class='pageno' id='Page_71'>71</span>present of verbs in AIN, ANE, AIGN, EIN, EIGN</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AIQUE.</div> - </div> -</div> - -<p class='c005'>Caique,|| see AIC.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AINT.</div> - </div> -</div> - -<p class='c005'>Ain't,§ mayn't,§ faint, plaint, quaint, saint, taint, -teint, acquaint, attaint, complaint, constraint, restraint, -distraint, feint.</p> - -<p class='c005'>AIR and AIRE, see ARE, EAR, EIR, AIR, -ERE, EER.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AIRD.</div> - </div> -</div> - -<p class='c005'>Laird,* rhymes preterites and participles of verbs in AIR, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AIRN.</div> - </div> -</div> - -<p class='c005'>Bairn,* cairn.*</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AISE, see AZE.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AISLE.</div> - </div> -</div> - -<p class='c005'>Aisle, see ILE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AIT, see ATE, EIGHT.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AITH.</div> - </div> -</div> - -<p class='c005'>Faith, wraith, rath,† baith.*</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AIZE, see AZE.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_72'>72</span>AK.</div> - </div> -</div> - -<p class='c005'>Dâk,|| rhymes ALK.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AKE.</div> - </div> -</div> - -<p class='c005'>Ake, bake, cake, hake, lake, make, quake, rake, -sake, take, wake, brake, drake, flake, shake, snake, -stake, strake,† spake,† awake, betake, forsake, mistake, -partake, overtake, undertake, bespake, mandrake, -break, steak, etc. See AIC.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AL.</div> - </div> -</div> - -<p class='c005'>Shall, pal,§ mall (?), sal, gal,§ fal-lal,§ cabal, canal, -animal, admiral, cannibal, capital, cardinal, comical, -conjugal, corporal, criminal, critical, festival, fineal, -funeral, general, hospital, interval, liberal, madrigal, -literal, magical, mineral, mystical, musical, natural, -original, pastoral, pedestal, personal, physical, poetical, -political, principal, prodigal, prophetical, rational, -satirical, reciprocal, rhetorical, several, temporal, tragical, -tyrannical, carnival, schismatical, whimsical, -arsenal, and many others.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ALD.</div> - </div> -</div> - -<p class='c005'>(As in "bald"), bald, scald, rhymes the preterites -and participles of verbs in ALL, AUL, and AWL. (As -in "emerald"), rhymes preterite and participle of -"cabal," etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ALE, see AIL.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ALF.</div> - </div> -</div> - -<p class='c005'>Calf, half, behalf, staff, laugh, epitaph, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_73'>73</span>ALK.</div> - </div> -</div> - -<p class='c005'>Balk, chalk, stalk, talk, walk, calk, dâk,|| baulk, -caulk, catafalque, hawk, auk.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ALL.</div> - </div> -</div> - -<p class='c005'>All, ball, call, gall, caul, haul, appal, enthral, bawl, -brawl, crawl, scrawl, sprawl,§ squall.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ALM, ALMS.</div> - </div> -</div> - -<p class='c005'>Calm, balm, becalm, psalm, palm, embalm, etc.; -plurals and third persons singular rhyme with ALMS, -as alms, calms, becalms, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ALP.</div> - </div> -</div> - -<p class='c005'>Scalp, Alp.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ALQUE.</div> - </div> -</div> - -<p class='c005'>Catafalque, see ALK.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ALSE.</div> - </div> -</div> - -<p class='c005'>False, valse.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ALT.</div> - </div> -</div> - -<p class='c005'>(As in "halt"), halt, malt, exalt, salt, vault, assault, -default, and fault. (As in "shalt"), asphalt, alt,¶ shalt.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ALVE.</div> - </div> -</div> - -<p class='c005'>(As in "calve"), calve, halve, salve. (As in -"valve"), valve, alve.†</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_74'>74</span>AM.</div> - </div> -</div> - -<p class='c005'>Am, dam, ham, pam,¶ ram, Sam, cram, dram, flam,§ -sham, swam, kam,† clam, epigram, anagram, damn, lamb.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AMB.</div> - </div> -</div> - -<p class='c005'>Lamb, jamb, oriflamb,† am, dam, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AME.</div> - </div> -</div> - -<p class='c005'>Blame, came, dame, same, flame, fame, frame, game, -lame, name, prame,|| same, tame, shame, inflame, became, -defame, misname, misbecame, overcame, aim, -claim, maim, acclaim, declaim, disclaim, exclaim, proclaim, -reclaim.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AMM.</div> - </div> -</div> - -<p class='c005'>Lamm,† see AM.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AMME.</div> - </div> -</div> - -<p class='c005'>Oriflamme,|| see AM.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AMN.</div> - </div> -</div> - -<p class='c005'>Damn, see AM.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AMP.</div> - </div> -</div> - -<p class='c005'>(As in "camp"), camp, champ, cramp, damp, stamp, -vamp,§ lamp, clamp, decamp, encamp, etc. (As in -"swamp"), swamp, pomp, romp.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_75'>75</span>AN.</div> - </div> -</div> - -<p class='c005'>(As in "ban"), ban, can, Dan, fan, man, Nan, pan, -ran, tan, van, bran, clan, plan, scan, span, than, unman, -foreran, began, trepan, courtesan, partisan, -artisan, pelican, caravan, shandydan,* barracan¶ (As -in "wan"), wan, swan, on, upon, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ANCE.</div> - </div> -</div> - -<p class='c005'>Chance, dance, glance, lance, trance, prance, intrance, -romance, advance, mischance, complaisance, -circumstance, countenance, deliverance, consonance, -dissonance, extravagance, ignorance, inheritance, -maintenance, temperance, intemperance, exorbitance, -ordinance, concordance, sufferance, sustenance, utterance, -arrogance, vigilance, expanse, enhance, France. -[Here the "ance" is pronounced differently by different -people, "ănce" and "ānce."]</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ANCH.</div> - </div> -</div> - -<p class='c005'>Branch, staunch, launch, blanch, haunch, paunch,§ ganch.*</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AND.</div> - </div> -</div> - -<p class='c005'>(As in "band"), and, band, hand, land, rand, sand, -brand, bland, grand, gland, stand, strand, command, -demand, countermand, disband, expand, withstand, -understand, reprimand, contraband, and preterites -and participles of verbs in AN. (As in "wand"), wand, -fond, bond, etc., and the preterites and participles of -verbs in ON.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_76'>76</span>ANE, see AIN.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ANG.</div> - </div> -</div> - -<p class='c005'>Bang, fang, gang, hang, pang, tang,§ twang, sang, -slang,§ rang, harangue, swang, stang,* lang,* chang,|| -clang.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ANGE.</div> - </div> -</div> - -<p class='c005'>Change, grange, range, strange, estrange, arrange, -exchange, interchange.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ANGUE.</div> - </div> -</div> - -<p class='c005'>Harangue, rhyme ANG.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ANK.</div> - </div> -</div> - -<p class='c005'>Yank,* bank, rank, blank, shank, clank, dank, drank, -slank, frank, spank,§ stank, brank,¶ hank, lank, plank, -prank, rank, thank, disrank, mountebank, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ANSE, see ANCE.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ANT.</div> - </div> -</div> - -<p class='c005'>(As in "ant"), ant, cant, chant, grant, pant, plant, -rant, slant, aslant, complaisant, displant, enchant, -gallant, implant, recant, supplant, transplant, absonant, -adamant, arrogant, combatant, consonant, cormorant, -protestant, significant, visitant, covenant, -dissonant, disputant, elegant, elephant, exorbitant, -conversant, extravagant, ignorant, insignificant, inhabitant, -militant, predominant, sycophant, vigilant, -petulant, etc. (As in "can't"), can't, shan't, aunt, -haunt, etc. (As in "want"), want, upon't, font.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_77'>77</span>AP.</div> - </div> -</div> - -<p class='c005'>(As in "cap"), cap, dap, gap, hap, lap, map, nap, -pap, rap, sap, tap, chap, clap, trap, fap,† flap, knap,§ -slap, snap, wrap, scrap, strap, enwrap, entrap, mishap, -affrap, mayhap, etc. (As in "swap"), swap, top, chop, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>APE.</div> - </div> -</div> - -<p class='c005'>Ape, cape, shape, grape, rape, scape, scrape, escape, -nape, chape,† trape,† jape,§ crape, tape, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>APH, see AFF.</div> - </div> -</div> - -<p class='c005'>APSE.</p> - -<p class='c005'>Apse,¶ lapse, elapse, relapse, perhaps, and the -plurals of nouns and third persons singular present -tense of verbs in AP.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>APT.</div> - </div> -</div> - -<p class='c005'>Apt, adapt, etc. Rhymes, the preterites and participles -of verbs in AP.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AQUE.</div> - </div> -</div> - -<p class='c005'>Opaque, plaque,¶ make, ache, break.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AR.</div> - </div> -</div> - -<p class='c005'>(As in "bar"), rhymes Czar,|| bar, car, far, jar, mar, -par, tar, spar, scar, star, char, afar, debar, petar,§ unbar, -catarrh, particular, perpendicular, secular, angular, -regular, popular, singular, titular, vinegar, scimetar, -calendar, avatar,|| cinnabar, caviare,|| are. (As in -"war"), rhymes for, and perhaps bore, pour, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_78'>78</span>ARB.</div> - </div> -</div> - -<p class='c005'>Barb, garb, rhubarb, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ARCE.</div> - </div> -</div> - -<p class='c005'>Farce, parse, sarse,† sparse. ["Scarce" has no rhyme.]</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ARCH.</div> - </div> -</div> - -<p class='c005'>(As in "march"), arch, march, larch, parch, starch, -countermarch, etc. (As in "hierarch"), hierarch, -heresiarch, park, ark, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ARD.</div> - </div> -</div> - -<p class='c005'>(As in "bard"), bard, card, guard, hard, lard, nard, -shard, yard, basilard,† bombard, discard, regard, -interlard, retard, disregard, etc., and the preterites and -participles of verbs in AR. (As in "ward"), ward, -sward, afford, restored, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ARE.</div> - </div> -</div> - -<p class='c005'>(As in "bare"), rhymes care, dare, fare, gare,† hare, -mare, pare, tare, ware, flare, glare, scare, share, -snare, spare, square, stare, sware, yare,† prepare, -aware, beware, compare, declare, ensnare, air, vair,¶ -fair, hair, lair, pair, chair, stair, affair, debonnair, -despair, impair, glaire, repair, etc.; bear, pear, swear, -tear, wear, forbear, forswear, etc.; there, were, where, -ere, e'er, ne'er, elsewhere, whate'er, howe'er, howsoe'er, -whene'er, where'er, etc,; heir, coheir, their. (As in -"are"), rhymes AR.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_79'>79</span>ARES.</div> - </div> -</div> - -<p class='c005'>Unawares. Rhymes, theirs, and the plurals of nouns -and third persons singular of verbs in are, air, eir, -ear.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ARF.</div> - </div> -</div> - -<p class='c005'>Dwarf, wharf.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ARGE.</div> - </div> -</div> - -<p class='c005'>Barge, charge, large, marge, targe,† discharge, o'er-charge, -surcharge, enlarge.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ARK.</div> - </div> -</div> - -<p class='c005'>Ark, bark, cark,† clark, dark, lark, mark, park, -chark,† shark, spark, stark, embark, remark, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ARL.</div> - </div> -</div> - -<p class='c005'>Carl,† gnarl, snarl, marl, harl,¶ parle.†</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ARM.</div> - </div> -</div> - -<p class='c005'>(As in "arm"), arm, barm, charm, farm, harm, -alarm, disarm. (As in "warm"), warm, swarm, storm, -etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ARN.</div> - </div> -</div> - -<p class='c005'>(As in "barn"), barn, yarn, etc. (As in "warn"), -warn, forewarn, horn, morn, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ARP.</div> - </div> -</div> - -<p class='c005'>(As in "carp"), carp, harp, sharp, counterscarp, etc. -(As in "warp"), warp, thorp,* etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_80'>80</span>ARRH.</div> - </div> -</div> - -<p class='c005'>Catarrh, bar, jar.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ARSE, see ARCE.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ARSH.</div> - </div> -</div> - -<p class='c005'>Harsh, marsh, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ART.</div> - </div> -</div> - -<p class='c005'>(As in "art"), heart, art, cart, dart, hart, mart, part, -smart, tart, start, apart, depart, impart, dispart, counterpart. -(As in "wart"), wart, thwart, quart, swart, -port, fort, court, short, retort, sport, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ARTH.</div> - </div> -</div> - -<p class='c005'>Swarth, forth, north.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ARVE.</div> - </div> -</div> - -<p class='c005'>Carve, starve.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AS.</div> - </div> -</div> - -<p class='c005'>(As in "was"), was, 'cos,§ poz.§ (As in "gas"), gas, -lass, ass, alias. (As in "has"), has, as.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ASE, see ACE.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ASH.</div> - </div> -</div> - -<p class='c005'>(As in "ash"), ash, cash, dash, clash, crash, flash, -gash, gnash, hash, lash, plash, bash,† pash,† brash,† -rash, thrash, slash, trash, abash, etc. (As in "wash"), -wash, bosh,§ squash,§ quash,¶ swash.†</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_81'>81</span>ASK.</div> - </div> -</div> - -<p class='c005'>Ask, task, task, cask, flask, mask, hask.†</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ASM.</div> - </div> -</div> - -<p class='c005'>Chasm, spasm, miasm, enthusiasm, cataplasm, phantasm.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ASP.</div> - </div> -</div> - -<p class='c005'>Asp, clasp, rasp, gasp, grasp, hasp, wasp (?).</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ASQUE.</div> - </div> -</div> - -<p class='c005'>Casque, mask, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ASS.</div> - </div> -</div> - -<p class='c005'>Ass, brass, class, grass, lass, mass, pass, alas, amass, -cuirass, repass, surpass, morass, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AST.</div> - </div> -</div> - -<p class='c005'>(As in "cast"), cast, last, blast, mast, past, vast, -fast, aghast, avast,¶ forecast, overcast, outcast, repast, -the preterites and participles of verbs in ASS. (As in -"wast"), wast, tost, lost, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ASTE.</div> - </div> -</div> - -<p class='c005'>Baste, chaste, haste, paste, taste, waste, distaste, -waist, and the preterites and participles of verbs in ACE, ASE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AT.</div> - </div> -</div> - -<p class='c005'>(As in "at"), at, bat, cat, hat, fat, mat, pat, rat, sat, -tat, vat, brat, chat, flat, lat, sprat, that, gnat. (As in -"what"), what, spot, not, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_82'>82</span>ATCH.</div> - </div> -</div> - -<p class='c005'>(As in "catch"), catch, match, hatch, latch, patch, -scratch, smatch, snatch, despatch, ratch,† slatch,¶ -swatch, attach, thatch. (As in "watch"), watch, -botch,§ Scotch.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ATE.</div> - </div> -</div> - -<p class='c005'>Bate, date, fate, gate, grate, hate, mate, pate,§ plate, -prate, rate, sate, state, scate,† slate, abate, belate, collate, -create, debate, elate, dilate, estate, ingrate, innate, rebate,¶ -relate, sedate, translate, abdicate, abominate, -abrogate, accelerate, accommodate, accumulate, accurate, -adequate, affectionate, advocate, adulterate, aggravate, -agitate, alienate, animate, annihilate, antedate, -anticipate, antiquate, arbitrate, arrogate, articulate, -assassinate, calculate, capitulate, captivate, celebrate, -circulate, coagulate, commemorate, commiserate, communicate, -compassionate, confederate, congratulate, -congregate, consecrate, contaminate, corroborate, cultivate, -candidate, co-operate, celibate, considerate, -consulate, capacitate, debilitate, dedicate, degenerate, -delegate, deliberate, denominate, depopulate, dislocate, -deprecate, discriminate, derogate, dissipate, delicate, -disconsolate, desolate, desperate, educate, effeminate, -elevate, emulate, estimate, elaborate, equivocate, eradicate, -evaporate, exaggerate, exasperate, expostulate, -exterminate, extricate, facilitate, fortunate, generate, -gratulate, hesitate, illiterate, illuminate, irritate, imitate, -immoderate, impetrate, importunate, imprecate, inanimate, -innovate, instigate, intemperate, intimate, -intimidate, intoxicate, intricate, invalidate, inveterate, -<span class='pageno' id='Page_83'>83</span>inviolate, legitimate, magistrate, meditate, mitigate, -moderate, necessitate, nominate, obstinate, participate, -passionate, penetrate, perpetrate, personate, potentate, -precipitate, predestinate, predominate, premeditate, -prevaricate, procrastinate, profligate, prognosticate, -propagate, recriminate, regenerate, regulate, reiterate, -reprobate, reverberate, ruminate, separate, sophisticate, -stipulate, subjugate, subordinate, suffocate, terminate, -titivate,§ tolerate, vindicate, violate, unfortunate, bait, -strait, waite, await, great, tête-à-tête, eight,|| weight, -straight. [Ate (from "cat") rhymes "yet."]</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ATH.</div> - </div> -</div> - -<p class='c005'>(As in "bath"), bath, path, swath,* wrath. (As in -"hath"), hath, aftermath. (As in "rath"), rath, faith, -etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ATHE.</div> - </div> -</div> - -<p class='c005'>Bathe, swathe, rathe,† scathe.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AUB.</div> - </div> -</div> - -<p class='c005'>Daub, kebaub,|| Punjaub.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AUD.</div> - </div> -</div> - -<p class='c005'>Fraud, laud, applaud, defraud, broad, abroad, and -the preterites and participles of verbs in AW, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AUGH.</div> - </div> -</div> - -<p class='c005'>(As in "laugh"), laugh, quaff, etc. (As in "usquebaugh"), -usquebaugh,* law, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_84'>84</span>AUGHT.</div> - </div> -</div> - -<p class='c005'>(As in "draught"), draught, quaffed, etc. (As in -"caught"), caught, ought, taut, haught,§ etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AUK.</div> - </div> -</div> - -<p class='c005'>Auk, squauk,§ chalk, hawk, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AULM.</div> - </div> -</div> - -<p class='c005'>Haulm, shawm.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AULK.</div> - </div> -</div> - -<p class='c005'>Caulk, see ALK.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AULT, see ALT</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AUN.</div> - </div> -</div> - -<p class='c005'>Aun,† shaun,* lawn, prawn, dawn, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AUNCH, see ANCH.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AUND.</div> - </div> -</div> - -<p class='c005'>Maund,* preterites and participles of verbs in AWN.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AUNCE.</div> - </div> -</div> - -<p class='c005'>Askaunce, romance, glance, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AUNT.</div> - </div> -</div> - -<p class='c005'>Aunt, daunt, gaunt, haunt, jaunt, taunt, vaunt, avaunt, -shan't, can't, slant, aslant.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AUR.</div> - </div> -</div> - -<p class='c005'>Bucentaur,|| before, explore, soar.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_85'>85</span>AUSE.</div> - </div> -</div> - -<p class='c005'>Cause, pause, clause, applause, because, the plurals -of nouns and third persons singular of verbs in AW.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AUST.</div> - </div> -</div> - -<p class='c005'>Holocaust, frost, cost.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AUZE.</div> - </div> -</div> - -<p class='c005'>Gauze, cause, laws, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AVE.</div> - </div> -</div> - -<p class='c005'>Cave, brave, gave, grave, crave, lave, nave, knave, -pave, rave, save, shave, slave, stave, wave, behave, -deprave, engrave, outbrave, forgave, misgave, architrave. -["Have" is without a rhyme.]</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AW.</div> - </div> -</div> - -<p class='c005'>Craw, daw, law, chaw,§ claw, draw, flaw, gnaw, jaw, -maw, paw, raw, saw, scraw,† shaw, straw, thaw, withdraw, -foresaw, usquebaugh.*</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AWD, see AUD. AWK, see ALK.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AWL.</div> - </div> -</div> - -<p class='c005'>Bawl, brawl, drawl, crawl, scrawl, sprawl, squaul,§ -ball, call, fall, gall, small, hall, pall, tall, wall, stall, -install, forestall, thrall, inthrall.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AWM.</div> - </div> -</div> - -<p class='c005'>Shawm, see AULM.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AWN.</div> - </div> -</div> - -<p class='c005'>Dawn, brawn, fawn, pawn, spawn, drawn, yawn, -awn, withdrawn.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_86'>86</span>AX.</div> - </div> -</div> - -<p class='c005'>Ax, tax, lax, pax,¶ wax, relax, flax, the plurals of -nouns and third persons singular of verbs in ACK.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AY.</div> - </div> -</div> - -<p class='c005'>Bray, clay, day, dray, tray, flay, fray, gay, hay, jay, -lay, may, nay, pay, play, ray, say, way, pray, spray, -slay, stay, stray, sway, tway,† fay,† affray, allay, -array, astray, away, belay,¶ bewray, betray, decay, -defray, delay, disarray, display, dismay, essay, forelay, -gainsay, inlay, relay, repay, roundelay, Twankay,|| -virelay, neigh, weigh, inveigh, etc.; prey, they, convey, -obey, purvey, survey, disobey, grey, aye, denay.†</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>AZE.</div> - </div> -</div> - -<p class='c005'>Craze, draze, blaze, gaze, glaze, raze, maze, amaze, -graze, raise, praise, dispraise, phrase, paraphrase, etc., -and the nouns plural and third persons singular of the -present tense of verbs in AY, EIGH, and EY.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>E.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>E, see EE.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>CRE. CHRE, TRE.</div> - </div> -</div> - -<p class='c005'>Sepulchre, massacre, theatre, stir, err, fur, myrrh, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EA.</div> - </div> -</div> - -<p class='c005'>(As in "sea"), sea, see, free, etc. (As in "yea"), -yea, way, obey, neigh, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EACE, see EASE.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EACH.</div> - </div> -</div> - -<p class='c005'>Beach, breach, bleach, each, peach, preach, teach, -impeach, beech, leech, speech, beseech.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_87'>87</span>EAD.</div> - </div> -</div> - -<p class='c005'>(As in "bread"), bread, shed, wed, dead, etc. (As -in "read"), read, secede, feed, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EAF.</div> - </div> -</div> - -<p class='c005'>(As in "sheaf"), rhymes IEF. (As in "deaf"), rhymes EF.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EAGUE.</div> - </div> -</div> - -<p class='c005'>League, Teague, etc., intrigue, fatigue, renege,§ etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EAK.</div> - </div> -</div> - -<p class='c005'>(As in "beak"), beak, speak, bleak, creak, freak, -leak, peak, sneak,§ squeak, streak, weak, tweak,§ -wreak, bespeak, cheek, leek, eke,† creek, meek, reek, -seek, sleek, pique,|| week, shriek. (As in "break"), -break, take, sake, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EAL.</div> - </div> -</div> - -<p class='c005'>Deal, heal, reveal, meal, peal, seal, steal, teal, veal, -weal, squeal,§ leal,* zeal, repeal, conceal, congeal, -repeal, anneal, appeal, wheal,* eel, heel, feel, keel, -kneel, peel, reel, steal, wheel. [Real is a dissyllable, -and therefore does not count here.]</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EALD.</div> - </div> -</div> - -<p class='c005'>Weald,* see IELD.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EALM.</div> - </div> -</div> - -<p class='c005'>Realm, elm, whelm.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_88'>88</span>EALTH.</div> - </div> -</div> - -<p class='c005'>Health, wealth, stealth, commonwealth, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EAM.</div> - </div> -</div> - -<p class='c005'>Bream, cream, gleam, seam, scream, stream, team, -beam, dream, enseam,† scheme, theme, blaspheme, -extreme, supreme, deem, teem, beseem, misdeem, -esteem, disesteem, redeem, seem, beteem,† etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EAMT.</div> - </div> -</div> - -<p class='c005'>Dreamt, exempt, attempt, empt,† etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EAN.</div> - </div> -</div> - -<p class='c005'>Bean, clean, dean, glean, lean, mean, wean, yean, -demean, unclean, convene, demesne, intervene, mien, -hyen,† machine, keen, screen, seen, skean,† green, -spleen, between, careen, teen,† foreseen, serene, obscene, -terrene, queen, spleen, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EANS.</div> - </div> -</div> - -<p class='c005'>Means, rhymes plural of nouns, and third persons -singular present of verbs, in EAN, EEN, ENE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EANSE.</div> - </div> -</div> - -<p class='c005'>Cleanse, plural of nouns, and third person singular -present of verbs, in EN.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EANT, see ENT. EAP, see EEP. EAR see EER and AIR.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EARCH.</div> - </div> -</div> - -<p class='c005'>Search, perch, research, church, smirch,† etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_89'>89</span>EARD.</div> - </div> -</div> - -<p class='c005'>(As in "heard"), heard, herd, sherd,† etc., the preterites -and participles of verbs in ER, UR, etc. (As -in "beard"), beard, feared, revered, weird, preterites -and participles of verbs in EAR, ERE, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EARL.</div> - </div> -</div> - -<p class='c005'>Earl, pearl, girl, curl,† churl, whirl, purl,§ furl, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EARN, see ERN. EARSE, see ERSE. EART, see ART.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EARTH.</div> - </div> -</div> - -<p class='c005'>Earth, dearth, birth, mirth, worth, Perth, berth, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EASE (sounded EACE. For hard "s," see EEZE).</div> - </div> -</div> - -<p class='c005'>Cease, lease, release, grease, decease, decrease, -increase, release, surcease, peace, piece, niece, fleece, -geese, frontispiece, apiece, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EAST.</div> - </div> -</div> - -<p class='c005'>East, feast, least, beast, priest, the preterites and -participles of verbs in EASE (sounded EACE).</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EAT.</div> - </div> -</div> - -<p class='c005'>(As in "bleat"), bleat, eat, feat, heat, meat, neat, seat, -treat, wheat, beat, cheat, defeat, estreat, escheat, entreat, -retreat, obsolete, replete, concrete, complete, feet, fleet, -greet, meet, sheet, sleet, street, sweet, discreet. (As in -"great"), great, hate, bate, wait, tête.||</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_90'>90</span>EATH.</div> - </div> -</div> - -<p class='c005'>(As in "breath"), breath, death, saith, Elizabeth, -etc., and antiquated third person singular present, -accented on the antipenult, <i>e.g.</i>, "encountereth." (As -in "heath"), heath, sheath, teeth, wreath, beneath.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EATHE.</div> - </div> -</div> - -<p class='c005'>Breathe, sheathe, wreathe, inwreathe, bequeathe, seethe, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EAU.</div> - </div> -</div> - -<p class='c005'>Beau,|| bureau,|| though, go, show, doe, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EAVE.</div> - </div> -</div> - -<p class='c005'>Cleave, heave, interweave, leave, weave, bereave, -inweave, receive, conceive, deceive, perceive, eve, -grieve, sleeve, thieve, aggrieve, achieve, believe, disbelieve, -relieve, reprieve, retrieve.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EB, and EBB.</div> - </div> -</div> - -<p class='c005'>Web, neb,* ebb, bleb,† etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ECK, and EC.</div> - </div> -</div> - -<p class='c005'>Beck, peck, neck, check, fleck, deck, speck, wreck, -hypothec,|| spec,§ geck.§</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EKS.</div> - </div> -</div> - -<p class='c005'>I'fecks,§ third person singular of verbs and plural -of nouns in ECK.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_91'>91</span>ECT.</div> - </div> -</div> - -<p class='c005'>Sect, affect, correct, incorrect, collect, deject, detect, -direct, disrespect, disaffect, dissect, effect, elect, eject, -erect, expect, indirect, infect, inspect, neglect, object, -project, protect, recollect, reflect, reject, respect, select, -subject, suspect, architect, circumspect, direct, intellect, -the preterites and participles of verbs in ECK, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ED.</div> - </div> -</div> - -<p class='c005'>Bed, bled, fed, fled, bred, Ted, red, shred, shed, sped, -wed, abed, inbred, misled, said, bread, dread, dead, -head, lead, read, spread, thread, tread, behead, o'erspread, -and the preterites and participles of verbs, -which, when the "éd" (pronounced) is added, have -the accent on the antepenultimate [<i>e.g.</i>, vanishéd; but -see Chap. VIII.]</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EDE.</div> - </div> -</div> - -<p class='c005'>Glede, rede,† brede,† discede, see EED, EAD.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EDGE.</div> - </div> -</div> - -<p class='c005'>Edge, wedge, fledge, hedge, ledge, pledge, sedge, -allege, kedge,¶ privilege, sacrilege, sortilege, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EE.</div> - </div> -</div> - -<p class='c005'>Bee, free, glee, knee, see, three, thee, tree, agree, -decree, degree, disagree, flee, foresee, o'ersee, pedigree, -he, me, we, she, be, jubilee, lee, ne,† sea, plea, -flea, tea, key, cap-à-pie,|| gree,† dree,† calipee.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_92'>92</span>EECE, see EASE. EECH, see EACH.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EED.</div> - </div> -</div> - -<p class='c005'>Creed, deed, indeed, bleed, breed, feed, heed, meed, -need, reed, speed, seed, steed, weed, proceed, succeed, -exceed, knead, read, intercede, precede, recede, concede, -impede, supersede, bead, lead, mead, plead, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EEF, see IEF. EEK, see EAK. EEL, see EAL.</div> - <div>EEM, see EAM. EEN, see EAN.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EEP.</div> - </div> -</div> - -<p class='c005'>Creep, deep, sleep, keep, peep, sheep, steep, sweep, -weep, asleep, cheap, heap, neap,¶ etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EER.</div> - </div> -</div> - -<p class='c005'>(As in "beer"), beer, deer, fleer,† geer, jeer, peer, -mere, leer, sheer, steer, sneer, cheer, veer, pickeer, -domineer, cannoneer, compeer, engineer, mutineer, -pioneer, privateer, charioteer, chanticleer, career, -mountaineer, fere,† here, sphere, adhere, cohere, interfere, -persevere, revere, austere, severe, sincere, -hemisphere, &c.; ear, clear, dear, fear, here, near, -sear, smear, spear, tear, rear, year, appear, besmear, -bandolier,† disappear, endear, auctioneer. (As in -"e'er"), ne'er, ARE, AIR, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EESE, see EEZE. EET, see EAT. EETH, see</div> - <div>EATH. EETHE, see EATHE. EEVE, see EAVE.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_93'>93</span>EEVES.</div> - </div> -</div> - -<p class='c005'>Eeaves, rhymes plural of nouns, and third person -singular present of verbs in EEVE, IEVE, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EEZE.</div> - </div> -</div> - -<p class='c005'>Breeze, freeze, wheeze, sneeze, squeeze, and the -plurals of nouns and third persons singular present -tense of verbs in EE, cheese, leese,† these, ease, appease, -disease, displease, tease, seize, etc., and the -plurals of nouns in EA, EE, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EF.</div> - </div> -</div> - -<p class='c005'>Clef,¶ nef,† semibref,¶ kef,|| deaf, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EFT.</div> - </div> -</div> - -<p class='c005'>Cleft, left, theft, weft, bereft, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EG, and EGG.</div> - </div> -</div> - -<p class='c005'>Egg, leg, beg, peg, Meg, keg.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EGE.</div> - </div> -</div> - -<p class='c005'>Renege,§ see EAGUE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EGM.</div> - </div> -</div> - -<p class='c005'>Phlegm, apothegm, parapegm, diadem, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EGN.</div> - </div> -</div> - -<p class='c005'>Thegn,|| vain, mane, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EH.</div> - </div> -</div> - -<p class='c005'>Eh? rhymes A, AY, EY, EIGH.</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>EIGH, see AY. EIGHT, see ATE and ITE. EIGN,</div> - <div class='line'>see AIN. EIL, see EEL and AIL. EIN, see</div> - <div class='line'>AIN. EINT, see AINT. EIR, see ARE.</div> - </div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_94'>94</span>EIRD.</div> - </div> -</div> - -<p class='c005'>Weird, see EARD.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EIT, see EAT. EIVE, see EAVE. EIZE,</div> - </div> -</div> - -<p class='c005'>see EEZE. EKE, see EAK.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EL, and ELL.</div> - </div> -</div> - -<p class='c005'>Ell, dwell, fell, hell, knell, quell, sell, bell, cell, mell,† -dispel, foretell, excel, compel, befell, yell, well, tell, -swell, spell, smell, shell, parallel, sentinel, infidel, -citadel, refel, repel, rebel, impel, expel, asphodel, -petronel,† calomel, muscatel.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ELD.</div> - </div> -</div> - -<p class='c005'>Held, geld, withheld, upheld, beheld, eld,§ etc., the -preterites and participles of verbs in EL, ELL.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ELF.</div> - </div> -</div> - -<p class='c005'>Elf, delf, pelf,§ self, shelf, himself, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ELK.</div> - </div> -</div> - -<p class='c005'>Elk, kelk,† whelk, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ELM.</div> - </div> -</div> - -<p class='c005'>Elm, helm, realm, whelm, overwhelm, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ELP.</div> - </div> -</div> - -<p class='c005'>Help, whelp, kelp,* yelp, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ELT.</div> - </div> -</div> - -<p class='c005'>Belt, gelt,|| melt, felt, welt,¶ smelt, pelt, dwelt, dealt.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_95'>95</span>ELVE.</div> - </div> -</div> - -<p class='c005'>Delve, helve, shelve, twelve, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ELVES.</div> - </div> -</div> - -<p class='c005'>Elves, themselves, etc., the plurals of nouns and -third persons singular of verbs in ELVE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EM.</div> - </div> -</div> - -<p class='c005'>Gem, hem, stem, them, diadem, stratagem, anadem, -kemb,† phlegm, condemn, contemn, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EME, see EAM.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EMN.</div> - </div> -</div> - -<p class='c005'>Condemn, contemn, gem, hem, them. See EM, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EMPT.</div> - </div> -</div> - -<p class='c005'>Tempt, exempt, attempt, contempt, dreamt.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EN.</div> - </div> -</div> - -<p class='c005'>Den, hen, fen, ken, men, pen, ten, then, when, wren, -denizen. [Hyen§ rhymes EEN.]</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ENCE.</div> - </div> -</div> - -<p class='c005'>Fence, hence, pence, thence, whence, defence, expense, -offence, pretence, commence, abstinence, circumference, -conference, confidence, consequence, -continence, benevolence, concupiscence, difference, -diffidence, diligence, eloquence, eminence, evidence, -excellence, impenitence, impertinence, impotence, impudence, -improvidence, incontinence, indifference, -<span class='pageno' id='Page_96'>96</span>indigence, indolence, inference, intelligence, innocence, -magnificence, munificence, negligence, omnipotence, -penitence, preference, providence, recompense, reference, -residence, reverence, vehemence, violence, sense, -dense, cense, condense, immense, intense, propense, -dispense, suspense, prepense, incense, frankincense.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ENCH.</div> - </div> -</div> - -<p class='c005'>Bench, drench, retrench, quench, clench, stench, -tench, trench, wench, wrench, intrench, blench.†</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>END.</div> - </div> -</div> - -<p class='c005'>Bend, mend, blend, end, fend,† lend, rend, send, -spend, tend, vend, amend, attend, ascend, commend, -contend, defend, depend, descend, distend, expend, -extend, forefend, impend, mis-spend, obtend, offend, -portend, pretend, protend, suspend, transcend, unbend, -apprehend, comprehend, condescend, discommend, recommend, -reprehend, dividend, reverend, friend, befriend, -and the preterites and participles of verbs in EN, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ENDS.</div> - </div> -</div> - -<p class='c005'>Amends, the plurals of nouns and third persons -singular present tense of verbs in END.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ENE, see EAN.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ENGE.</div> - </div> -</div> - -<p class='c005'>Avenge, revenge, no rhyme.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_97'>97</span>ENGTH.</div> - </div> -</div> - -<p class='c005'>Length, strength, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ENS.</div> - </div> -</div> - -<p class='c005'>Lens, plural of nouns, and third person singular -present of verbs, in EN.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ENT</div> - </div> -</div> - -<p class='c005'>Bent, lent, rent, pent, scent, sent, shent,† spent, tent, -vent, went, blent, cement, brent,† hent,† absent, -meant, ascent, assent, attent, augment, cement, content, -consent, descent, dissent, event, extent, foment, -frequent, indent, intent, invent, lament, mis-spent, -o'erspent, present, prevent, relent, repent, resent, -ostent, ferment, outwent, underwent, discontent, unbent, -circumvent, represent, abstinent, accident, -accomplishment, admonishment, acknowledgment, -aliment, arbitrement, argument, banishment, battlement, -blandishment, astonishment, armipotent, bellipotent, -benevolent, chastisement, competent, complement, -compliment, confident, continent, corpulent, -detriment, different, diligent, disparagement, document, -element, eloquent, eminent, equivalent, establishment, -evident, excellent, excrement, exigent, experiment, firmament, -fraudulent, government, embellishment, imminent, -impenitent, impertinent, implement, impotent, -imprisonment, improvident, impudent, incident, incompetent, -incontinent, indifferent, indigent, innocent, -insolent, instrument, irreverent, languishment, ligament, -lineament, magnificent, management, medicament, -<span class='pageno' id='Page_98'>98</span>malecontent, monument, negligent, nourishment, -nutriment, occident, omnipotent, opulent, ornament, -parliament, penitent, permanent, pertinent, president, -precedent, prevalent, provident, punishment, ravishment, -regiment, resident, redolent, rudiment, sacrament, -sediment, sentiment, settlement, subsequent, -supplement, intelligent, tenement, temperament, testament, -tournament, turbulent, vehement, violent, virulent, reverent.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ENTS.</div> - </div> -</div> - -<p class='c005'>Accoutrements, the plurals of nouns and third persons -singular present tense of verbs in ENT.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EP.</div> - </div> -</div> - -<p class='c005'>Step, nep, skep,* rep, demirep,§ etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EPE.</div> - </div> -</div> - -<p class='c005'>Clepe,† keep, reap, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EPT.</div> - </div> -</div> - -<p class='c005'>Accept, adept, except, intercept, crept, sept,* slept, -wept, kept, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ER, and ERR.</div> - </div> -</div> - -<p class='c005'>Her, sir, fir, burr, cur, err, aver, defer, infer, deter, -inter, refer, transfer, confer, prefer, whirr, administer, -waggoner, islander, arbiter, character, villager, -cottager, dowager, forager, pillager, voyager, massacre, -gardener, slanderer, flatterer, idolater, provender, -theatre, amphitheatre, foreigner, lavender, -messenger, passenger, sorcerer, interpreter, officer, -<span class='pageno' id='Page_99'>99</span>mariner, harbinger, minister, register, canister, -chorister, sophister, presbyter, lawgiver, philosopher, -artrologer, loiterer, prisoner, grasshopper, astronomer, -sepulchre, thunderer, traveller, murderer, usurer.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ERCH, see EARCH. ERCE, see ERSE. IERCE,</div> - <div>see ERSE. ERD, see EARD. ERE, see EER.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ERF.</div> - </div> -</div> - -<p class='c005'>Serf, turf, surf, scurf, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ERGE.</div> - </div> -</div> - -<p class='c005'>Verge, absterge,† emerge, immerge, dirge, urge, purge, surge.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ERGUE.</div> - </div> -</div> - -<p class='c005'>Exergue,† burgh.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ERM.</div> - </div> -</div> - -<p class='c005'>Term, firm, worm, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ERN.</div> - </div> -</div> - -<p class='c005'>Fern, stern, discern, hern,† concern, learn, earn, -yearn, quern,* dern,† burn, turn, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ERNE.</div> - </div> -</div> - -<p class='c005'>Eterne,† see ERN.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ERP.</div> - </div> -</div> - -<p class='c005'>Discerp,† see IRP.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_100'>100</span>ERSE.</div> - </div> -</div> - -<p class='c005'>Verse, absterse, adverse, averse, converse, disperse, -immerse, perverse, reverse, asperse, intersperse, universe, -amerce, coerce, hearse, purse, curse, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ERT.</div> - </div> -</div> - -<p class='c005'>Wert, advert, assert, avert, concert, convert, controvert, -desert, divert, exert, expert, insert, invert, -pervert, subvert, shirt, dirt, hurt, spurt,§ etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ERTH.</div> - </div> -</div> - -<p class='c005'>Berth, birth, mirth, earth, worth, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ERVE.</div> - </div> -</div> - -<p class='c005'>Serve, nerve, swerve, preserve, deserve, conserve, -observe, reserve, disserve, subserve, curve, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ES, ESS, or ESSE.</div> - </div> -</div> - -<p class='c005'>Yes, bless, dress, cess,* chess, guess, less, mess, press, -stress, acquiesce, access, address, assess, compress, -confess, caress, depress, digress, dispossess, distress, -excess, express, impress, oppress, possess, profess, -recess, repress, redress, success, transgress, adultress, -bashfulness, bitterness, cheerfulness, comfortless, comeliness, -dizziness, diocess, drowsiness, eagerness, easiness, -ambassadress, emptiness, evenness, fatherless, -filthiness, foolishness, forgetfulness, forwardness, frowardness, -fruitfulness, fulsomeness, giddiness, greediness, -gentleness, governess, happiness, haughtiness, -<span class='pageno' id='Page_101'>101</span>heaviness, idleness, heinousness, hoariness, hollowness, -holiness, lasciviousness, lawfulness, laziness, littleness, -liveliness, loftiness, lioness, lowliness, manliness, masterless, -mightiness, motherless, motionless, nakedness, -neediness, noisomeness, numberless, patroness, peevishness, -perfidiousness, pitiless, poetess, prophetess, ransomless, -readiness, righteousness, shepherdess, sorceress, -sordidness, spiritless, sprightliness, stubbornness, -sturdiness, surliness, steadiness, tenderness, -thoughtfulness, ugliness, uneasiness, unhappiness, -votaress, usefulness, wakefulness, wantonness, weaponless, -wariness, willingness, wilfulness, weariness, wickedness, -wilderness, wretchedness, drunkenness, childishness, -duresse,|| cesse.†</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ESE, see EEZE.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ESH.</div> - </div> -</div> - -<p class='c005'>Flesh, fresh, refresh, thresh, afresh, nesh,† mesh.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ESK, and ESQUE.</div> - </div> -</div> - -<p class='c005'>Desk, grotesque, burlesque, arabesque, picturesque, moresque, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EST.</div> - </div> -</div> - -<p class='c005'>Best, chest, crest, guest, jest, nest, pest, quest, rest, -test, vest, lest, west, arrest, attest, bequest, contest, -detest, digest, divest, invest, palimpsest,¶ alcahest,|| -infest, molest, obtest, protest, request, suggest, unrest, -interest, manifest, breast, abreast, etc., and the preterites -and participles of verbs in ESS.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_102'>102</span>ET.</div> - </div> -</div> - -<p class='c005'>Bet, get, jet, fret, let, met, net, set, wet, whet, yet, -debt, abet, beget, beset, forget, regret, alphabet, amulet, -anchoret, cabinet, epithet, parapet, rivulet, violet, -coronet, parroquet, basinet, wagonette,|| cadet, epaulette, -piquette, sweat, threat, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ETCH.</div> - </div> -</div> - -<p class='c005'>Fetch, stretch, wretch, sketch, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ETE.</div> - </div> -</div> - -<p class='c005'>Effete, see EAT.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ETH.</div> - </div> -</div> - -<p class='c005'>Elizabeth, see EATH.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ETTE.</div> - </div> -</div> - -<p class='c005'>Rosette, silhouette,|| wagonette,|| cassolette,|| bet, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EVE, see EAVE.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EUCE.</div> - </div> -</div> - -<p class='c005'>Deuce, see USE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EUD.</div> - </div> -</div> - -<p class='c005'>Feud, rude, mood, stewed, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EUM.</div> - </div> -</div> - -<p class='c005'>Rheum, see OOM, UME.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EUR.</div> - </div> -</div> - -<p class='c005'>Amateur,|| connoisseur,|| bon-viveur.||</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_103'>103</span>EW.</div> - </div> -</div> - -<p class='c005'>Blew, chew, dew, brew, drew, flew, few, grew, new, -knew, hew, Jew, mew,† view, threw, yew, crew, slew, -anew, askew, bedew, eschew, renew, review, withdrew, -screw, interview, emmew,† clue, due, cue, glue, hue, -rue, sue, true, accrue, ensue, endue, imbue, imbrue, -pursue, subdue, adieu, purlieu,|| perdue,|| residue, -avenue, revenue, retinue, through, pooh, you. [News -takes plural of nouns, and third person singular present -of verbs, of this class.]</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EWD.</div> - </div> -</div> - -<p class='c005'>Flewd,§ lewd, screwed, see UDE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EWN.</div> - </div> -</div> - -<p class='c005'>Hewn, see UNE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EX.</div> - </div> -</div> - -<p class='c005'>Sex, vex, annex, convex, complex, perplex, circumflex, -and the plurals of nouns and third persons -singular of verbs in EC, ECK.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EXT.</div> - </div> -</div> - -<p class='c005'>Next, pretext, and the preterites and participles of -verbs in EX.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EY.</div> - </div> -</div> - -<p class='c005'>(As in "prey"), rhymes AY, A. (As in "key"), rhymes EE, EA.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>EYNE.</div> - </div> -</div> - -<p class='c005'>Eyne,§ rhymes INE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_104'>104</span>I.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>I.</div> - </div> -</div> - -<p class='c005'>Alibi,|| alkali,|| try, eye, high, bye, vie, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IB.</div> - </div> -</div> - -<p class='c005'>Bib, crib, squib, drib,§ glib,§ nib, rib.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IBE.</div> - </div> -</div> - -<p class='c005'>Bribe, tribe, kibe,† scribe, ascribe, describe, superscribe, -prescribe, proscribe, subscribe, transcribe, inscribe, -imbibe, diatribe.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IC.</div> - </div> -</div> - -<p class='c005'>Catholic, splenetic, heretic, arithmetic, brick, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ICE.</div> - </div> -</div> - -<p class='c005'>Ice, dice, mice, nice, price, rice, spice, slice, thrice, -trice, splice, advice, entice, vice, device, concise, precise, -paradise, sacrifice, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ICHE and ICH, see ITCH.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ICK.</div> - </div> -</div> - -<p class='c005'>Brick, sick, chick, kick, lick, nick, pick, quick, stick, -thick, trick, arithmetic, choleric, catholic, heretic, -rhetoric, splenetic, lunatic, politic.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ICT.</div> - </div> -</div> - -<p class='c005'>Strict, addict, afflict, convict, inflict, contradict, -Pict, etc. The preterites and participles of verbs in -ICK, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_105'>105</span>ID.</div> - </div> -</div> - -<p class='c005'>Bid, chid, hid, kid, lid, slid, rid, bestrid, pyramid, -forbid, quid,§ squid, katydid,|| etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IDE.</div> - </div> -</div> - -<p class='c005'>Bide, chide, hide, gride,† glide, pride, ride, slide, -side, nide,† stride, tide, wide, bride, abide, guide, -aside, astride, beside, bestride, betide, confide, decide, -deride, divide, preside, provide, subside, misguide, -subdivide, etc., the preterites and participles of verbs -in IE, IGH, and Y.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IDES.</div> - </div> -</div> - -<p class='c005'>Ides, besides, the plurals of nouns and third persons -singular of verbs in IDE, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IDGE.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>Bridge, ridge, midge, fidge,§ abridge, etc.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IDST.</div> - </div> -</div> - -<p class='c005'>Midst, amidst, didst, etc., the second persons singular -of the present tense of verbs in ID.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IE, or Y.</div> - </div> -</div> - -<p class='c005'>By, buy, cry, die, dry, eye, fly, fry, fie, hie, lie, pie, -ply, pry, rye, shy, sly, spy, sky, sty, tie, try, vie, why, -ally, apply, awry, bely, comply, decry, defy, descry, -deny, imply, espy, outvie, outfly, rely, reply, supply, -untie, amplify, beautify, certify, crucify, deify, dignify, -edify, falsify, fortify, gratify, glorify, indemnify, justify, -<span class='pageno' id='Page_106'>106</span>magnify, modify, mollify, mortify, pacify, petrify, purify, -putrify, qualify, ratify, rectify, sanctify, satisfy, scarify, -signify, specify, stupefy, terrify, testify, verify, vilify, -vitrify, vivify, prophesy, high, nigh, sigh, thigh. [Such -words as "lunacy," "polygamy," "tyrrany," cannot -well be used, as it is difficult to get the "y" sound -without over-accentuating it.]</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IECE, see EASE.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IED.</div> - </div> -</div> - -<p class='c005'>Pied, side, sighed, rhymes with preterites and participles -of verbs in Y or IE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IEF.</div> - </div> -</div> - -<p class='c005'>Grief, chief, fief,† thief, brief, belief, relief, reef, beef, -leaf, sheaf, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IEGE.</div> - </div> -</div> - -<p class='c005'>Liege, siege, assiege, besiege.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IELD.</div> - </div> -</div> - -<p class='c005'>Field, yield, shield, wield, afield, weald,* and the preterites -and participles of verbs in EAL.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IEN, see EEN.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IEND.</div> - </div> -</div> - -<p class='c005'>(As in "fiend"), rhymes preterites and participles -of verbs in EAN, EEN. (As in "friend"), rhymes -END.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_107'>107</span>IER.</div> - </div> -</div> - -<p class='c005'>Pier, bier, tier, rhymes EER.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IERCE.</div> - </div> -</div> - -<p class='c005'>Fierce, pierce, tierce.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IEST.</div> - </div> -</div> - -<p class='c005'>Priest, rhymes EAST. ("Diest," second person singular -present, at times pronounced as a monosyllable, -rhymes "spiced," etc.)</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IEVE.</div> - </div> -</div> - -<p class='c005'>(As in "sieve"), rhymes "give," see IVE. (As in -"grieve"), rhymes EVE, EAVE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IEU, IEW.</div> - </div> -</div> - -<p class='c005'>Lieu,|| review, rhyme EW, UE, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IEZE.</div> - </div> -</div> - -<p class='c005'>Frieze, rhymes EEZE, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IF, IFF.</div> - </div> -</div> - -<p class='c005'>If, skiff, stiff, whiff, cliff, sniff,§ tiff,§ hieroglyph.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IFE.</div> - </div> -</div> - -<p class='c005'>Rife, fife, knife, wife, strife, life.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IFT.</div> - </div> -</div> - -<p class='c005'>Gift, drift, shift, lift, rift, sift, thrift, adrift, etc., and -the preterites and participles of verbs in IFF.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_108'>108</span>IG.</div> - </div> -</div> - -<p class='c005'>Big, dig, gig, fig, pig, rig,§ sprig, twig, swig,§ -grig,* Whig, wig, jig, prig.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IGE.</div> - </div> -</div> - -<p class='c005'>Oblige, no rhyme.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IGH, see IE. IGHT, see ITE.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IGM.</div> - </div> -</div> - -<p class='c005'>Paradigm, rhymes IME.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IGN, see INE. IGUE, see EAGUE.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IKE.</div> - </div> -</div> - -<p class='c005'>Dike, like, pike, spike, strike, alike, dislike, shrike, -glike.†</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IL, ILL.</div> - </div> -</div> - -<p class='c005'>Bill, chill, fill, drill, gill, hill, ill, kill, mill, pill, quill, -rill, shrill, fill, skill, spill, still, swill,§ thrill, till, trill, -will, distil, fulfil, instil, codicil, daffodil.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ILCH.</div> - </div> -</div> - -<p class='c005'>Filch, milch.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ILD.</div> - </div> -</div> - -<p class='c005'>(As in "child"), rhymes mild, wild, etc., the preterites -and participles of verbs of one syllable in ILE, -or of more syllables, provided the accent be on the -<span class='pageno' id='Page_109'>109</span>last. (As in "gild"), rhymes build, rebuild, etc., and -the preterites and participles of verbs in ILL.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ILE.</div> - </div> -</div> - -<p class='c005'>Bile, chyle,¶ file, guile, isle, mile, pile, smile, stile, -style, tile, vile, while, awhile, compile, revile, defile, -exile, erewhile, reconcile, beguile, aisle. [There is also -the "eel" sound, as in imported words like bastile,|| -pastile,|| rhyming with EEL, EAL.]</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ILGE.</div> - </div> -</div> - -<p class='c005'>Bilge, no rhyme.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ILK.</div> - </div> -</div> - -<p class='c005'>Milk, silk, bilk,§ whilk,* etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ILN.</div> - </div> -</div> - -<p class='c005'>Kiln, no rhyme.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ILT.</div> - </div> -</div> - -<p class='c005'>Gilt, jilt, built, quilt, guilt, hilt, spilt, stilt, tilt, milt.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ILTH.</div> - </div> -</div> - -<p class='c005'>Filth, tilth, spilth, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IM.</div> - </div> -</div> - -<p class='c005'>Brim, dim, grim, him, rim, skim, slim, trim, whim, -prim, limb, hymn, limn.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_110'>110</span>IMB.</div> - </div> -</div> - -<p class='c005'>(As in "limb"), rhymes IM. (As in "climb"), rhymes IME.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IME.</div> - </div> -</div> - -<p class='c005'>Chime, time, grime,§ climb, clime, crime, prime, -mime, rhyme, slime, thyme, lime, sublime.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IMES.</div> - </div> -</div> - -<p class='c005'>Betimes, sometimes, etc. Rhymes the plurals of -nouns and third persons singular present tense of -verbs in IME.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IMN, see IM.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IMP.</div> - </div> -</div> - -<p class='c005'>Imp, limp, pimp,§ gimp, jimp.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IMPSE.</div> - </div> -</div> - -<p class='c005'>Glimpse. Rhymes, the plurals of nouns and third -persons singular present tense of verbs in IMP.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IN, INN.</div> - </div> -</div> - -<p class='c005'>Bin, chin, din, fin, gin, grin, in, inn, kin, pin, shin, -sin, spin, skin, linn,* thin, twin, tin, win, within, -javelin, begin, whin, baldachin,† cannikin.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>INC.</div> - </div> -</div> - -<p class='c005'>Zinc, rhymes INK.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>INCE.</div> - </div> -</div> - -<p class='c005'>Mince, prince, since, quince, rinse, wince, convince, -evince.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_111'>111</span>INCH.</div> - </div> -</div> - -<p class='c005'>Clinch, finch, winch, pinch, inch.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>INCT.</div> - </div> -</div> - -<p class='c005'>Instinct, distinct, extinct, precinct, succinct, tinct,† -&c., and the preterites and participles of certain verbs -in INK, as linked, pinked, &c.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IND.</div> - </div> -</div> - -<p class='c005'>(As in "bind"), find, mind, blind, kind, grind, rind, -wind, behind, unkind, remind, etc., and the preterites -and participles of verbs in INE, IGN, etc. (As in -"rescind"), preterites and participles of verbs in IN.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>INE.</div> - </div> -</div> - -<p class='c005'>Dine, brine, mine, chine, fine, line, nine, pine, shine, -shrine, kine, thine, trine, twine, vine, wine, whine, combine, -confine, decline, define, incline, enshrine, entwine, -opine, recline, refine, repine, superfine, interline, countermine, -undermine, supine, concubine, porcupine, -divine, sign, assign, consign, design, eyne,† condign, -indign.† [There is also the short "ine," as in "discipline," -rhyming IN.]</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ING.</div> - </div> -</div> - -<p class='c005'>Bring, sing, cling, fling, king, ring, sling, spring, -sting, string, ging,† swing, wing, wring, thing, etc., and -the participles of the present tense in ING, with the -accent on the antepenultimate, as "recovering."</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_112'>112</span>INGE.</div> - </div> -</div> - -<p class='c005'>Cringe, fringe, hinge, singe, springe, swinge,§ tinge, -twinge, infringe.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>INK.</div> - </div> -</div> - -<p class='c005'>Ink, think, wink, drink, blink, brink, chink, clink, -link, pink, shrink, sink, slink, stink, bethink, forethink, -skink,† swink.†</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>INQUE.</div> - </div> -</div> - -<p class='c005'>Cinque, appropinque, see INK.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>INSE.</div> - </div> -</div> - -<p class='c005'>Rinse, see INCE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>INT.</div> - </div> -</div> - -<p class='c005'>Dint, mint, hint, flint, lint, print, squint, asquint, -imprint, sprint,¶ quint.¶</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>INTH.</div> - </div> -</div> - -<p class='c005'>Plinth,¶ hyacinth, labyrinth.||</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>INX.</div> - </div> -</div> - -<p class='c005'>Minx,§ sphinx,|| jinks,§ plural of nouns, and third -person singular present of verb in INK.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IP.</div> - </div> -</div> - -<p class='c005'>Chip, lip, hip, clip, dip, drip, lip, nip, sip, rip, scrip, -ship, skip, slip, snip, strip, tip, trip, whip, equip, eldership, -fellowship, workmanship, rivalship, and all words -in SHIP with the accent on the antepenultimate.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IPE.</div> - </div> -</div> - -<p class='c005'>Gripe, pipe, ripe, snipe, type, stripe, wipe, archetype, -prototype.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_113'>113</span>IPSE.</div> - </div> -</div> - -<p class='c005'>Eclipse. Rhymes, the plurals of nouns and third -persons singular present tense in IP.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IQUE.</div> - </div> -</div> - -<p class='c005'>Oblique, clique,|| critique,|| bézique,|| antique, pique,|| -see EAK.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IR, see UR. IRCH, see URCH. IRD, see URD.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IRE.</div> - </div> -</div> - -<p class='c005'>Fire, dire, hire, ire, lyre, mire, quire, sire, spire, -squire, wire, tire, attire, acquire, admire, aspire, conspire, -desire, inquire, entire, expire, inspire, require, -retire, transpire, pyre, gipsire,† gire.†</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IRGE, see ERGE.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IRK.</div> - </div> -</div> - -<p class='c005'>Dirk, firk,§ kirk, stirk,* quirk,§ shirk, work, burke, -murk.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IRL.</div> - </div> -</div> - -<p class='c005'>Girl, whirl,* twirl, curl, furl, churl, thirl,* etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IRM.</div> - </div> -</div> - -<p class='c005'>Firm, affirm, confirm, infirm, worm, term, chirm,† etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IRP.</div> - </div> -</div> - -<p class='c005'>Chirp, see URP.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IRR.</div> - </div> -</div> - -<p class='c005'>Whirr, skirr,§ see UR.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_114'>114</span>IRST, See URST. IRT, see URT.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IRTH.</div> - </div> -</div> - -<p class='c005'>Birth, mirth, earth, dearth, worth.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IS, pronounced like IZ.</div> - </div> -</div> - -<p class='c005'>Is, his, whiz.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ISS.</div> - </div> -</div> - -<p class='c005'>Bliss, miss, hiss, kiss, this, abyss, amiss, submiss, -dismiss, remiss, wis,† Dis, spiss.†</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ISC.</div> - </div> -</div> - -<p class='c005'>Disc, whisk, risk, see ISK.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ISE, see ICE and IZE.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ISH.</div> - </div> -</div> - -<p class='c005'>Dish, fish, wish, cuish,† pish,§ squish.§</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ISK.</div> - </div> -</div> - -<p class='c005'>Brisk, frisk, disc, risk, whisk, basilisk, tamarisk.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ISM.</div> - </div> -</div> - -<p class='c005'>Chrism, solecism, anachronism, abysm, schism, -syllogism, witticism, criticism, organism, heroism, -prism, egotism, cataclysm.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ISP.</div> - </div> -</div> - -<p class='c005'>Crisp, wisp, lisp.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_115'>115</span>IST.</div> - </div> -</div> - -<p class='c005'>Fist, list, mist, twist, wrist, assist, consist, desist, -exist, insist, persist, resist, subsist, alchemist, amethyst, -anatomist, antagonist, annalist, evangelist, -eucharist, exorcist, herbalist, humorist, oculist, organist, -satirist, etc., and the preterites and participles of -verbs in ISS, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IT.</div> - </div> -</div> - -<p class='c005'>Bit, Cit,§ hit, fit, grit, flit, knit, pit, quit, sit, split, -twit, wit, chit,§ whit, writ, admit, acquit, commit, -emit, omit, outwit, permit, remit, submit, transmit, -refit, benefit, perquisite.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ITCH.</div> - </div> -</div> - -<p class='c005'>Ditch, pitch, rich, which, flitch, itch, stitch, switch, -twitch, witch, bewitch, niche, enrich, fitch.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ITE, and IGHT.</div> - </div> -</div> - -<p class='c005'>Bite, cite, kite, blite, mite, quite, rite, smite, spite, -trite, white, write, contrite, disunite, despite, indite, -excite, incite, invite, polite, requite, recite, unite, reunite, -aconite, appetite, parasite, proselyte, expedite, -blight, benight, bright, fight, flight, fright, height, -light, knight, night, might, wight, plight, right, tight, -slight, sight, spright, wight, affright, alight, aright, -foresight, delight, despite, unsight, upright, benight, -bedight,† oversight, height, accite,§ pight.§</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ITH.</div> - </div> -</div> - -<p class='c005'>Pith, smith, frith,* sith.† ("With" has strictly -no rhyme.)</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_116'>116</span>ITHE.</div> - </div> -</div> - -<p class='c005'>Hithe, blithe, tithe, scythe, writhe, lithe.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ITS.</div> - </div> -</div> - -<p class='c005'>Quits, rhymes plural of nouns, and third person singular, -present of verbs in IT.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IVE.</div> - </div> -</div> - -<p class='c005'>(As in "five"), rhymes dive, alive, gyve, hive, drive, -rive, shrive, strive, thrive, arrive, connive, contrive, -deprive, derive, revive, survive. (As in "give"), rhymes -live, sieve, fugitive, positive, sensitive, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IX.</div> - </div> -</div> - -<p class='c005'>Fix, six, mix, nix,§ affix, infix, prefix, transfix, intermix, -crucifix, etc., and the plurals of nouns and third -persons singular of verbs in ICK.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>IXT.</div> - </div> -</div> - -<p class='c005'>Betwixt. Rhymes, the preterites and participles of -verbs in IX.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ISE, and IZE.</div> - </div> -</div> - -<p class='c005'>Prize, wise, rise, size, guise, disguise, advise, authorise, -canonise, agonise,§ chastise, civilise, comprise, -criticise, despise, devise, enterprise, excise, exercise, -idolise, immortalise, premise, revise, signalise, solemnise, -surprise, surmise, suffice, sacrifice, sympathise, -tyrannise, and the plurals of nouns and third persons -singular present tense of verbs in IE or Y.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_117'>117</span>O</div> - </div> -</div> - -<p class='c005'>Mo',† calico, bo,§ portico, go, ago, undergo, ho, -though, woe, adagio,¶ seraglio,|| owe, beau, crow, lo, -no, fro',† so.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OACH.</div> - </div> -</div> - -<p class='c005'>Broach, coach, poach, abroach, approach, encroach, -reproach, loach.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OAD, see ODE.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OAF.</div> - </div> -</div> - -<p class='c005'>Oaf,† loaf.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OAK.</div> - </div> -</div> - -<p class='c005'>Cloak, oak, croak, soak, joke, see OKE.</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>OAL, see OLE. OAM, see OME. OAN, see ONE.</div> - <div class='line'>OAP, see OPE. OAR, see ORE. OARD, see</div> - <div class='line'>ORD. OAST, see OST. OAT, see OTE.</div> - </div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OATH.</div> - </div> -</div> - -<p class='c005'>Oath, loath, both, see OTH.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OAVES.</div> - </div> -</div> - -<p class='c005'>Loaves, groves, roves, cloves, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OAX.</div> - </div> -</div> - -<p class='c005'>Hoax, coax, rhymes plural of nouns, and third person -singular present of verbs in OKE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_118'>118</span>OB.</div> - </div> -</div> - -<p class='c005'>Cob, fob,§ bob, lob, hob, nob, mob, knob, sob, rob, -throb, cabob,|| swab,¶ squab.§</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OBE.</div> - </div> -</div> - -<p class='c005'>Globe, lobe, probe, robe, conglobe.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OCE, see OSE.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OCH.</div> - </div> -</div> - -<p class='c005'>Loch,* epoch, see OCK.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OCHE.</div> - </div> -</div> - -<p class='c005'>Caroche,|| gauche.||</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OCK.</div> - </div> -</div> - -<p class='c005'>Block, lock, cock, clock, crock, dock, frock, flock, -knock, mock, rock, shock, stock, sock, brock, hough.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OCT.</div> - </div> -</div> - -<p class='c005'>Concoct, rhymes the preterites and participles of -verbs in OCK.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OD.</div> - </div> -</div> - -<p class='c005'>Cod, clod, God, rod, sod, trod, nod, plod, odd, shod, -quod,§ pod, wad, quad,§ odd, hod, tod.*</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ODE.</div> - </div> -</div> - -<p class='c005'>Bode, ode, code, mode, rode, abode, corrode, explode, -forebode, commode, incommode, episode, à-la-mode,|| -road, toad, goad, load, etc., and the preterites -and participles of verbs in OW, OWE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_119'>119</span>ODGE.</div> - </div> -</div> - -<p class='c005'>Dodge,§ lodge, Hodge, podge,§ bodge.†</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OE.</div> - </div> -</div> - -<p class='c005'>(As in "shoe"), rhymes OO. (As in "toe"), rhymes -foe, doe, roe, sloe, mistletoe, OWE and OW.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OFF.</div> - </div> -</div> - -<p class='c005'>Doff, off, scoff, cough, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OFT.</div> - </div> -</div> - -<p class='c005'>Oft, croft, soft, aloft, etc., and the preterites and -participles of verbs in OFF, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OG.</div> - </div> -</div> - -<p class='c005'>Hog, bog, cog,† dog, clog, fog, frog, log, jog,§ agog,§ -Gog, prog,§ quog,* shog,§ tog,§ pollywog,* dialogue, -epilogue, synagogue, catalogue, pedagogue.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OGE.</div> - </div> -</div> - -<p class='c005'>Gamboge, rouge.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OGUE.</div> - </div> -</div> - -<p class='c005'>(As in "rogue"), rhymes vogue, prorogue, collogue,* -disembogue. (As in "catalogue"), rhymes OG.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OH.</div> - </div> -</div> - -<p class='c005'>Oh, rhymes OW and OWE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OICE.</div> - </div> -</div> - -<p class='c005'>Choice, voice, rejoice.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_120'>120</span>OID.</div> - </div> -</div> - -<p class='c005'>Void, avoid, devoid, asteroid, alkaloid, etc., and the -preterites and participles of verbs in OY.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OIF.</div> - </div> -</div> - -<p class='c005'>Coif,¶ no rhyme.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OIGN.</div> - </div> -</div> - -<p class='c005'>Coign,|| rhymes OIN.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OIL.</div> - </div> -</div> - -<p class='c005'>Oil, boil, coil, moil, soil, spoil, toil, despoil, embroil -recoil, turmoil, disembroil.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OIN.</div> - </div> -</div> - -<p class='c005'>Coin, join, subjoin, groin, loin, adjoin, conjoin, disjoin, -enjoin, foin,† proin,† purloin, rejoin.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OINT.</div> - </div> -</div> - -<p class='c005'>Oint, joint, point, disjoint, anoint, appoint, aroint,† -disappoint, counterpoint.¶</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OIR.</div> - </div> -</div> - -<p class='c005'>(As in "choir"), rhymes IRE, but the foreign sound, -as in "devoir," "reservoir," is nearer AR, but must -not be so rhymed. "Coir" is a dissyllable.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OISE.</div> - </div> -</div> - -<p class='c005'>Poise, noise, counterpoise, equipoise, etc., and the -plurals of nouns and third persons singular present -tense of verbs in OY. ["Turquoise" would rhyme -with plurals of AH, etc.]</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_121'>121</span>OIST.</div> - </div> -</div> - -<p class='c005'>Hoist, moist, foist,§ the preterites and participles of -verbs in OICE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OIT.</div> - </div> -</div> - -<p class='c005'>Doit,§ exploit, adroit, quoit, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OKE.</div> - </div> -</div> - -<p class='c005'>Broke, choke, smoke, spoke, stroke, yoke, bespoke, -invoke, provoke, revoke, cloak, oak, soak.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OL.</div> - </div> -</div> - -<p class='c005'>Alcohol, loll,§ doll, extol, capitol, Moll, Poll, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OLD.</div> - </div> -</div> - -<p class='c005'>Old, bold, cold, gold, hold, mold, scold, sold, told, -behold, enfold, unfold, uphold, withhold, foretold, -manifold, marigold, preterites and participles of verbs -in OLL, OWL, OLE, and OAL.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OLE.</div> - </div> -</div> - -<p class='c005'>Bole, dole, jole, hole, mole, pole, sole, stole, whole, -shoal, cajole, girandole,|| condole, parole,|| patrole,|| -pistole,|| console,|| aureole,|| vole,* coal, foal, goal, -bowl, roll, scroll, toll, troll, droll, poll, control, enrol, -soul, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OLL.</div> - </div> -</div> - -<p class='c005'>(As in "loll"), rhymes OL. (As in "droll"), rhymes OLE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OLN.</div> - </div> -</div> - -<p class='c005'>Stol'n, swoln.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_122'>122</span>OLP.</div> - </div> -</div> - -<p class='c005'>Holp,† golpe.¶</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OLT.</div> - </div> -</div> - -<p class='c005'>Bolt, colt, jolt, holt, dolt,§ revolt, thunderbolt, -moult.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OLVE.</div> - </div> -</div> - -<p class='c005'>Solve, absolve, resolve, convolve, involve, devolve, -dissolve, revolve.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OM.</div> - </div> -</div> - -<p class='c005'>OM is by general consent degraded to UM; Tom, -from, Christendom, aplomb.|| But for "whom," see -OOM.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OMB.</div> - </div> -</div> - -<p class='c005'>(As in "tomb"), see OOM. (As in "comb"), see -OME, clomb. (As in "bomb"), see UM. "Rhomb" -has no rhyme. (As in "aplomb"||), see OM.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OME.</div> - </div> -</div> - -<p class='c005'>Dome, home, mome, foam, roam, loam.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OMP.</div> - </div> -</div> - -<p class='c005'>Pomp, swamp, romp.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OMPT.</div> - </div> -</div> - -<p class='c005'>Prompt, preterite and participle of romp.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ON.</div> - </div> -</div> - -<p class='c005'>(As in "don"), rhymes on, con, upon, anon, bonne;|| -(as in "won"), rhymes ton, fun, done, etc. [By some, -<span class='pageno' id='Page_123'>123</span>"gone," "hone," and other like words are so pronounced -as to rhyme with "on."]</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ONCE.</div> - </div> -</div> - -<p class='c005'>(As in "sconce"), rhymes response, etc. (As in -"once"), rhymes dunce, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ONCH.</div> - </div> -</div> - -<p class='c005'>Conch, jonque.¶</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OND.</div> - </div> -</div> - -<p class='c005'>Pond, bond, fond, beyond, abscond, correspond, -despond, diamond, vagabond, etc., and the preterites -and participles of verbs in ON.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ONDE.</div> - </div> -</div> - -<p class='c005'>Blonde,|| rhymes OND.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ONE.</div> - </div> -</div> - -<p class='c005'>Prone, bone, drone, throne, alone, stone, tone, lone, -zone, atone, enthrone, dethrone, postpone, grown, -flown, disown, thrown, sown, own, loan, shown, overthrown, -groan, blown, moan, known, cone, loan, etc. -[With regard to "gone" and "shone," some pronounce -them so that they rhyme with "one" others -so that the first rhymes with "lawn," and the second -with "prone."]</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ONG.</div> - </div> -</div> - -<p class='c005'>(As in "long"), rhymes prong, song, thong, strong, -throng, wrong, along, belong, prolong. (As in -"among"), rhymes hung, tongue, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ONGE.</div> - </div> -</div> - -<p class='c005'>Sponge, see UNGE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_124'>124</span>ONGUE, see UNG.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ONK.</div> - </div> -</div> - -<p class='c005'>(As in "monk"), rhymes "drunk." (As in "conk"§), -rhymes jonque.¶</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ONQUE.</div> - </div> -</div> - -<p class='c005'>Jonque,¶ see ONK.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ONSE.</div> - </div> -</div> - -<p class='c005'>Response, sconce, ensconce.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ONT.</div> - </div> -</div> - -<p class='c005'>(As in "font"), rhymes want. (As n "front"), -rhymes punt, etc. [The abbreviated negatives, won't, -don't, rhyme together.]</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OO.</div> - </div> -</div> - -<p class='c005'>Coo, woo, shoe, two, too, who, do, ado, undo, -through, you, true, blue, flew, stew, etc. See O, UE, -EW, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OOCH, see OACH.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OOD.</div> - </div> -</div> - -<p class='c005'>(As in "brood"), rhymes mood, food, rood, feud, -illude, etc., the preterites and participles of verbs in -OO, and EW, UE, etc. (As in "wood"), rhymes good, -hood, stood, withstood, understood, could, would, -brotherhood, livelihood, likelihood, neighbourhood, -widowhood. (As in "blood"), rhymes flood, cud, mud, -etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_125'>125</span>OOF.</div> - </div> -</div> - -<p class='c005'>Hoof, proof, roof, woof, aloof, disproof, reproof, -behoof.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OOH.</div> - </div> -</div> - -<p class='c005'>Pooh,§ rhymes EW, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OOK.</div> - </div> -</div> - -<p class='c005'>Book, brook, cook, crook, hook, look, rook, shook, -took, mistook, undertook, forsook, stook,* betook.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OOL.</div> - </div> -</div> - -<p class='c005'>Cool, fool, pool, school, stool, tool, befool, spool,† -buhl,|| pule, rule.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OOM.</div> - </div> -</div> - -<p class='c005'>Gloom, groom, loom, room, spoom,† bloom, doom, -tomb, entomb, whom, womb, plume, spume, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OON, see UNE.</div> - </div> -</div> - -<p class='c005'>Boon, soon, moon, noon, spoon, swoon, buffoon, -lampoon, poltroon, tune, prune, coon,§ June, hewn, -dune,* shalloon, dragoon.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OOP.</div> - </div> -</div> - -<p class='c005'>Loop, poop, scoop, stoop, troop, droop, whoop, coop, -hoop, soup, group, dupe.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OOR.</div> - </div> -</div> - -<p class='c005'>(As in "boor"), rhymes poor, moor, tour,|| amour, -<span class='pageno' id='Page_126'>126</span>paramour,|| contour, pure, sure, your, etc. (As in -"door"), rhymes floor, bore, pour, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OOSE.</div> - </div> -</div> - -<p class='c005'>Goose, loose, juice, truce, deuce, noose, use, profuse, -seduce, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OOT.</div> - </div> -</div> - -<p class='c005'>(As in "root"), rhymes boot, coot, hoot, loot,|| shoot, -toot,§ suit, fruit, lute, impute, etc. (As in "foot"), -rhymes put. [It is difficult to say whether "soot" -should rhyme "root" or "but," the pronunciation so -varies.]</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OOTH.</div> - </div> -</div> - -<p class='c005'>(As in "booth"), rhymes smooth, soothe, etc. (As -in "tooth"), rhymes youth, uncouth, truth.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OOVE.</div> - </div> -</div> - -<p class='c005'>Groove, see OVE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OOZE.</div> - </div> -</div> - -<p class='c005'>Ooze, noose, whose, choose, lose, use, abuse, the -plurals of nouns and third persons singular present -tense of verbs in EW, UE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OP.</div> - </div> -</div> - -<p class='c005'>Chop, hop, drop, crop, fop,§ top, pop, prop, flop,§ -shop, slop sop, stop, swop,§ underprop.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_127'>127</span>OPE.</div> - </div> -</div> - -<p class='c005'>Hope, cope, mope, grope, pope, rope, scope, slope, -trope, aslope, elope, interlope, telescope, heliotrope, -horoscope, antelope, etc., and ope, contracted in poetry for open.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OPH.</div> - </div> -</div> - -<p class='c005'>Soph,¶ see OFF.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OPT.</div> - </div> -</div> - -<p class='c005'>Adopt, rhymes with the preterites and participles of -verbs in OP, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OQUE.</div> - </div> -</div> - -<p class='c005'>Equivoque, see OAK.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OR.</div> - </div> -</div> - -<p class='c005'>Or, for, creditor, counsellor, competitor, emperor, -ancestor, ambassador, progenitor, conspirator, conqueror, -governor, abhor, metaphor, bachelor, senator, -etc., and every word in OR having the accent on the -last, or last syllable but two, pour, bore, tore, boar, -hoar, war, corps,|| tor.*</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ORB.</div> - </div> -</div> - -<p class='c005'>Orb, sorb,¶ corb.†</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ORCE, see ORSE.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ORCH.</div> - </div> -</div> - -<p class='c005'>Scorch, torch, porch, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_128'>128</span>ORD.</div> - </div> -</div> - -<p class='c005'>(As in "cord"), rhymes lord, record, accord, abhorr'd, -hoard, board, aboard, ford, afford, sword, and the preterites -and participles of verbs in OAR, ORE. (As in -"word"), rhymes bird, stirred, absurd, erred, curd, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ORDE.</div> - </div> -</div> - -<p class='c005'>Horde, see ORD.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ORE.</div> - </div> -</div> - -<p class='c005'>Bore, core, gore, lore, more, ore, pore, score, shore, -snore, sore, store, swore, tore, wore, adore, afore, -ashore, deplore, explore, implore, restore, forebore, -foreswore, heretofore, hellebore, sycamore, albicore, -boar, oar, roar, soar, four, door, floor, o'er, orator, -senator, abhor.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ORGE.</div> - </div> -</div> - -<p class='c005'>George, gorge, disgorge, regorge, forge.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ORK.</div> - </div> -</div> - -<p class='c005'>Ork,† cork, fork, stork, pork.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ORLD.</div> - </div> -</div> - -<p class='c005'>World, rhymes with the preterites and participles of -verbs in URL and IRL.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ORM.</div> - </div> -</div> - -<p class='c005'>(As in "form"), rhymes storm, conform, deform, inform, -<span class='pageno' id='Page_129'>129</span>perform, reform, misinform, uniform, multiform, -transform. (As in "worm"), rhymes "term," ERM.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ORN.</div> - </div> -</div> - -<p class='c005'>Born, corn, morn, horn, scorn, thorn, adorn, suborn, -unicorn, sorn,¶ capricorn, shorn, torn, worn, lorn, forlorn, -lovelorn, sworn, foresworn, overborne, foreborne, mourn.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ORP.</div> - </div> -</div> - -<p class='c005'>Thorp,* rhymes ARP.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ORPS.</div> - </div> -</div> - -<p class='c005'>Corps,|| rhymes ORE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ORPSE.</div> - </div> -</div> - -<p class='c005'>Corpse, rhymes plurals of nouns, and preterites and -participles of verbs in ARP.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ORSE.</div> - </div> -</div> - -<p class='c005'>Horse, endorse, unhorse, force, remorse, coarse, -course, torse,† morse,† corse, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ORST, see URST.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ORT.</div> - </div> -</div> - -<p class='c005'>Short, sort, exhort, consort, distort, extort, resort -retort, snort, mort,|| wart, fort, port, court, report.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_130'>130</span>ORTS.</div> - </div> -</div> - -<p class='c005'>Orts,† plural of nouns, and third person singular -present of verbs in ORT.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ORTH.</div> - </div> -</div> - -<p class='c005'>(As in "north"), rhymes fourth. (As in "worth"), -rhymes birth, earth, &c.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OSE.</div> - </div> -</div> - -<p class='c005'>(As in "jocose"), rhymes close, dose, morose, gross, -engross, verbose. (As in "pose"), rhymes close, dose, -hose, chose, glose, froze, nose, prose, those, rose, -compose, depose, disclose, dispose, discompose, expose, -impose, enclose, interpose, oppose, propose, -recompose, repose, suppose, transpose, arose, presuppose, -foreclose, etc., and the plurals of nouns and -apostrophised preterites and participles of verbs in -OW, OE, O, etc. (As in "lose"), rhymes use, etc. -See OOZE, USE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OSH.</div> - </div> -</div> - -<p class='c005'>Bosh,§ wash, &c.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OSM.</div> - </div> -</div> - -<p class='c005'>Microcosm,|| no rhyme.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OSQUE, OSK.</div> - </div> -</div> - -<p class='c005'>Mosque,|| kiosk.||</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OSS.</div> - </div> -</div> - -<p class='c005'>Boss, cross, dross, moss, loss, across, albatross, -doss,§ emboss.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_131'>131</span>OST.</div> - </div> -</div> - -<p class='c005'>(As in "cost"), rhymes frost, lost, accost, etc., and -the preterites and participles of words in OSS. (As in -"ghost"), rhymes post, most, coast, and second person -singular present of verbs in OW, as ow'st. (As in -"dost"), rhymes UST.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OT.</div> - </div> -</div> - -<p class='c005'>Clot, cot, blot, got, hot, jot, lot, knot, not, plot, pot, -scot, shot, polyglot, sot,§ spot, apricot, trot, rot, grot, -begot, forgot, allot, complot, yacht, quat,§ melilot, -counterplot.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OTCH.</div> - </div> -</div> - -<p class='c005'>Botch,§ notch, crotch,† blotch, Scotch, watch.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OTE.</div> - </div> -</div> - -<p class='c005'>Note, vote, lote,† mote, quote, rote, wrote, smote, -denote, tote,* promote, remote, devote, anecdote, antidote, -boat, coat, bloat, doat, float, gloat, goat, oat, -overfloat, afloat, throat, moat.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OTH.</div> - </div> -</div> - -<p class='c005'>(As in "broth"), rhymes cloth, froth, troth, wrath. -(As in "both"), rhymes loth, sloth, oath, growth. -["Moth" has no rhyme, though at times pronounced -to rhyme "cloth."]</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OTHE.</div> - </div> -</div> - -<p class='c005'>Clothe, loathe (with "s" added rhymes "oaths;" -though "clothes," the noun, in comic verse may rhyme -with "snows," being colloquially spoken "clo's").</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_132'>132</span>OU.</div> - </div> -</div> - -<p class='c005'>(As in "thou"), see OW. (As in "you"), see OO.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OUBT.</div> - </div> -</div> - -<p class='c005'>Doubt, see OUT.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OUC.</div> - </div> -</div> - -<p class='c005'>Caoutchouc, rhymes book.||</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OUCH.</div> - </div> -</div> - -<p class='c005'>Couch, pouch, vouch, slouch,§ avouch, crouch.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OUCHE.</div> - </div> -</div> - -<p class='c005'>Cartouche,|| buche.¶</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OUD.</div> - </div> -</div> - -<p class='c005'>Shroud, cloud, loud, proud, aloud, crowd, o'er-shroud, -etc., and the preterites and participles of verbs -in OW.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OUGH has various pronunciations; see OFF, OW,</div> - <div>OWE, OCK, O, EW, and UFF.</div> - </div> -</div> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OUGE.</div> - </div> -</div> - -<p class='c005'>(As in "rouge"), rhymes gamboge.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OUGHT.</div> - </div> -</div> - -<p class='c005'>Bought, thought, ought, brought, forethought, -fought, nought, sought, wrought, besought, bethought, -methought, aught, naught, caught, taught, &c.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_133'>133</span>OUL.</div> - </div> -</div> - -<p class='c005'>(As in "foul"), see OWL. (As in "soul"), see -OLE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OULD.</div> - </div> -</div> - -<p class='c005'>Mould, fold, old, cold, etc., and the preterites and -participles of verbs in OWL, OLL, and OLE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OULT.</div> - </div> -</div> - -<p class='c005'>Moult. See OLT.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OUN.</div> - </div> -</div> - -<p class='c005'>Noun, see OWN.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OUNCE.</div> - </div> -</div> - -<p class='c005'>Bounce,§ flounce, renounce, pounce, ounce, denounce, pronounce.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OUND.</div> - </div> -</div> - -<p class='c005'>(As in "bound"), rhymes found, mound, ground, -hound, pound, round, sound, wound (verb), abound, -aground, around, confound, compound, expound, profound, -rebound, resound, propound, surround, etc., and -the preterites and participles of verbs in OWN. (As in -"wound"—the noun), rhymes preterites and participles -of verbs in OON, UNE. etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OUNG.</div> - </div> -</div> - -<p class='c005'>Young, see UNG.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_134'>134</span>OUNT.</div> - </div> -</div> - -<p class='c005'>Count, mount, fount, amount, dismount, remount, -surmount, account, discount, miscount, account.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OUP.</div> - </div> -</div> - -<p class='c005'>Stoup,† group, see OOP.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OUPH, or OUPHE.</div> - </div> -</div> - -<p class='c005'>Ouphe or ouph,† see OOF.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OUQUE.</div> - </div> -</div> - -<p class='c005'>Chibouque,|| see UKE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OUR.</div> - </div> -</div> - -<p class='c005'>(As in "hour"), rhymes lour, sour, our, scour, deflow'r, -devour, bow'r, tow'r, etc. (As in "pour"), rhymes bore, -more, roar, pour, war, etc. (As in "tour"), rhymes your, -amour,|| contour, pure, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OURGE.</div> - </div> -</div> - -<p class='c005'>Scourge, rhymes URGE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OURN.</div> - </div> -</div> - -<p class='c005'>(As in "adjourn"), rhymes URN. (As in "mourn"), -rhymes ORN.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OURNE.</div> - </div> -</div> - -<p class='c005'>Bourne,† rhymes ORN.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_135'>135</span>OURS.</div> - </div> -</div> - -<p class='c005'>(As in "ours"), rhymes the plurals of nouns and -third persons singular present tense of verbs in OUR -and OW'R. (As in "yours"), rhymes the plurals of -nouns and third persons singular present tense of verbs -in URE, OOR, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OURSE.</div> - </div> -</div> - -<p class='c005'>Course, see ORSE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OURT.</div> - </div> -</div> - -<p class='c005'>Court, see ORT.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OURTH.</div> - </div> -</div> - -<p class='c005'>Fourth, see ORTH.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OUS.</div> - </div> -</div> - -<p class='c005'>Nous,§ house, mouse, chouse,§ douse,§ etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OUSE.</div> - </div> -</div> - -<p class='c005'>(As in "house"—noun), rhymes nous.§ (As in -"spouse"), rhymes browze, and plural of nouns and -third persons singular present of verbs in OW.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OUST.</div> - </div> -</div> - -<p class='c005'>Joust,† rhymes UST.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OUT.</div> - </div> -</div> - -<p class='c005'>Bout, stout, out, clout, pout, gout, grout, rout, scout, -shout, tout,§ snout,§ spout, stout, sprout, trout, about, -devout, without, throughout, doubt, redoubt, misdoubt, -drought, &c.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_136'>136</span>OUTH.</div> - </div> -</div> - -<p class='c005'>(As in "mouth"—noun), rhymes south, drouth, etc. -(As in "youth"), rhymes truth. (As in "mouth"—verb), -no rhyme.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OVE.</div> - </div> -</div> - -<p class='c005'>(As in "wove"), rhymes inwove, interwove, hove, -alcove, clove, grove, behove, rove, stove, strove, throve, -drove. (As in "dove"), rhymes love, shove, glove, -above. (As in "move"), rhymes approve, disprove, -disapprove, improve, groove, prove, reprove, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OW.</div> - </div> -</div> - -<p class='c005'>(As in "now"), rhymes bow, how, mow, cow, brow, -sow, vow, prow, avow, allow, trow, disallow, endow, -bough, plough, slough (mire), thou, etc. (As in "blow"), -rhymes stow, crow, bow, flow, glow, grow, know, low, -mow, row, show, sow, strow, slow, snow, throw, below, -bestow, foreknow, outgrow, overgrow, overflow, overthrow, -reflow, foreshow, go, no, toe, foe, owe, wo, oh, -so, lo, though, hoe, ho, ago, forego, undergo, dough, -roe, sloe, and sew.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OWD.</div> - </div> -</div> - -<p class='c005'>Crowd, see OUD.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OWE.</div> - </div> -</div> - -<p class='c005'>Owe, see OW.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OWL.</div> - </div> -</div> - -<p class='c005'>(As in "cowl"), rhymes growl, owl, fowl, howl, prowl, -scowl, fowl, &c. (As in "bowl"), rhymes soul, hole, -goal, dole.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_137'>137</span>OWN.</div> - </div> -</div> - -<p class='c005'>(As in "brown"), rhymes town, clown, crown, down, -drown, frown, gown, adown, renown, embrown, noun. -(As in "thrown"), rhymes shown, blown, tone, bone, -moan, own, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OWSE.</div> - </div> -</div> - -<p class='c005'>Bowse,¶ rouse, see OUSE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OWTH.</div> - </div> -</div> - -<p class='c005'>Growth, oath, both.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OWZE</div> - </div> -</div> - -<p class='c005'>Blowze, browse, rouse, spouse, carouse, touse,§ -espouse, the verbs to house, mouse, etc., and the -plurals of nouns and third persons singular present -tense of verbs in OW.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OX.</div> - </div> -</div> - -<p class='c005'>Ox, box, fox, equinox, orthodox, heterodox, the -plurals of nouns and third persons singular present -tense of verbs in OCK.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OY.</div> - </div> -</div> - -<p class='c005'>Boy, buoy,¶ coy, employ, cloy, joy, toy, alloy, annoy, -convoy, decoy, destroy, enjoy, employ.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OYNT.</div> - </div> -</div> - -<p class='c005'>Aroynt,† see OINT.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_138'>138</span>OYLE.</div> - </div> -</div> - -<p class='c005'>Scroyle,† see OIL.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OYNE.</div> - </div> -</div> - -<p class='c005'>Royne,† see OIN.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OZ.</div> - </div> -</div> - -<p class='c005'>(As in "poz"), rhymes was. (As in "coz"), rhymes -buzz.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>OZE.</div> - </div> -</div> - -<p class='c005'>Gloze, see OSE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>U.</div> - </div> -</div> - -<p class='c005'>Ormolu,|| few, adieu,|| lieu, || through, do, true, too.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UB.</div> - </div> -</div> - -<p class='c005'>Cub, club, dub, chub, drub,§ grub, hub,§ rub, snub,§ -shrub, tub.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UBE.</div> - </div> -</div> - -<p class='c005'>Cube, tube.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UCE.</div> - </div> -</div> - -<p class='c005'>Truce, sluice, spruce, deuce, conduce, deduce, induce, -introduce, puce, produce, seduce, traduce, juice, reduce, -use, abuse, profuse, abstruse, disuse, excuse, misuse, -obtuse, recluse.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UCH.</div> - </div> -</div> - -<p class='c005'>Much, touch, such, see UTCH.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_139'>139</span>UCK.</div> - </div> -</div> - -<p class='c005'>Buck, luck, pluck, suck, struck, tuck, truck, duck.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UCT.</div> - </div> -</div> - -<p class='c005'>Conduct, deduct, instruct, obstruct, aqueduct. The -preterites and participles of verbs in UCK.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UD.</div> - </div> -</div> - -<p class='c005'>Bud, scud, stud, mud, cud, blood, flood. ["Suds" -rhymes plurals of nouns and third person present -singular of verbs in UD.]</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UDE.</div> - </div> -</div> - -<p class='c005'>Rude, crude, prude, allude, conclude, delude, elude, -exclude, exude, snood,† include, intrude, obtrude, -seclude, altitude, fortitude, gratitude, interlude, latitude, -longitude, magnitude, multitude, solicitude, solitude, -vicissitude, aptitude, habitude, ingratitude, inaptitude, -lassitude, plenitude, promptitude, servitude, similitude, -lewd, feud, brood, etc., and the preterities and participles -of verbs in EW, UE, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UDGE.</div> - </div> -</div> - -<p class='c005'>Judge, drudge, grudge, trudge, adjudge, prejudge, -fudge,§ smudge, nudge, budge,§ sludge.*</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UE.</div> - </div> -</div> - -<p class='c005'>True, hue, see EW, OO, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_140'>140</span>UFF.</div> - </div> -</div> - -<p class='c005'>Buff, cuff, chuff,§ bluff, huff, gruff, luff,¶ puff, snuff, -stuff, ruff, rebuff, counterbuff, rough, tough, enough, -slough (cast skin), chough, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UFT.</div> - </div> -</div> - -<p class='c005'>Tuft, rhymes the preterites and participles of verbs in UFF.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UG.</div> - </div> -</div> - -<p class='c005'>Lug,§ bug, dug, drug, hug, jug, rug, slug, smug,§ -snug, mug, shrug, pug.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UGH.</div> - </div> -</div> - -<p class='c005'>Pugh (old form of "pooh"), see OO.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UGUE.</div> - </div> -</div> - -<p class='c005'>Fugue,¶ no rhyme.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UHL.</div> - </div> -</div> - -<p class='c005'>Buhl,|| see ULE, OOL.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UICE.</div> - </div> -</div> - -<p class='c005'>Sluice, see USE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UIDE.</div> - </div> -</div> - -<p class='c005'>Guide, see IDE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UILD.</div> - </div> -</div> - -<p class='c005'>Guild, see ILD.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_141'>141</span>UILT.</div> - </div> -</div> - -<p class='c005'>Guilt, see ILT.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UINT.</div> - </div> -</div> - -<p class='c005'>Squint, see INT.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UISE.</div> - </div> -</div> - -<p class='c005'>(As in "guise"), see ISE. (As in "bruise"), see USE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UISH.</div> - </div> -</div> - -<p class='c005'>Cuish,† see ISH.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UIT.</div> - </div> -</div> - -<p class='c005'>Fruit, bruit,† suit, see OOT, UTE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UKE.</div> - </div> -</div> - -<p class='c005'>Duke, puke,† rebuke, fluke,§ chibouque,|| etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UL, and ULL.</div> - </div> -</div> - -<p class='c005'>(As in "cull"), rhymes dull, gull, hull, lull, mull, null, -trull,† skull, annul, disannul. (As in "full"), rhymes -wool, bull, pull, bountiful, fanciful, sorrowful, dutiful, -merciful, wonderful, worshipful, and every word ending -in ful, having the accent on the ante-penultimate.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ULCH.</div> - </div> -</div> - -<p class='c005'>Mulch,¶ gulch.†</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_142'>142</span>ULE.</div> - </div> -</div> - -<p class='c005'>Mule, pule,† Yule, rule, overrule, ridicule, misrule, -fool, tool, buhl.|| [Gules, heraldic term, rhymes plural -of nouns, and third person singular present of verbs in ULE, etc.]</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ULF.</div> - </div> -</div> - -<p class='c005'>Gulf, no rhyme.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ULGE.</div> - </div> -</div> - -<p class='c005'>Bulge, indulge, divulge, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ULK.</div> - </div> -</div> - -<p class='c005'>Bulk, hulk, skulk, sulk.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ULM.</div> - </div> -</div> - -<p class='c005'>Culm,¶ no rhyme.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ULP.</div> - </div> -</div> - -<p class='c005'>Gulp, sculp, pulp, ensculp.§</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ULSE.</div> - </div> -</div> - -<p class='c005'>Pulse, repulse, impulse, expulse, convulse, insulse.†</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>ULT.</div> - </div> -</div> - -<p class='c005'>Result, adult, exult, consult, indult, occult, insult, -difficult, catapult,|| etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UM.</div> - </div> -</div> - -<p class='c005'>Crum,† chum,§ drum, glum,§ gum, hum, mum,§ -scum, plum, sum, swum, thrum,¶ thumb, dumb, -succumb come, become, overcome, burdensome, -<span class='pageno' id='Page_143'>143</span>cumbersome, frolicsome, humoursome, quarrelsome, -troublesome, encomium, opium, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UMB.</div> - </div> -</div> - -<p class='c005'>Dumb, thumb, crumb. See UM.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UME.</div> - </div> -</div> - -<p class='c005'>Fume, plume, assume, consume, perfume, resume, -presume, deplume, room, doom, tomb, rheum.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UMP.</div> - </div> -</div> - -<p class='c005'>Bump, pump, jump, lump, plump, rump, stump, -trump, thump, clump.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UN.</div> - </div> -</div> - -<p class='c005'>Dun, gun, nun, pun, run, sun, shun, tun, stun, spun, -begun, son, won, ton, done, one, none, undone.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UNCE.</div> - </div> -</div> - -<p class='c005'>Dunce, once, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UNCH.</div> - </div> -</div> - -<p class='c005'>Bunch, punch, hunch, lunch, munch, scrunch,§ -crunch.§</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UNCT.</div> - </div> -</div> - -<p class='c005'>Defunct, disjunct, rhymes preterites and participles -of verbs in UNK.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UND.</div> - </div> -</div> - -<p class='c005'>Fund, refund, preterites of verbs in UN, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UNE.</div> - </div> -</div> - -<p class='c005'>June, tune, untune, jejune, prune, croon, hewn, -swoon, moon, soon, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_144'>144</span>UNG.</div> - </div> -</div> - -<p class='c005'>Bung, clung, dung, flung, hung, rung, strung, sung, -sprung, slung, stung, swung, wrung, unsung, young, -tongue, among.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UNGE.</div> - </div> -</div> - -<p class='c005'>Plunge, sponge, expunge, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UNK.</div> - </div> -</div> - -<p class='c005'>Drunk, bunk,§ hunk,§ sunk, shrunk, stunk, punk,† -trunk, slunk, funk,§ chunk,* monk. [Hunks,§ rhymes -plural of nouns and third person singular present of -verbs in UNK.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UNT.</div> - </div> -</div> - -<p class='c005'>Brunt, blunt, hunt, runt, grunt, front, etc., and (?) -wont (to be accustomed).</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UOR.</div> - </div> -</div> - -<p class='c005'>Fluor,¶ rhymes four, bore, roar.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UP.</div> - </div> -</div> - -<p class='c005'>Cup, sup, pup, dup,† up.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UPT.</div> - </div> -</div> - -<p class='c005'>Abrupt, corrupt, interrupt, the participles and preterites -of verbs in UP, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UR.</div> - </div> -</div> - -<p class='c005'>Blur, cur, bur, fur, slur, spur, concur, demur, incur, -her, whirr, err, sir, stir, fir, sepulchre, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_145'>145</span>URB.</div> - </div> -</div> - -<p class='c005'>Curb, disturb, verb, herb, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>URCH.</div> - </div> -</div> - -<p class='c005'>Church, lurch, birch, perch, search, smirch.§</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>URD.</div> - </div> -</div> - -<p class='c005'>Curd, absurd, bird, gird,§ word, and the preterites -and participles of verbs in UR and IR.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>URE.</div> - </div> -</div> - -<p class='c005'>Cure, pure, dure, lure, sure, abjure, allure, assure, -demure, conjure, endure, manure, inure, insure, immature, -immure, mature, obscure, procure, secure, -adjure, calenture, coverture, epicure, investiture, forfeiture, -furniture, miniature, nourriture, overture, portraiture, -primogeniture, temperature, poor, moor, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>URF.</div> - </div> -</div> - -<p class='c005'>Turf, scurf, serf, surf, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>URGE.</div> - </div> -</div> - -<p class='c005'>Purge, urge, surge, scourge, thaumaturge, gurge,† -verge, diverge, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>URK.</div> - </div> -</div> - -<p class='c005'>Lurk, Turk, work, irk,† jerk, perk, quirk, mirk.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>URL.</div> - </div> -</div> - -<p class='c005'>Churl, curl, furl, hurl, purl,§ uncurl, unfurl, earl, girl, -twirl, pearl, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_146'>146</span>URM.</div> - </div> -</div> - -<p class='c005'>Turm,|| see ERM.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>URN.</div> - </div> -</div> - -<p class='c005'>Burn, churn, spurn, turn, urn, return, overturn, -tern, discern, earn, sojourn, adjourn, rejourn.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>URP.</div> - </div> -</div> - -<p class='c005'>Usurp, chirp, extirp, discerp, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>URR.</div> - </div> -</div> - -<p class='c005'>Purr, see UR.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>URSE.</div> - </div> -</div> - -<p class='c005'>Nurse, curse, purse, accurse, disburse, imburse, -reimburse, worse, verse, hearse, disperse, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>URST.</div> - </div> -</div> - -<p class='c005'>Burst, curst, durst, accurst, thirst, worst, first, -versed, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>URT.</div> - </div> -</div> - -<p class='c005'>Blurt,§ hurt, spurt,§ dirt, shirt, flirt, squirt, -wort,¶ vert,¶ etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>US, or USS.</div> - </div> -</div> - -<p class='c005'>Pus,¶ us, thus, buss,§ truss, discuss, incubus, overplus, -arquebus,† cuss,§ amorous, boisterous, clamorous, -credulous, dangerous, ungenerous, generous, emulous, -abulous, frivolous, hazardous, idolatrous, infamous, -miraculous, mischievous, mountainous, mutinous, -<span class='pageno' id='Page_147'>147</span>necessitous, numerous, ominous, perilous, poisonous, -populous, prosperous, ridiculous, riotous, ruinous, -scandalous, scrupulous, sedulous, traitorous, treacherous, -tyrannous, venomous, vigorous, villanous, -adventurous, adulterous, ambiguous, blasphemous, -dolorous, fortuitous, gluttonous, gratuitous, incredulous, -lecherous, libidinous, magnanimous, obstreperous, -odoriferous, ponderous, ravenous, rigorous, -slanderous, solicitous, timorous, valorous, unanimous, -calamitous.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>USE</div> - </div> -</div> - -<p class='c005'>(As in the noun "use") rhymes disuse, abuse, -deuce, truce, sluice, juice, loose, goose, noose, moose. -(As in "muse") rhymes the verb use, abuse, loose, -choose, shoes, amuse, diffuse, excuse, infuse, misuse, -peruse, refuse, suffuse, transfuse, accuse, bruise, and -the plurals of nouns and third persons singular of -verbs in EW and UE, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>USH</div> - </div> -</div> - -<p class='c005'>(As in "blush") rhymes brush, crush, gush, flush, -rush, lush,† tush, frush,† hush. (As in "bush") -rhymes push, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>USK.</div> - </div> -</div> - -<p class='c005'>Busk,†; tusk, dusk, husk, musk.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>USP.</div> - </div> -</div> - -<p class='c005'>Cusp,† no rhyme.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_148'>148</span>UST.</div> - </div> -</div> - -<p class='c005'>Bust, crust, dust, just, must, lust, rust, thrust, trust, -adjust, disgust, distrust, intrust, mistrust, robust, -unjust, the preterites and participles of verbs in US, -USS, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UT, or UTT.</div> - </div> -</div> - -<p class='c005'>But, butt, cut, hut, gut, glut, jut, nut, shut, strut, -englut, rut, scut,†; slut, smut, abut, and soot.(?)</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UTCH.</div> - </div> -</div> - -<p class='c005'>Hutch, crutch, Dutch, much, such, touch, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UTE.</div> - </div> -</div> - -<p class='c005'>Brute, lute, flute, mute, acute, compute, confute, -dispute, dilute, depute, impute, minute, pollute, refute, -salute, absolute, attribute, contribute, constitute, destitute, -dissolute, execute, institute, persecute, prosecute, -resolute, substitute, fruit, bruit,† suit, recruit, boot, -etc., soot(?).</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UTH.</div> - </div> -</div> - -<p class='c005'>Azimuth,¶ rhymes doth.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>UX.</div> - </div> -</div> - -<p class='c005'>Dux,|| crux,|| lux,|| flux, reflux. The plurals of nouns -and third persons singular of verbs in UCK.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>Y.</div> - </div> -</div> - -<p class='c005'>Fly, affy,† aby,† see IE, IGH, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_149'>149</span>YB.</div> - </div> -</div> - -<p class='c005'>Syb, see IB.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>YM.</div> - </div> -</div> - -<p class='c005'>Sym,† see IM.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>YMN.</div> - </div> -</div> - -<p class='c005'>Hymn, see IM.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>YMPH.</div> - </div> -</div> - -<p class='c005'>Nymph, lymph, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>YN.</div> - </div> -</div> - -<p class='c005'>Baudekyn,† see IN.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>YNE.</div> - </div> -</div> - -<p class='c005'>Anodyne, see INE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>YNX.</div> - </div> -</div> - -<p class='c005'>Lynx, rhymes plurals of nouns and third persons -present singular of verbs in INK.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>YP.</div> - </div> -</div> - -<p class='c005'>Gyp,§ hyp,§ see IP.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>YPE.</div> - </div> -</div> - -<p class='c005'>Type, see IPE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>YPH.</div> - </div> -</div> - -<p class='c005'>Hieroglyph,|| see IFF.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>YPSE.</div> - </div> -</div> - -<p class='c005'>Apocalypse,|| see IPSE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='pageno' id='Page_150'>150</span>YRE.</div> - </div> -</div> - -<p class='c005'>Lyre, pyre, byre,* see IRE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>YRRH.</div> - </div> -</div> - -<p class='c005'>Myrrh, her, err, sir, cur, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>YSM.</div> - </div> -</div> - -<p class='c005'>Abysm, cataclysm, schism, etc.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>YST.</div> - </div> -</div> - -<p class='c005'>Amethyst, analyst, cyst, see IST.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>YVE.</div> - </div> -</div> - -<p class='c005'>Gyve, see IVE.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>YX.</div> - </div> -</div> - -<p class='c005'>Sardonyx, pyx, fix, rhymes plural of nouns and third -persons singular present of verbs in ICK.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>YZE.</div> - </div> -</div> - -<p class='c005'>Analyze, see ISE.</p> -<div class='chapter'> - <span class='pageno' id='Page_151'>151</span> - <h2 class='c001'><span class='xxlarge'>APPENDIX</span><a id='r19' /><a href='#f19' class='c006'><sup>[19]</sup></a></h2> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c025'> - <div><span class='pageno' id='Page_153'>153</span>ENGLISH VERSIFICATION.</div> - </div> -</div> - -<p class='drop-capa0_6_0_4 c004'>I n normal English Verse, the most determinate -characteristic is uniformity of syllabic structure. -<span class='sc'>Rhyme</span>, indeed, is a common but not an essential -adjunct, some of our noblest poems being composed -in unrhymed or Blank Verse. <span class='sc'>Measure</span>, <span class='sc'>Rhythm</span>, -<span class='sc'>Accent</span>, and <span class='sc'>Pause</span>, are all features of much moment -in English Versification, but they cannot be reduced -to absolutely uniform rules. The variations to which -they are subject are many and important. Of the -positive and correct signification of the terms Rhyme, -Measure, Rhythm, Accent, and Pause, it is needful to -give some explanation.</p> - -<p class='c014'><span class='sc'>Rhyme</span> consists in a likeness or uniformity of sound -in the closing, syllable, or syllables, of successive or -<span class='pageno' id='Page_154'>154</span>contiguous lines of verse. We find used, in English -poetry, three several sorts of Rhymes, namely, Single, -Double, and Treble. Of the first, or one-syllabled -rhyme, the following is an example:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"O, mortals, blind in fate, who never know</div> - <div class='line in1'>To bear high fortune, or endure the low!"</div> - </div> - </div> -</div> - -<p class='c005'>The closing word, however, is not necessarily a monosyllable. -There may be two syllables, as here:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"What though his mighty soul his grief contains,</div> - <div class='line in1'>He meditates revenge who least complains."</div> - </div> - </div> -</div> - -<p class='c005'>Or three:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Seeking amid those untaught foresters,</div> - <div class='line in1'>If I could find one form resembling hers."</div> - </div> - </div> -</div> - -<p class='c005'>Or four:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"We might be otherwise—we might be all</div> - <div class='line in1'>We dream of, happy, high, majestical."</div> - </div> - </div> -</div> - -<p class='c005'>Or there might be any number in this kind of verse -under ten, if the long and short (accented and unaccented) -syllables were rightly placed, and if the penultimate -syllable, in particular, was short or unaccented. -It is only to be observed further, that it is -the sound in which uniformity is required, and not the -spelling. Thus the following words make good rhymes:—made, -plaid, and stayed; course, force, and hoarse; -ride, lied, dyed; be, glee, lea; lo, blow, foe; beer, -clear, here, and so forth. The most perfect single -rhymes in our language, however, are those in which -<span class='pageno' id='Page_155'>155</span>the rhyming vowels of two lines, and their closing -letter or letters (if there be any), are exactly the same. -"So" and "no," "day" and "say," "content" and -"unbent," "oculist" and "humorist," "ambassadress" -and "unhappiness"—all of these are perfect rhymes, -seeing that the consonant preceding the rhyming -vowel varies in each pair of words, all being alike -after it. This is the criterion of an absolutely perfect -rhyme.<a id='r20' /><a href='#f20' class='c006'><sup>[20]</sup></a> However, such, rhymes as "away" and -"sway," "strain" and "drain," "tress" and "dress," -are not unfrequently used in good poetry. But those -rhymes are held decidedly bad which merely repeat -the same sounds, whether the words spell alike or not. -Thus "amid" and "pyramid," "light" and "satellite," -"maid" and "made," are defective rhymes. In short, -it may be laid down as a rule, that, where the immediate -consonants are not varied before the vowels -in two rhyming lines, the letters before these consonants -must be markedly different, as in "strain" and -"drain," to make the rhymes at all good. "Away" -and "sway," or "loud" and "cloud," though tolerated, -are imperfect in a strict sense. No rhymes are more -uncertain, it may be observed, than those of words -ending in <i>y</i>, as "privacy," "remedy," and the like. -In monosyllables and dissyllables so ending, as "try" -and "rely," the termination always rhymes to <i>ie</i>, as in -"vie" or "hie;" and it seems right that <i>y</i> should always -<span class='pageno' id='Page_156'>156</span>so be rhymed.<a id='r21' /><a href='#f21' class='c006'><sup>[21]</sup></a> Nevertheless, it as often rhymes to -an <i>e</i>, as in "be" and "she." The plural of nouns in -<i>y</i>, again, having their termination in "ies," rhyme very -uncertainly. They are sometimes placed to correspond -with "lies," and sometimes with "lees." There is no -fixed rule on this subject.</p> - -<p class='c005'>On many other points, also, the student of English -poetry must gather information for himself from reading -and observation. Of Double Rhymes it is not -necessary to say much here. They are formed by -adding a short or unaccented syllable to the measure -of ordinary verses of any kind, and composing the -rhyme out of it and the preceding syllable, now the -penultimate one. Thus—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Then all for women, painting, rhyming, <i>drinking</i>,</div> - <div class='line in1'>Besides ten thousand freaks that died in <i>thinking</i>."</div> - </div> - </div> -</div> - -<p class='c005'>In grave poetry, which uses the double rhyme occasionally, -but on the whole sparingly, the last or short -syllable should be entirely alike in double rhymes, -and to the penultimate or accented one the same rules -should apply as in the case of perfect single rhymes. -That is to say, the consonants preceding the accented -vowels should be varied, though licenses are taken in -this respect. "Trading" and "degrading," for example, -would be held a passable rhyme. The unison -of sound,<a id='r22' /><a href='#f22' class='c006'><sup>[22]</sup></a> and not the spelling, largely guides the -<span class='pageno' id='Page_157'>157</span>formation of double rhymes, even in serious verse. -"Liquor" and "thicker," "ever" and "river," "motion" -and "ocean," "debtor" and "better," are instances in -proof; and many, many worse cases pass muster -occasionally. Faulty double rhymes are rendered -faulty much in the same way as single ones. Thus, -"minion" and "dominion," "million" and "vermilion," -are bad rhymes. In burlesque and satiric -poetry, a great deal of freedom is used in the composition -of double rhymes.<a id='r23' /><a href='#f23' class='c006'><sup>[23]</sup></a> Butler often frames them -most amusingly in his "Hudibras." For example—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"When pulpit, drum ecclesi<i>astic</i>,</div> - <div class='line in1'>Was beat with fists, instead of <i>a stick</i>."</div> - </div> - <div class='group'> - <div class='line in1'>"Though stored with deletery <i>med'cines</i>,</div> - <div class='line in2'>Which whosoever took is <i>dead since</i>."</div> - </div> - </div> -</div> - -<p class='c005'>Occasionally in the highest serious verse we find the -double rhyme composed of two several words, as in -the following specimen from Wordsworth:<a id='r24' /><a href='#f24' class='c006'><sup>[24]</sup></a>—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Through many a long blue field of ether,</div> - <div class='line in1'>Leaving ten thousand stars beneath her."</div> - </div> - </div> -</div> - -<p class='c005'>In light or burlesque pieces, however, as Butler shows, -the double rhyme is compounded in any way which -gives the sound required. The Treble Rhyme is only -found in such pieces. Butler says:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"There was an ancient sage philosopher,</div> - <div class='line in1'>Who had read Alexander Ross over."</div> - </div> - </div> -</div> - -<p class='c005'><span class='pageno' id='Page_158'>158</span>But, as the treble rhyme occurs but three or four -times even in "Hudibras," it need not be dilated on here.</p> - -<p class='c014'>The word <span class='sc'>Measure</span>, when employed in reference to -poetry, indicates the length of line and general syllabic -structure of peculiar kinds and forms of verse. Thus, -a piece written in lines of eight syllables is said to be -in the octo-syllabic measure, and one of ten-syllabled -lines in the deca-syllabic measure. The term <span class='sc'>Rhythm</span>, -again, denotes the arrangement of the syllables in -relation to one another, as far as accentuation is concerned, -and the particular cadence resulting from that -arrangement. All the common measures of verse have -a prevailing and normal rhythm—that is, long and -short, or accented and unaccented, syllables follow -each other in a certain order of succession. Thus, the -normal octo-syllabic measure consists of short and -long alternately, as does also the deca-syllabic. But -variations, as will be shown, occur in these respects. -What rhythm, again, is to measures of verse in the -aggregate, <span class='sc'>Accent</span> nearly is to each line specifically -and individually. In one and all has the accent its -peculiar seat; and the more that seat is varied, -generally speaking, the more beautiful is the verse. -The <span class='sc'>Pause</span> is another feature of some importance in -English poetry. In every line a point occurs, at which -a stop or rest is naturally made, and this independently -of commas or periods. It will be found impossible to -read poetry without making this pause, even involuntarily. -The seat of it varies with the accent, seeing -that it always follows immediately after the accent -<span class='pageno' id='Page_159'>159</span>From the want of a right distribution of accent and -pause verse becomes necessarily and unpleasingly monotonous.</p> - -<p class='c014'>On the whole, English poetry, as remarked, has not -one well-marked and unvariable characteristic of -structure, saving that syllabic uniformity which distinguishes -it in all its accurate forms and phases. -However, this feature of our verse has been far from -stamping it with anything like sameness. Though -our bards have habitually measured their verses by -the syllabic scale—with the exception of our old ballad -writers, and a few moderns, 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 construction. Lines of all -lengths, containing from three syllables to twenty, -have been tried by our poets, and, in general, pleasingly -and successfully. Fletcher has even attempted -tri-syllabic verses, though, as may be supposed, only -in a slight choral form.</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Move your feet</div> - <div class='line in3'>To our sound,</div> - <div class='line in1'>Whiles we greet</div> - <div class='line in3'>All this ground."</div> - </div> - </div> -</div> - -<p class='c005'>In verses of four syllables, again, pretty long poems -have actually been composed, and particularly by -John Skelton, a poet of the time of Henry VIII. -Much of what he wrote was sheer doggerel, no doubt -being rendered so partly by the nature of his own -talent and disposition, and partly because his chosen -<span class='pageno' id='Page_160'>160</span>form of verse would scarcely admit of the conveyance -of serious sentiments. Now and then, however, he -does contrive to make his miniature lines interesting, -as in the following address to Mistress Margaret Hussey:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Merry Margaret,</div> - <div class='line in1'>As midsummer flower,</div> - <div class='line in1'>Gentle as falcon,</div> - <div class='line in1'>Or hawk of the tower;</div> - <div class='line in1'>With solace and gladness,</div> - <div class='line in1'>Much mirth and no madness.</div> - <div class='line in1'>All good and no badness;</div> - <div class='line in1'>So joyously,</div> - <div class='line in1'>So maidenly,</div> - <div class='line in1'>So womanly,</div> - <div class='line in1'>Her demeaning,</div> - <div class='line in1'>In every thing</div> - <div class='line in1'>Far, far passing</div> - <div class='line in1'>That I can indite</div> - <div class='line in1'>Or suffice to write</div> - <div class='line in1'>Of merry Margaret,</div> - <div class='line in1'>As midsummer flower,</div> - <div class='line in1'>Gentle as falcon,</div> - <div class='line in1'>Or hawk of the tower."</div> - </div> - </div> -</div> - -<p class='c005'>It will be observed that Skelton, while taking four -syllables for the basial structure of his lines, uses five -occasionally, forming either a dissyllabic ending, or -giving two short syllables for a long one, as in the lines—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Gentle as <i>falcon</i>,</div> - <div class='line in1'>Or hawk <i>of the</i> tower."</div> - </div> - </div> -</div> - -<p class='c014'>At the same time it will be noticed, that the same -number of accents, or accented syllables, is kept up -<span class='pageno' id='Page_161'>161</span>throughout. This will be found to be the case with -most of our irregular or ballad compositions. They -vary as to the number of syllables, but not of long -ones or accents. Scott's romantic poetry exemplifies -the same fact, which is a striking one, and explains -why the melody of ballad-verses is so little affected by -their syllabic irregularities. This law of composition -should be specially noted by young cultivators of the -Muses. Dryden has used four syllables in verses of -the choral order. Thus he says—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"To rule by love,</div> - <div class='line in3'>To shed no blood,</div> - <div class='line in1'>May be extoll'd above;</div> - <div class='line in3'>But here below,</div> - <div class='line in3'>Let princes know,</div> - <div class='line in1'>'Tis fatal to be good."</div> - </div> - </div> -</div> - -<p class='c005'>It is obvious that the four-syllabled line is much too -curt to allow of its being habitually used in serious -compositions. The same thing may be said of lines -of five syllables. They have been, and can only be, -introduced in minor pieces. And here it may be observed, -that the measure of four syllables, when used -gravely, is of simple rhythm, consisting of a short and -long syllable alternately, as in the verses of Dryden. -Skelton, indeed, has confined himself to no rule. The -measure of five syllables necessarily changes its -rhythm; and the second and fourth lines of the subjoined -stanza show what may be called the normal form of the measure:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"My love was false, but I was firm</div> - <div class='line in3'>From my hour of birth;</div> - <div class='line in1'><span class='pageno' id='Page_162'>162</span>Upon my buried body, lie</div> - <div class='line in3'>Lightly, gentle earth."</div> - </div> - </div> -</div> - -<p class='c005'>Long and short syllables (three long or accented) occur -here in alternation, and compose the line in its regular -rhythmical shape. Some other lines of an odd number -of syllables, as seven, are for the most part similarly -framed. But, in these respects, variations are often -adopted. For instance, the following five-syllabled -verses are differently constructed:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Now, now the mirth comes,</div> - <div class='line in3'>With cake full of plums,</div> - <div class='line in1'>Where bean's the king of the sport here;</div> - <div class='line in3'>Besides, we must know,</div> - <div class='line in3'>The pëa also<a id='r25' /><a href='#f25' class='c006'><sup>[25]</sup></a></div> - <div class='line in1'>Must revel as queen in the court here.</div> - </div> - <div class='group'> - <div class='line'>"Begin then to choose</div> - <div class='line in3'>This night, as ye use,</div> - <div class='line in1'>Who shall for the present delight here;</div> - <div class='line in3'>Be king by the lot,</div> - <div class='line in3'>And who shall not</div> - <div class='line in1'>Be Twelfth-day queen for the night here."</div> - </div> - </div> -</div> - -<p class='c005'>The first, second, fourth, and fifth lines here do not -present alternate long and short syllables, as in the -former quotation. But, however poets may indulge in -such variations, the alternation of longs and shorts -constitutes the proper rhythmical arrangement in the -measure of verse now under notice. Without three -accents, indeed, the five-syllabled verse becomes but a -variety of the four-syllabled, as in Skelton's pieces.</p> - -<p class='c005'><span class='pageno' id='Page_163'>163</span>In the measure of six syllables, we find many beautiful -pieces wholly and continuously composed, grave -as well as gay. Drayton, for example, has a fine -"Ode written in the Peaks," of which the ensuing -stanza may give a specimen:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"This while we are abroad,</div> - <div class='line in3'>Shall we not touch our lyre?</div> - <div class='line in1'>Shall we not sing an ode?</div> - <div class='line in3'>Shall all that holy fire,</div> - <div class='line in1'>In us that strongly glow'd</div> - <div class='line in3'>In this cold air expire?"</div> - </div> - </div> -</div> - -<p class='c005'>In a mixed and lyrical shape, the six-syllabled line is -also used finely by Shakspeare:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Blow, blow, thou winter wind,</div> - <div class='line in1'>Thou art not so unkind</div> - <div class='line in3'>As man's ingratitude;</div> - <div class='line in1'>Thy tooth is not so keen,</div> - <div class='line in1'>Because thou art not seen,</div> - <div class='line in3'>Although thy breath be rude.</div> - <div class='line in5'>Heigh ho! sing heigh ho!"</div> - </div> - </div> -</div> - -<p class='c014'>It is only as we come to consider verses of some -length, that the subject of Accent and Pause can be -clearly illustrated by examples. The Accent practically -consists in either an elevation or a falling of the -voice, on a certain word or syllable of a word, when -verse is read; and that word or syllable is called the -seat of the Accent. The term Rhythm has nothing to -do with the sense; whereas the Accent rests mainly on -the sense; and on the sense, moreover, of each individual -line. The Pause, again, was before stated to -<span class='pageno' id='Page_164'>164</span>be a rest or stop, made in pronouncing lines of verse, -and dividing each, as it were, into two parts or hemistiches. -Though, in the six-syllabled measure, the -brevity of the lines confines the reader in a great -degree to the ordinary rhythm, which consists of a -short and long syllable alternately, or three unaccented -and three accented, yet, in Drayton's ode, -though the lines cannot well exemplify the Pause, -there is a slight variation in the seat of the Accent—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Shall we not touch our lyre?</div> - <div class='line in3'>Shall we not sing an ode?"</div> - </div> - </div> -</div> - -<p class='c005'>The accent here plainly falls on the initial "shall," -giving force to the interrogation. Shakspeare's "Under -the green-wood tree" is similarly accented.</p> - -<p class='c005'>The seven-syllabled measure is one in which many -exquisite poems have been composed by English -writers. Raleigh used it, as did likewise Shakspeare -many incidental passages in his plays, and afterwards -Cowley, Waller, and other bards of note. But it was -by Milton that the seven-syllabled verse was developed, -perhaps, to the greatest perfection, in his immortal -"L'Allegro" and "Il Penseroso." In its systematic -shape, this species of verse consists of a long and -short syllable in alternation, the long beginning and -closing each line, and therefore giving four accents. -The measure is graceful and easy exceedingly, though -apt to become monotonous in enunciation. To obviate -this effect, Milton, who, either from natural fineness of -ear, or from observation and experience, had acquired -<span class='pageno' id='Page_165'>165</span>a consummate mastery of rhythm, roughened his lines -purposely, sometimes by introducing eight syllables, -and sometimes by varying the seat of the accent. -This will partly be seen in the following brief extracts, -which will also show how admirably he could make -the measure the vehicle either of the gay or the grave:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Haste thee, nymph, and bring with thee</div> - <div class='line in1'>Jest and youthful Jollity,</div> - <div class='line in1'>Quips, and cranks, and wanton wiles,</div> - <div class='line in1'>Nods, and becks, and wreathed smiles,</div> - <div class='line in1'>Such as hang on Hebe's cheek,</div> - <div class='line in1'>And love to live in dimple sleek;</div> - <div class='line in1'>Sport that wrinkled care derides,</div> - <div class='line in1'>And Laughter holding both his sides."</div> - </div> - </div> -</div> - -<p class='c005'>So speaks the poet to Euphrosyne; and now he addresses -"divinest Melancholy:"—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Come, pensive nun, devout and pure,</div> - <div class='line in1'>Sober, steadfast, and demure,</div> - <div class='line in1'>All in a robe of darkest grain,</div> - <div class='line in1'>Flowing with majestic train,</div> - <div class='line in1'>And sable stole of cypress lawn,</div> - <div class='line in1'>Over thy decent shoulders drawn.</div> - <div class='line in1'>Come, but keep thy wonted state,</div> - <div class='line in1'>With even step and musing gait,</div> - <div class='line in1'>And looks commercing with the skies."</div> - </div> - </div> -</div> - -<p class='c005'>It will be observed how finely the dancing effect of the -seven-syllabled verse is brought out, in accordance -with the sense, in the first quoted passage, and with -what skill it is repressed in the second, principally by -the use of the graver octosyllabic line. John Keats -employed the measure now under consideration very -<span class='pageno' id='Page_166'>166</span>beautifully in his "Ode to Fancy," and gave it variety -chiefly by changing the ordinary rhythm. Thus—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Sit thou by the ingle, when</div> - <div class='line in1'>The sear faggot blazes bright,</div> - <div class='line in1'>Spirit of a winter's night."</div> - </div> - </div> -</div> - -<p class='c005'>The second line, from the position of "sear faggot," is -rendered so far harsh, and tends to prevent the "linked -sweetness" from being too long drawn out, and cloying -the ear. Shakspeare—what under the sun escaped -his eye?—had noticed the sing-song proclivities of the -seven-syllabled measure, since he makes Touchstone -say, on hearing a sample, "I'll rhyme you so eight -years together; dinners, and suppers, and sleeping -hours excepted; it is the right butter-woman's rank -(trot) to market. For a taste." And he gives a -taste:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"If a hart do lack a hind,</div> - <div class='line in1'>Let him seek out Rosalind,</div> - <div class='line in1'>If the cat will after kind,</div> - <div class='line in1'>So, be sure, will Rosalind.</div> - <div class='line in1'>Sweetest nut hath sourest rind,</div> - <div class='line in1'>Such a nut is Rosalind."</div> - </div> - </div> -</div> - -<p class='c005'>"This is the very false gallop of verses," continueth -the sententious man of motley. He is partly in the -right; but the reader has now been told in what way -the great poets, who have employed this measure of -verse effectively, overcame the difficulties attending its -perfect composition. In speaking of long syllables, -they were before called accents; but the reader must -guard against confounding these with the proper single -<span class='pageno' id='Page_167'>167</span>accent, occurring in each line, and connected with the -sense, as well as with the pause. As exemplifying -both such accent and pause in the seven-syllabled line, -the following couplets may be cited from Cowley. -The accent is on the third syllable, the pause at third -and fourth, as marked:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Fill the bowl—with rosy wine,</div> - <div class='line in1'>Round our temples—roses twine;</div> - <div class='line in1'>Crown'd with roses—we contemn</div> - <div class='line in1'>Gyges' wealthy—diadem."</div> - </div> - </div> -</div> - -<p class='c005'>These pauses must not be deemed arbitrary. The -tongue is compelled to make them in the act of utterance.</p> - -<p class='c014'>The octosyllabic measure has been long the most -common, if not the most popular, of all forms of -English verse. It was in use among the Romancers -of the Middle Ages, before England possessed a -national literature, or even a proper national language. -"Maister Wace" composed in this measure his -"Roman de Rou;" and it was adopted by many of -the early "Rhyming Chroniclers," and "Metrical -Romancers" of Great Britain. Father Chaucer also, -though his noblest efforts were made in what became -the heroic verse (the decasyllabic) of his country, produced -many pieces in the eight-syllabled measure; and -Gower used it solely and wholly. So likewise did -Barbour in his famous history of the Bruce, and Wyntoun -in his Metrical Chronicle of Scotland. Since -their days to the present, it has been ever a favourite -form of verse among us, and, indeed, has been at no -<span class='pageno' id='Page_168'>168</span>period more popular than during the current century. -At the same time, poems of the very highest class, -epic or didactic, have never been composed in the -octosyllabic measure. It wants weight and dignity -to serve as a fitting vehicle for the loftiest poetic inspirations. -It has been the basis, however, of much -of the finest lyrical poetry of England. It has likewise -been splendidly wielded for the purposes of -satire, as witness the burlesque or comic epos of -Butler, and the works of Swift. And, in our own -immediate age, it has been magnificently employed by -Scott, Moore, Byron, Campbell, and others, in the -composition of poetical romances.</p> - -<p class='c014'>Byron spoke of the octosyllabic verse as having -about it "a fatal facility"—meaning that, from its -simple brevity of construction, it was too apt to degenerate -into doggerel. It is almost needless to give examples -of a species of poetry so well known. Though -the lines thereof are too short to permit of very full -variety of cadence or emphasis, yet these are always -marked and traceable, more or less. As graceful and -flowing octosyllables, the following lines from the -"Tam o' Shanter" of Burns have not many equals in our poetry:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"But pleasures are like poppies spread;</div> - <div class='line in1'>You seize the flower—its bloom is shed;</div> - <div class='line in1'>Or like the snow-falls in the river,</div> - <div class='line in1'>A moment white, then gone for ever;</div> - <div class='line in1'>Or like the Borealis race,</div> - <div class='line in1'>That flit ere you can point their place;</div> - <div class='line in1'>Or like the rainbow's lovely form,</div> - <div class='line in1'>Evanishing amid the storm."</div> - </div> - </div> -</div> - -<p class='c005'><span class='pageno' id='Page_169'>169</span>Long and short syllables alternately form the regular -rhythm of this kind of verse; but occasional changes -of rhythm and accentuation are used by all good -writers. In the following lines Andrew Marvel introduces -finely such a change:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"He hangs in shades the orange bright,</div> - <div class='line in1'><i>Like golden lamps in a green night</i>."</div> - </div> - </div> -</div> - -<p class='c005'>The emphasis is sometimes placed on the first syllable, -as in the subjoined:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Fling but a stone—the giant dies."</div> - <div class='line'>"Smoothing the rugged brow of night."</div> - </div> - </div> -</div> - -<p class='c005'>The decasyllabic verse, however, will allow more fully -of the illustration of the subjects of Accent and Pause.</p> - -<p class='c014'>In the meantime, a word, and only a word, requires -to be said regarding verses of nine syllables. Such -verses, in their normal and most natural shape, start -with two short syllables, followed by a long one; and -the same arrangement, repeated twice afterwards successively, -completes the line. It has thus but three -accented to six unaccented vowel-sounds. Few poets -of any repute have used this measure extensively, if -we except Shenstone, to whose style it gives an almost -unique caste. For example—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Not a pine in my grove is there seen,</div> - <div class='line in3'>But with tendrils of woodbine is bound;</div> - <div class='line in1'>Not a beech's more beautiful green,</div> - <div class='line in3'>But a sweet-briar entwines it around.</div> - <div class='line in1'>One would think she might like to retire</div> - <div class='line in3'>To the bower I have labour'd to rear;</div> - <div class='line in1'><span class='pageno' id='Page_170'>170</span>Not a shrub that I heard her admire,</div> - <div class='line in3'>But I hasted and planted it there."</div> - </div> - </div> -</div> - -<p class='c005'>Shenstone often introduces eight syllables only, as in -the following stanza:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Ye shepherds, so cheerful and gay,</div> - <div class='line in3'>Whose flocks never carelessly roam,</div> - <div class='line in1'>Should Corydon's happen to stray,</div> - <div class='line in3'>Oh! call the poor wanderers home."</div> - </div> - </div> -</div> - -<p class='c005'>But he here retains the proper rhythm of the measure -of nine syllables, and the lines just quoted may rightly -be looked on as still in that verse, though defective in -a syllable. There are several modes of writing the -same measure, different from that of Shenstone, but it -may suffice to notice one instance:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"When in death I shall calmly recline,</div> - <div class='line in3'>Oh bear my heart to my mistress dear;</div> - <div class='line in1'>Tell her it lived upon smiles and wine</div> - <div class='line in3'>Of the brightest hue, while it linger'd here."</div> - </div> - </div> -</div> - -<p class='c005'>These lines are far from being very musical in themselves, -and were only so written to suit precomposed -music. They are indeed positively harsh, if read without -a recollection of that music, and confirm the remark -made, that each numerical assemblage or series -of syllables appears to have only one kind of rhythm -proper and natural to it, and apart from which it is -usually immelodious.</p> - -<p class='c014'>The ten-syllabled line is the heroic one of the English -language, and a noble one it is, rivalling the lofty -hexameter of Greece and Rome, and casting utterly -into the shade the dancing, frivolous epic measure of -<span class='pageno' id='Page_171'>171</span>French poetry. The latter runs in this rhythmical fashion:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"She is far from the land where her young hero sleeps."</div> - </div> - </div> -</div> - -<p class='c005'>And in this measure is composed the "Henriade" of -Voltaire, with all the famed tragedies of Corneille and -Racine, as well as the pungent satires of Boileau. How -characteristic of the Gaul the adoption and use of such -a sing-song form of heroic verse! The decasyllabic -line of England is of a more dignified caste, while, at -the same time, capable of serving far more numerous -and varied purposes. "All thoughts, all passions, all -delights, whatever stirs this mortal frame," it has been -found fitted to give expression to in a manner worthy -of the themes. A glorious vehicle it proved for the -inspirations of Chaucer, Spenser, Shakspeare, Jonson, -Beaumont, Fletcher, Milton, Dryden, Pope, Thomson, -Akenside, Young, Goldsmith, Cowper, and other bards -of past generations; while scarcely less magnificent -has been the handling of the same measure by the -poets of the last age, the third great one in our literary -annals. Crabbe, Wordsworth, Coleridge, Rogers, -Campbell, Southey, Byron, Shelley, and Keats, with -other recent poets of deserved renown, have all wielded -the decasyllabic line, with or without rhyme, with success, -as well as with singularly varied ability. A long -list of dramatists of the Elizabethan, Annean, and -Georgean eras, has of course to be added to the roll -now given.</p> - -<p class='c014'>The heroic or epic measure of English verse consists -of ten-syllabled lines, each of which, in its ordinary -<span class='pageno' id='Page_172'>172</span>rhythmical form, presents a short and long syllable -alternately. The length of the line enables us distinctly -to trace in it both accent and pause; and it is -upon frequent changes in the seats of these that the -varied harmony of the heroic measure depends. The -general accentuation falls on the long syllables, the -sense, however, always directing the reader to accent -some single syllable specially in each line. The pause -uniformly follows the syllable or word so accented -specially, unless that syllable be the first part of a -long word, or be followed by short monosyllables. -Thus, in the following lines the accent is severed from -the pause.<a id='r26' /><a href='#f26' class='c006'><sup>[26]</sup></a> Both are marked:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"As bu´sy—as intentive emmets are."</div> - <div class='line'>"So fresh the wou´nd is—and the grief so vast."</div> - <div class='line'>"Those seats of lu´xury—debate and pride."</div> - </div> - </div> -</div> - -<p class='c005'>The pause is usually marked by a comma or period, -but this, as before said, is not necessarily the case. In -reading the decasyllabic line, a pause must somewhere -be made, whether or not the sense be divided -by points of any kind. The writings of Pope -exemplify strikingly the formal or normal rhythm, -accent, and pause of the heroic line, and a quotation -may be made to exhibit these fully. The pause is -marked in each line, and the same mark shows the seat of the accent:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='pageno' id='Page_173'>173</span>"Here as I watch'd´ the dying lamps around,</div> - <div class='line in1'>From yonder shrine´ I heard a hollow sound.</div> - <div class='line in1'>Come, sister, come´! (it said, or seem'd to say)</div> - <div class='line in1'>Thy place is here´; sad sister, come away;</div> - <div class='line in1'>Once like thyself´, I trembled, wept, and pray'd,</div> - <div class='line in1'>Love's victim then´, though now a sainted maid:</div> - <div class='line in1'>But all is calm´ in this eternal sleep;</div> - <div class='line in1'>Here grief forgets to groan´, and love to weep;</div> - <div class='line in1'>Even superstition´ loses every fear,</div> - <div class='line in1'>For God, not man´, absolves our frailties here."</div> - </div> - </div> -</div> - -<p class='c005'>This passage contains the secret of that smoothness -which so peculiarly characterises the versification of -Pope. In the preceding fourteen lines, the accent and -the pause are seated, in all save three instances, at -the same or fourth syllable; or rather the seat of -the accent is only once altered (at the twelfth line), -while the pause, changed there, is also changed in the -fourth and thirteenth lines, where it occurs on the -fifth and short syllables in the words "echoes" and -"superstition," the accent remaining on the fourth in -both cases. Now, the versification of Pope is by no -means so monotonous at all times, but it is sufficiently -marked by the peculiar features exhibited here—that -is, the reiterated location of the accent and pause near -the middle of each line, with the pause most frequently -at long syllables—to render his verses smooth even to -a wearisome excess. It is this characteristic of structure, -often felt but seldom understood, which distinguishes -the poetry of Pope from that of almost -every other writer of note in the language. Darwin -resembles him most closely, though the latter poet -had marked peculiarities of his own. He emphasised -<span class='pageno' id='Page_174'>174</span>more particularly nearly one-half the first syllables of -his lines. Verse after verse runs thus:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Sighs in the gale, and whispers in the grot."</div> - <div class='line'>"Spans the pale nations with colossal stride."</div> - </div> - </div> -</div> - -<p class='c005'>The sweetness here is great, but, most undoubtedly, -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 lines. The licence used by Shakspeare, for -example, in respect of rhythm, accent, and pause, is -unlimited; and beautiful, indeed, are the results:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"The quality of mercy´ is not strain'd.</div> - <div class='line in1'>It droppeth´ as the gentle dew from heaven</div> - <div class='line in1'>Upon the place beneath´. It is twice bless'd:</div> - <div class='line in1'>It blesseth him that gives´, and him that takes;</div> - <div class='line in1'>'Tis mightiest in the mightiest´; it becomes</div> - <div class='line in1'>The throned monarch´ better than his crown;</div> - <div class='line in1'>It is an attribute´ to God himself."</div> - </div> - <div class='group'> - <div class='line'>"Sweet´ are the uses of adversity,</div> - <div class='line in1'>Which, like a toad´, ugly and venomous,</div> - <div class='line in1'>Wears yet a precious jewel´ in his head."</div> - </div> - <div class='group'> - <div class='line'>"I know a bank´ whereon the wild thyme blows,</div> - <div class='line in1'>Where oxlips´ and the nodding violet grows,</div> - <div class='line in1'>Quite over-canopied´ with lush woodbine,</div> - <div class='line in1'>With sweet musk-ro´ses, and with eglantine."</div> - </div> - </div> -</div> - -<p class='c005'>It is unnecessary to multiply examples of this sort. -The decasyllabic line of Shakspeare is varied in -structure, as said, almost unlimitedly, the seat of the -accent and pause being shifted from the first word to -the last, as if at random, but often, in reality, with -<span class='pageno' id='Page_175'>175</span>a fine regard to the sense. Ben Jonson, and indeed -all our older writers, indulge in the like free variations -of the heroic measure; and the poets of the present -day, in imitating their higher qualities, have also -followed their example in respect of mere versification. -Wordsworth and Keats, perhaps, may be held as -having excelled all the moderns, their contemporaries, -in the <i>art</i> of "building the lofty rhyme." Both -attended specially to the subject, deeming it by no -means beneath them to meditate well the melody of -single lines, and the aptitude even of individual words. -Hence may Coleridge justly praise Wordsworth for -"his austere purity of language," and "the perfect -appropriateness of his words to the meaning"—for his -"sinewy strength" in isolated verses, and "the frequent -<i>curiosa felicitas</i> of his diction." But Wordsworth -himself owns his artistic care and toil in composition -even more strongly:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"When happiest fancy has inspired the strains,</div> - <div class='line in3'>How oft the malice of one luckless word</div> - <div class='line in1'>Pursues the Enthusiast to the social board,</div> - <div class='line in3'>Or haunts him lated on the silent plains!"</div> - </div> - </div> -</div> - -<p class='c014'>The beauties of the Bard of Rydal are, at the same -time, too widely spread to render him the best example -for our present purpose. Keats attended more closely -to the minutiæ of pure versification in single passages, -and may furnish better illustrations here. The subjoined -Arcadian picture displays exquisite ease and -freedom of composition:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='pageno' id='Page_176'>176</span>"Leading the way´, young damsels danced along,</div> - <div class='line in1'>Bearing the burden´ of a shepherd's song;</div> - <div class='line in1'>Each having a white wicker´, overbrimm'd</div> - <div class='line in1'>With April's tender younglings´; next well trimm'd,</div> - <div class='line in1'>A crowd of shepherds´ with as sunburn'd looks</div> - <div class='line in1'>As may be read of´ in Arcadian books;</div> - <div class='line in1'>Such´ as sat listening round Apollo's pipe.</div> - <div class='line in1'>When the great deity´, for earth too ripe,</div> - <div class='line in1'>Let his divinity´ o'erflowing die</div> - <div class='line in1'>In music through the vales of Thessaly."</div> - </div> - </div> -</div> - -<p class='c014'>Equally fine is the varied melody of the young poet's blank verse:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"As when´, upon a trancèd summer night,</div> - <div class='line in1'>Those green-robed senators´ of mighty woods,</div> - <div class='line in1'>Tall oaks´, branch-charmèd by the earnest stars,</div> - <div class='line'>´ Dream', and so dream all night without a stir,</div> - <div class='line in1'>Save from one gradual´ solitary gust</div> - <div class='line in1'>Which comes upon the silence´, and dies off,</div> - <div class='line in1'>As if the ebbing air´ had but one wave;</div> - <div class='line in1'>So came these words and went."</div> - </div> - </div> -</div> - -<p class='c014'>Before adverting to other characters and peculiarities -of English Versification generally, a very few words -may be said in reference to those measures that exceed -the decasyllabic in length. Lines of eleven feet have -never been used in the composition of great or -extended poems. When employed in lyrics and -occasional pieces, the rhythm has usually been thus regulated:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Oh! breathe not his name, let it sleep in the shade,</div> - <div class='line in1'>Where, cold and unhonour'd, his relics are laid;</div> - <div class='line in1'>Sad, silent, and dark be the tears which we shed</div> - <div class='line in1'>As (the) night-dew that falls on the grass o'er his head."</div> - </div> - </div> -</div> - -<p class='c014'><span class='pageno' id='Page_177'>177</span>This rhythmical arrangement seems to be the natural -one, and composes merely the normal line of nine -syllables, with a prefix of two others. Some other -forms of the eleven-syllabled line may be found in -lyrical collections, and more particularly in the works -of Thomas Moore, who, writing to pre-existing music, -has produced specimens of almost every variety of -rhythm of which the English language is capable.</p> - -<p class='c014'>The measure of twelve syllables has been employed -by one eminent and true poet in the composition of a -work of importance. The "Polyolbian" of Drayton is -here alluded to. As in the case of other verses of an -even number of syllables, the regular alternation of -short and long seems most suitable to lines of twelve. -Drayton thought so, as the following brief extract -descriptive of Robin Hood will show:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Then, taking them to rest, his merry men and he</div> - <div class='line in1'>Slept many a summer's night beneath the greenwood tree.</div> - <div class='line in1'>From wealthy abbots' chests, and churls' abundant store,</div> - <div class='line in1'>What oftentimes he took he shared among the poor;</div> - <div class='line in1'>No lordly bishop came in lusty Robin's way,</div> - <div class='line in1'>To him before he went, but for his pass must pay;</div> - <div class='line in1'>The widow in distress he graciously relieved,</div> - <div class='line in1'>And remedied the wrongs of many a virgin grieved."</div> - </div> - </div> -</div> - -<p class='c014'>It is superfluous to dwell on accentuation or pauses -here, the line being commonly divided into two even -parts, or, in truth, two six-syllabled lines. The rhythm, -however, is often arranged differently in lyrics, as the -first lines of some of those of Moore will evince:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='pageno' id='Page_178'>178</span>"As a beam o'er the face of the waters may glow."</div> - <div class='line'>"We may roam through this world like a child at a feast."</div> - <div class='line'>"Like the bright lamp that shone in Kildare's holy fane."</div> - </div> - </div> -</div> - -<p class='c014'>In these instances, two short syllables and a long -one occur in alternation throughout the twelve. -Moore has given other varieties of this measure, as—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Through grief and through danger, thy smile hath cheer'd my way;"</div> - </div> - </div> -</div> - -<p class='c005'>but these are merely capriccios to suit certain music, -and need not occupy our time here. The same poet -has even a line of thirteen syllables.<a id='r27' /><a href='#f27' class='c006'><sup>[27]</sup></a></p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"At the mid-hour of night, when stars are weeping I fly."</div> - </div> - </div> -</div> - -<p class='c014'>This measure is a most awkward one, certainly. -The line of fourteen syllables is more natural, and was -used in at least one long piece called "Albion's England," -by Thomas Warner, a rhymer of the sixteenth -century. A maid is advised whom to love in these terms:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"The ploughman's labour hath no end, and he a churl will prove;</div> - <div class='line in1'>The craftsman hath more work on hand than fitteth one to love;</div> - <div class='line in1'>The merchant trafficking abroad, suspects his wife at home;</div> - <div class='line in1'>A youth will play the wanton, and an old will play the mome:</div> - <div class='line in1'>Then choose a shepherd."</div> - </div> - </div> -</div> - -<p class='c005'>This is but the lumbering dodecasyllabic verse rendered -more lumbering still by two fresh feet, it will be -generally allowed. In fact, these lines of twelve and -fourteen feet have only been used effectually as -<span class='pageno' id='Page_179'>179</span>"Alexandrines," or single lines introduced to wind up, -or heighten the force of passages, in the heroic or the -octosyllabic measure. Pope ridicules this practice, -though it was a favourite one with Dryden:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line in6'>"A needless Alexandrine ends the song,</div> - <div class='line'>That, like a wounded snake, drags its slow length along."</div> - </div> - </div> -</div> - -<p class='c005'>In Dryden's "Ode to music," the following instances -of the two kinds of Alexandrines occur:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line in6'>"Could swell the soul to rage, or kindle soft desire."</div> - <div class='line'>"And thrice he routed all his foes, and thrice he slew the slain."</div> - </div> - </div> -</div> - -<p class='c005'>By giving lines of ten, twelve, and fourteen syllables -in succession, as he occasionally does in his translation -of Virgil, Dryden brings passages with artistic skill to -a very noble climax. But the Alexandrine is now -nearly obsolete in our poetry.</p> - -<p class='c014'>The most common features and peculiarities of -English Versification have now received a share of -attention. Measure and Rhythm,—Accent and Pause, -have all been duly noticed. There are yet other points, -however, connected with the subject, which merit equal -attention from the student of poetical composition. -Every rule that has been mentioned may be preserved, -and still most inharmonious verse may be the result. -The greatest poets, either from experience or innate -musical taste, adopted additional means to arrive at -perfect versification. Pope points to some of these -in his well-known lines:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='pageno' id='Page_180'>180</span>"The sound must seem an echo to the sense.</div> - <div class='line in1'>Soft is the strain when zephyr gently blows,</div> - <div class='line in1'>And the smooth stream in smoother numbers flows;</div> - <div class='line in1'>But when loud surges lash the sounding shore,</div> - <div class='line in1'>The hoarse rough verse should like the torrent roar."</div> - </div> - </div> -</div> - -<p class='c005'>The poet, as all will of course see, here exemplifies the -meaning of his lines practically in their structure. The -Greek and Roman writers were quite aware of the -effect of congruous sound and sense. Virgil has -several famous lines constructed on this principle, as—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Monstrum, horrendum, informe, ingens cui lumen ademptum."</div> - <div class='line in6'>(A monster, horrid, formless, gross, and blind.)</div> - </div> - </div> -</div> - -<p class='c005'>To give a better idea of the efficient way in which the -poet has roughened the above verse to suit the picture -of a monster, one of his ordinary lines may be quoted:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Formosam resonare doces Amaryllida silvas."</div> - </div> - </div> -</div> - -<p class='c005'>But it is wrong to call this an ordinary line, since Dr. -Johnson considered it to be the most musical in any -human language. Ovid, again, has made the sense -and sound (and also construction) agree finely -in the following passage:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Sponte sua carmen numeros veniebat ad aptos,</div> - <div class='line in1'>Et quod tentabam dicere versus erat."</div> - </div> - </div> -</div> - -<p class='c005'>Pope has imitated these lines, and applied them to -himself, the signification being simply—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"I lisp'd in numbers, for the numbers came."</div> - </div> - </div> -</div> - -<p class='c005'><span class='pageno' id='Page_181'>181</span>Among our own great bards, Milton stands peculiarly -distinguished for success in the use of this ornament -of verse. The "Allegro" and "Penseroso" exhibit -various exquisite instances.</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Swinging slow with sullen roar."</div> - <div class='line'>"On the light fantastic toe."</div> - <div class='line'>"Through the high wood echoing shrill."</div> - <div class='line'>"And the busy hum of men."</div> - <div class='line'>"Most musical, most melancholy."</div> - <div class='line'>"Lap me in soft Lydian airs."</div> - </div> - </div> -</div> - -<p class='c005'>In the "Paradise Lost," again, there occur many -passages rendered forcible in the extreme by the -adaptation of sound to sense. Thus—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line in12'>"Him the Almighty power</div> - <div class='line'>Hurl'd headlong flaming from the ethereal sky,</div> - <div class='line'>With hideous ruin and combustion, down</div> - <div class='line'>To bottomless perdition."</div> - </div> - </div> -</div> - -<p class='c005'>Still more remarkable is the following passage, as -expressive of slow and toilsome travel:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line in12'>"The fiend</div> - <div class='line'>O'er bog or steep, through straight, rough, dense, or rare,</div> - <div class='line'>With head, hands, wings, or feet, pursues his way,</div> - <div class='line'>And swims, or sinks, or wades, or creeps, or flies."</div> - </div> - </div> -</div> - -<p class='c005'>The chief mean of attaining <i>general harmony</i> in verse -is <i>a free and happy distribution of the vowel-sounds</i>. -For producing a <i>special harmony</i>, consonant with -<i>special signification</i>, other rules require to be followed. -But, in the first place, let us look particularly to the -means of rendering verse simply and aggregately -<span class='pageno' id='Page_182'>182</span>melodious. It must not be supposed, as many are -apt to do, that even the most illustrious poets considered -it beneath them to attend to such minutiæ as -the distribution of the vowels in their verses. Look at -the grand opening of "Paradise Lost." It is scarcely -conceivable that the remarkable variation of the vowels -there, on which the effect will be found largely to -depend, can have been the result of chance. No one -line almost, it will be seen, gives the same vowel-<i>sound</i> -twice.</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Of man's first disobedience, and the fruit</div> - <div class='line in1'>Of that forbidden tree, whose mortal taste</div> - <div class='line in1'>Brought death into the world, and all our woe,</div> - <div class='line in1'>With loss of Eden, till one greater Man</div> - <div class='line in1'>Restore us, and regain the heavenly seat,</div> - <div class='line in1'>Sing, heavenly Muse."</div> - </div> - </div> -</div> - -<p class='c005'>The following stanza of Leyden was considered by -Scott one of the most musical in the language, and it -is rendered so mainly by its vowel variety:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"How sweetly swell on Jura's heath</div> - <div class='line in3'>The murmurs of the mountain bee!</div> - <div class='line in1'>How sweetly mourns the writhèd shell,</div> - <div class='line in3'>Of Jura's shore, its parent sea!"</div> - </div> - </div> -</div> - -<p class='c005'>A passage from the "Laodamia" of Wordsworth may -be pointed to as an equally striking illustration of the -same rule:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line in31'><span class='pageno' id='Page_183'>183</span>"He</div> - <div class='line'>Spake of heroic arts in graver mood</div> - <div class='line'>Revived, with finer harmony pursued;</div> - <div class='line'>Of all that is most beauteous—imaged there</div> - <div class='line'>In happier beauty; more pellucid streams,</div> - <div class='line'>An ampler ether, a diviner air,</div> - <div class='line'>And fields invested with purpureal glaems;</div> - <div class='line'>Climes which the sun, who sheds the brightest day</div> - <div class='line'>Earth knows, is all unworthy to survey."</div> - </div> - </div> -</div> - -<p class='c005'>Wordsworth, who in truth is the perfect master of this -species of Melody, as the "Excursion" will prove to -all those who look thereinto attentively, has scarcely -once repeated the same exact sound in any two words, -of any one line, in the preceding quotation. One -more passage (from "Lycidas") may be given to undeceive -yet more completely those who have been -want to ascribe the rich Miltonic melody to mere chance:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Alas! what boots it with incessant care</div> - <div class='line in1'>To tend the homely, slighted shepherd's trade.</div> - <div class='line in1'>And strictly meditate the thankless Muse?</div> - <div class='line in1'>Were it not better done, as others use,</div> - <div class='line in1'>To sport with Amaryllis in the shade,</div> - <div class='line in1'>Or with the tangles of Neæra's hair?"</div> - </div> - </div> -</div> - -<p class='c005'>This most melodious passage has often been quoted, -but the source of its melody has not been generally recognised -by ordinary readers. The key which unlocks -the secret has here been given. Let it be applied to -our poetry at large, and it will be found to explain the -effect of many of its grandest and sweetest passages.</p> - -<p class='c005'>The proper distribution of the vowels, then, so -effective in the hands of Milton and Wordsworth, may -be decisively viewed as a main help to harmony of -versification generally. But when the poet desires to -make his language express <i>particular</i> meanings by -<span class='pageno' id='Page_184'>184</span>sounds, he studies more specially, in the first place, -the right disposition of accent and pause, and so advances -partly to his object. Thus Milton, in describing -the fall of Mulciber or Vulcan from heaven, leaves him, -as it were, tumbling and tumbling in the verse, by -a beautiful pause:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line in12'>"From morn</div> - <div class='line'>To noon he fell, from noon to dewy eve,</div> - <div class='line'>A summer's day."</div> - </div> - </div> -</div> - -<p class='c005'>A similar and not less exquisite pause is made in the -famed passage, otherwise beautiful from variety of -vowels, where, after swelling allusions to</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line in12'>"What resounds</div> - <div class='line'>In fable or romance of Uther's son</div> - <div class='line'>Begirt with British and Armoric knights,</div> - <div class='line'>And all who since, baptized or infidel,</div> - <div class='line'>Jousted in Aspramount or Montalbalm,"</div> - </div> - </div> -</div> - -<p class='c005'>a dying and most melodious close is attained—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"When Charlemain with all his peerage fell</div> - <div class='line in1'><i>By Fontarabia</i>."</div> - </div> - </div> -</div> - -<p class='c005'>Often are similar pauses made effectively at the opening -of lines:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"The schoolboy, wandering through the wood,</div> - <div class='line in3'>To pull the primrose gay,</div> - <div class='line in1'><i>Starts</i>, the new voice of spring to hear,</div> - <div class='line in3'>And imitates thy lay."</div> - </div> - <div class='group'> - <div class='line'>"My song, its pinions disarray'd of night,</div> - <div class='line in3'><i>Droop'd</i>."</div> - <div class='line'><span class='pageno' id='Page_185'>185</span>"The carvèd angels, ever eager eyed,</div> - <div class='line in1'><i>Stared</i>."</div> - </div> - <div class='group'> - <div class='line in12'>"Liberty,</div> - <div class='line'>From heart to heart, from tower to tower, o'er Spain</div> - <div class='line'>Scattering contagious fire into the sky,</div> - <div class='line'><i>Gleam'd</i>."</div> - </div> - </div> -</div> - -<p class='c005'>Much more striking instances of the effect of laying -marked and compulsory pauses on first syllables might -be adduced, but these, taken by chance, may suffice -as illustrations. Such aids to impressive versifying -must not be overlooked by young poets. The pause -and accent, however, may both be similarly employed -and fixed without the help of positive periods. Thus -Wordsworth, in lines likewise beautiful from vowel-variety:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"What time the hunter's earliest horn is heard,</div> - <div class='line in1'><i>Startling</i> the golden hills."</div> - </div> - </div> -</div> - -<p class='c005'>The voice accents the word "startling" naturally; -and mind and ear both own its peculiar aptitude where -it is placed. Not less marked is the force of the same -word in the middle of the Miltonic line:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"To hear the lark begin his flight,</div> - <div class='line in1'>And singing <i>startle</i> the dull night."</div> - </div> - </div> -</div> - -<p class='c005'>And again, in the case of the word "start"—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"The patriot nymph <i>starts</i> at imagined sounds."</div> - </div> - </div> -</div> - -<p class='c005'>The following are examples of sense brought clearly -out, by placing the pause and accent at different points -of the verses:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='pageno' id='Page_186'>186</span>"My heart <i>aches</i>, and a drowsy numbness pains</div> - <div class='line in3'>My sense."</div> - <div class='line'>"Cut mercy with a sharp <i>knife</i> to the bone."</div> - </div> - </div> -</div> - -<p class='c005'>The strong effect of these lines arises from the accent -being thrown on syllables usually short or unaccented -in the decasyllabic verse. This is a common stroke -of art with Milton, when he would lay force on particular -words. Most of our great poets, indeed, knew -and practised the same rule.</p> - -<p class='c005'>So much for the effects of the structure of the verse, -and the location of the accent and pause. But the -simple choice of <i>apt diction</i> is still more important to -the art of effective versification, as far as the evolution -of special meanings is concerned. Reference is not -here made to diction that is apt through signification -merely, but such, more particularly, as by its <i>sound</i> -enhances the force of the thoughts or images which it -conveys. In this shape is the congruity of sound and -sense best developed. To the instances given from -Pope and Milton others may now be added, with an -explanation of the artistic rules employed in the case.</p> - -<p class='c014'>Observe how finely appropriate is the sound to the -sense in the line:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"The surgy murmurs of the lonely sea."</div> - </div> - </div> -</div> - -<p class='c005'>By the use of the <i>rs</i> here it is, that the very sound of -the surge seems to be brought to the ear; and even -the open vowels at the close give something like the -sense of a great and cold waste of waters beyond the -surge. Equally apt is the impression made by the lines:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='pageno' id='Page_187'>187</span>"The murmurous haunt of flies on summer-eves."</div> - <div class='line'>"Couches of rugged stone, and slaty ridge</div> - <div class='line in2'>Stubborn'd with iron."</div> - <div class='line in12'>"A ghostly under-song,</div> - <div class='line'>Like hoarse night-gusts sepulchral briars among."</div> - <div class='line'>"The snorting of the war-horse of the storm."</div> - </div> - </div> -</div> - -<p class='c005'>These are instances in which the roughening effect of -the <i>r</i> is felt to aid the meaning powerfully. The actual -and direct meaning of the words chosen, beyond a -doubt, is by far the most important point in all kinds -of composition; but the art of the poet may be more -or less evinced in his selection of such as have a fit -and correspondent sound. All great poets have recognised -this law. The art, however, must not be too -palpable. Pope, in exemplifying the harsh effect of -the letter <i>r</i>, allowed the art to be too easily seen.</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"The hoarse rough verse should like the torrent roar."</div> - </div> - </div> -</div> - -<p class='c005'>Keats, before quoted, manages the matter more delicately.</p> - -<p class='c014'>We refer to the use of the letter <i>r</i> simply in illustration -of a principle of great consequence in poetical -composition. It is also of the widest application. -Not a letter, or combination of letters, in the English -language, is without some peculiar force of sound of -its own, enhancing sense; and above all does this -assertion hold good in respect to the Anglo-Saxon -elements or portions of our vernacular tongue. This -circumstance arises from the fact of the Anglo-Saxon -being a very pure dialect of a primitive language, -the earliest words of which languages are ever mere -<span class='pageno' id='Page_188'>188</span>descriptions, as far as sound goes, of the acts or objects -implied or spoken of. <i>Hiss</i> and <i>howl</i>, for -instance, are clearly imitative of the noises of hissing -and howling; and thousands of similarly derived -vocables are not less expressive in a kindred way. -Our most eminent national poets, whether taught by -the ear or by experience, have shown themselves well -aware of these things, and have turned to fine account -the Anglo-Saxon constituents of the mother-tongue. -In those languages, again, which have passed through -various shapes since their first invention by man—as -the French, Spanish, and Italian—nearly all traces -of congruous sound and sense have been lost, and -general modulation has taken place of specific expressiveness. -The gain here, which practically rests on -the use of a multiplicity of vowels, cannot be held to -counterbalance the loss. Exquisitely melodious as -are the verses of Tasso and Ariosto, for example, no -one wholly ignorant of Italian could ever even guess -at the meaning of a single line or word from the mere -hearing. The English language stands placed, in -the main, very differently: and happily does it do so, -as far as force, impressiveness, and picturesque beauty -are concerned. No doubt, we have many words -founded on the Latin and its modern derivations; and -these are far from unserviceable, inasmuch as they -lend general harmony to our tongue, spoken and -written. But our special strength of diction comes -from the Anglo-Saxon; and fortunate is it, that that -primitive form of speech still forms the chief constituent -of the national language of Britain.</p> - -<p class='c005'><span class='pageno' id='Page_189'>189</span>The reader now understands by what means our -best national poets have striven to render sound and -sense congruous in their verses. It has mainly been, -as said, by the use of Anglo-Saxon words which could -scarcely fail to suit the end well, since they were -actually formed, primarily, upon that very principle. -Much of the power, of course, lies in the consonants -which occur so freely in the language; and yet the -vowels, while essential to the use and force of the -consonants, are not without their individual and -respective kinds and shades of expressiveness. The -<i>o</i>, for instance, has a breadth and weight not pertaining -to the other vowels, as in the last of these two lines—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line in12'>"Some words she spake</div> - <div class='line'>In solemn tenour and deep organ tone."</div> - </div> - </div> -</div> - -<p class='c005'>The other vowels have also their respective degrees -of depth, lightness, and other qualities. But mere -general harmony only, or chiefly, can be attained by -the use of vowel-sounds unaided by consonants of -particular powers; and it has already been pointed -out, that, to develop that harmony fully, an extensive -variation of the said sounds is the principal thing -required, and has ever been employed by the greatest -poets.</p> - -<p class='c014'>With regard to Consonants, there is scarcely one -in the alphabet without some well-marked and special -force of its own. By conjunction with others, or with -vowels, this special force may likewise be modified -vastly, giving rise to numberless varieties of expression, -<span class='pageno' id='Page_190'>190</span>or rather expressiveness. The roughening power -of the letter <i>r</i> has been adverted to, and other consonants -may now be noticed, with exemplifications, of -their efficient use in poetry. The consonants are -noticeable for their peculiar powers, at once at the -beginning, in the middle, and at the close of words; -but the present purpose will be best served by taking -them up successively, as initial letters.</p> - -<p class='c014'>The consonant <i>b</i>, at the opening of words, has no -very marked force; but it originates many expressive -terms, often finely employed in poetry.</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"He <i>babbled</i> of green fields."</div> - </div> - </div> -</div> - -<p class='c005'>Here the word paints the act to perfection. "<i>Beslubbered</i> -all with tears." "A <i>blubbering</i> boy." "Fire -burn, and caldron <i>bubble</i>." All of these words exemplify -sound and sense clearly combined; and our -poets have also used, with like effect, <i>bawl</i>, <i>brawl</i>, -<i>bray</i>, and many other common terms, beginning with -<i>b</i>. But on the whole, its initial power is not great; -and it is, indeed, rather a soft consonant, like the -labials generally. <i>C</i>, again, sounded as <i>k</i>, has really a -special power, quick, sharp, and cutting, at the commencement -of words, and more particularly when -followed by <i>l</i> and <i>r</i>, and aided by apt terminations. -Well did Milton and others of our bards know this -fact, as the subjoined lines may partly show:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"<i>Clash'd</i> their sounding shields the din of war."</div> - <div class='line'>"Till all his limbs do <i>crack</i>."</div> - <div class='line'><span class='pageno' id='Page_191'>191</span>"I <i>cleave</i> with rapid fin the wave."</div> - <div class='line'>"In one wild havoc <i>crash'd</i>."</div> - <div class='line'>"The moonbeams <i>crisp</i> the <i>curling</i> surge."</div> - <div class='line'>"By the howling of the dog."</div> - <div class='line'>"By the <i>croaking</i> of the frog."</div> - </div> - </div> -</div> - -<p class='c005'>All these are effective terms, both in the opening and -close. Those who recollect any great actor in "Hamlet," -must have noticed the splendid emphasis placeable on the words—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"What should such fellows as I do,</div> - <div class='line'><i>Crawling</i> betwixt earth and heaven!"</div> - </div> - </div> -</div> - -<p class='c005'>The following is most aptly heavy:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Save that a <i>clog</i> doth hang yet at my heel."</div> - </div> - </div> -</div> - -<p class='c005'>And we have here a fine expression, with an equally -good pause:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"I plead a pardon for my tale,</div> - <div class='line in3'>And having hemmed and <i>cough'd</i>—begin."</div> - </div> - </div> -</div> - -<p class='c005'>But <i>cough</i> must be pronounced in the old Anglo-Saxon -way, and not as <i>coff</i>. The power of the letter <i>d</i>, at the -commencement of words, is not quick and sharp like -the <i>c</i>, but rather slow and heavy; and this effect is -vastly increased when an <i>r</i> is added. Thus, for -instance:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"<i>Drags</i> its slow length along."</div> - </div> - <div class='group'> - <div class='line'>"Not all the <i>drowsy</i> syrups of the world."</div> - </div> - <div class='group'> - <div class='line'>"The <i>dreary</i> melody of bedded reeds."</div> - </div> - <div class='group'> - <div class='line'>"Snivelling and <i>drivelling</i> folly without end."</div> - </div> - <div class='group'> - <div class='line'><span class='pageno' id='Page_192'>192</span>"Good shepherds after shearing <i>drench</i> their sheep."</div> - </div> - <div class='group'> - <div class='line'>"And <i>dropping</i> melody with every tear."</div> - </div> - </div> -</div> - -<p class='c005'>Such words, too, as <i>drawl</i>, <i>droop</i>, <i>drip</i>, <i>drizzle</i>, <i>drum</i>, -and others, may be, have been used excellently in -poetry. The <i>f</i> is a letter expressive of a light and -rapid action, at least when conjoined with other consonants. -Campbell uses it finely in both ways:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"But see! 'mid the <i>fast-flashing</i> lightnings of war.</div> - <div class='line in1'>What steed to the desert <i>flies frantic and far</i>?"</div> - </div> - </div> -</div> - -<p class='c005'>The quick action is also signified in <i>flay</i>, <i>flog</i>, <i>fling</i>, -<i>flitter</i>, and other vocables. Coriolanus portrays verbally -the very deed, when he tells how,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Like an eagle in a dovecot, he</div> - <div class='line in1'><i>Flutter'd</i> their Volsces in Corioli."</div> - </div> - </div> -</div> - -<p class='c005'><i>G</i>, by itself, is rather a soft consonant; and, followed -by <i>l</i>, it has also a mild effect, as in the very expressive -words, <i>gleam</i>, <i>glide</i>, <i>glitter</i>, <i>glisten</i>, <i>gloom</i>, and the like. -<i>Gr</i>, again, is singularly heavy and harsh, as in the -succeeding cases:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"And <i>grinn'd</i>, terrific, a sardonic look."</div> - </div> - <div class='group'> - <div class='line'>"<i>Grinn'd</i> horribly a ghastly smile."</div> - </div> - <div class='group'> - <div class='line'>"<i>Grapple</i> him to thy soul with hooks of steel."</div> - </div> - <div class='group'> - <div class='line'>"In came Margaret's <i>grimly</i> ghost."</div> - </div> - </div> -</div> - -<p class='c005'>Of kindred force are <i>grasp</i>, <i>gripe</i>, <i>grope</i>, and others. -<i>Gnash</i> and <i>gnaw</i> have a sort of convulsive twist in -sense, and so should they have in sound, when rightly -pronounced, and after the original mode. By the way, -<span class='pageno' id='Page_193'>193</span>though <i>grin</i> be a strong word, in its old shape it is -stronger; and that <i>girn</i>, still used in Scotland.</p> - -<p class='c005'>All of these specimens of the Anglo-Saxon vocabulary, -and many of a kindred order, have been often -made to tell exquisitely in our national poetry. The -same averment may be made regarding hosts of other -words, differently begun and formed; but we must so -far content ourselves with having shown the principle, -and go over what is to come more quickly. However, -the aspirate <i>h</i> must not be lightly overpassed, having -a striking value in verse. Being pronounced with an -<i>aspiration</i>, it gives a certain energy to almost all words -which it begins, as <i>hack</i>, <i>harsh</i>, <i>hawl</i>, <i>haste</i>, <i>hit</i>, <i>hunt</i>, -and the like. To some terms it imparts a sort of -laboriously <i>elevative</i> force. Pope composed the following -line purposely to exemplify this property:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>Up the high hill, he heaves a huge round stone."</div> - </div> - </div> -</div> - -<p class='c005'>The merely expiratory force of the <i>h</i> is felt equally in -naming the "heights of heaven" and the "hollows of -hell." Though but half a letter, it is thus potent in -poetry, and is often beautifully turned to account by -Milton, as in the passage, "Him the Almighty power -<i>hurled headlong</i>," and so on.</p> - -<p class='c014'>The letter <i>j</i> gives the initiative to many expressive -words, though their expressiveness rests mainly on the -terminations. Such is the case with <i>jar</i>, <i>jerk</i>, <i>jig</i>, <i>jilt</i>, -<i>jog</i>, <i>jostle</i>, <i>jumble</i>, <i>jump</i>. Our comic writers have -used the most of these to good purpose. It is worth -while specially to notice <i>jeer</i>. It would seem as if the -<i>eer</i> was an ending peculiarly fitted to express the -<span class='pageno' id='Page_194'>194</span>meaning which <i>jeer</i> bears, since it gives a pretty similar -force to <i>sneer</i>, <i>fleer</i>, <i>leer</i>, <i>peer</i>, <i>queer</i>, and some -others. Sound and sense concur in all these terms. -The <i>k</i> merely gives to words the same power as the -hard <i>c</i>. <i>L</i> has no great force as the initial letter of -words, though it yet possesses so far its own peculiar -expressiveness. That the whole members of the -alphabet do so, indeed, may be very simply proved. -Of the following twelve monosyllables closing in <i>ash</i>, -the different opening letters give a different force, in -respect of sound, to each word, and such as perfectly -accords with the actual and several meanings. The -words are, <i>clash</i>, <i>crash</i>, <i>dash</i>, <i>flash</i>, <i>gnash</i>, <i>lash</i>, <i>mash</i>, -<i>quash</i>, <i>plash</i>, <i>slash</i>, <i>smash</i>, and <i>thrash</i>. The distinction -here may not be great in some instances, but it certainly -is so in the grating <i>crash</i>, the rapid <i>flash</i>, and the -ponderous <i>smash</i>! These points are well worthy the -attention of the student of English Versification—in -truth, of English literature generally.</p> - -<p class='c005'>Many expressive words, opening with <i>l</i>, are formed -by apt closes, as <i>lift</i>, <i>lisp</i>, <i>limp</i>, <i>loathe</i>, <i>log</i>, <i>lull</i>, and -<i>lurk</i>. How fine the <i>loll</i> in Shakspeare's line:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"The large Achilles, on his press'd bed <i>lolling</i>,</div> - <div class='line in1'>From his deep chest laughs out a loud applause!"</div> - </div> - </div> -</div> - -<p class='c005'><i>M</i> and <i>n</i>, opening words isolatedly, have little peculiarity -of power, but gain it by continuations and -terminations:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Hell is <i>murky</i>."</div> - </div> - <div class='group'> - <div class='line'>"To pluck the <i>mangled</i> Tybalt from his shroud."</div> - </div> - <div class='group'> - <div class='line'>"Thrice the brinded cat hath <i>mew'd</i>."</div> - </div> - <div class='group'> - <div class='line'>"The <i>matted</i> woods."</div> - </div> - <div class='group'> - <div class='line'><span class='pageno' id='Page_195'>195</span>"Thou detestable womb, thou <i>maw</i> of death."</div> - </div> - <div class='group'> - <div class='line'>"So the two brothers and their <i>murder'd</i> man."</div> - </div> - <div class='group'> - <div class='line'>"This hand is <i>moist</i>, my lady."</div> - </div> - <div class='group'> - <div class='line'>"The <i>muffled</i> drum."</div> - </div> - </div> -</div> - -<p class='c005'>And so on. <i>Neigh</i>, <i>nod</i>, <i>nip</i>, <i>nick</i> and so forth, exemplify -the <i>n</i> sufficiently. There are fewer words of a -very expressive kind opened by <i>p</i>, than by any other -letter which may be followed by other consonants, as -<i>l</i>and <i>r</i>. Nor need <i>q</i> delay our progress. <i>R</i>, however, -as already observed, is one of the most emphatic letters -in the alphabet; and, whether at the beginning, in the -middle, or at the close of words, it gives them a striking -and specific force in enunciation. Rude and rough -power lies in its sound. The monosyllabic verbs -which it commences show well what its original effect -was felt to be. <i>Race</i>, <i>rage</i>, <i>rack</i>, <i>rail</i>, <i>rain</i>, <i>rake</i>, -<i>ramp</i>, <i>range</i>, <i>rant</i>, <i>rate</i>, <i>rave</i>, <i>rash</i>, <i>raze</i>—all these -words have an affinity of meaning, derived from the -<i>ra</i>, though modified by the endings. Followed by -other vowels, the <i>r</i> softens somewhat, as in <i>reach</i>, <i>reap</i>, -<i>ride</i>, <i>rise</i>, and the like; but still there is force of action -implied in the sound. <i>Ring</i>, <i>rip</i>, and <i>rift</i>, may be -styled <i>ear-pictures</i>. It is impossible, by citations, to -give any conception of the extent to which the <i>r</i> has -been used in imparting fitting emphasis to poetry. -Nearly all words, implying terror or horror, rest mainly -on it for their picturesque force. This point, however, -has been already illustrated sufficiently for the present purpose.</p> - -<p class='c014'><i>S</i>, by itself, opens many words of mild action, as -<i>sail</i>, <i>sew</i>, <i>sit</i>, <i>soar</i>, and <i>suck</i>. With an additional consonant; -<span class='pageno' id='Page_196'>196</span><i>sc</i>, <i>sh</i>, <i>sk</i>, <i>sl</i>, <i>sm</i>, <i>sn</i>, <i>sp</i>, <i>sq</i>, <i>st</i>, and <i>su</i> it gives rise -to most potent verbs of action; and still stronger ones -are formed when another consonant is added, as in -the cases of <i>scr</i>, <i>spr</i>, and <i>str</i>. What is chiefly to the -point here, sense and sound are strikingly congruous -in terms of this formation. The initials give force -whatever the endings may be, though these may -modify it largely. Let the reader look well at the following -list. <i>Scald</i>, <i>scalp</i>, <i>scare</i>, <i>scamper</i>, <i>scatter</i>, <i>scoff</i>, -<i>scorn</i>, <i>scowl</i>, <i>scour</i>, <i>scourge</i>, <i>scrape</i>, <i>scrawl</i>, <i>scratch</i>, -<i>scream</i>, <i>screw</i>, <i>scrub</i>, <i>scramble</i>, <i>scraggy</i>, <i>scud</i>; <i>shake</i>, -<i>shape</i>, <i>shave</i>, <i>shift</i>, <i>shine</i>, <i>shirk</i>, <i>shiver</i>, <i>shock</i>, <i>shoot</i>, -<i>shout</i>, <i>shriek</i>, <i>shrill</i>, <i>shrink</i>, <i>shrug</i>, <i>shuffle</i>, <i>shudder</i>, -<i>skate</i>, <i>skim</i>, <i>skiff</i>, <i>skirr</i>; <i>slap</i>, <i>slay</i>, <i>sleep</i>, <i>slumber</i>, <i>slip</i>, -<i>slit</i>, <i>slink</i>, <i>sling</i>, <i>slow</i>, <i>slough</i>, <i>sluggish</i>, <i>slur</i>, <i>slut</i>, <i>sly</i>; -<i>smash</i>, <i>smite</i>, <i>smile</i>, <i>smooth</i>, <i>smug</i>, <i>smuggle</i>, <i>smother</i>; -<i>snap</i>, <i>snarl</i>, <i>snare</i>, <i>snatch</i>, <i>snib</i>, <i>snip</i>, <i>snub</i>, <i>sneap</i>, <i>snack</i>, -<i>snort</i>, <i>snivel</i>, <i>snell</i>; <i>speed</i>, <i>spit</i>, <i>split</i>, <i>splash</i>, <i>spout</i>, -<i>spring</i>, <i>spur</i>, <i>spurt</i>, <i>spurn</i>, <i>sputter</i>, <i>spy</i>, <i>sprinkle</i>; -<i>squeeze</i>, <i>squall</i>, <i>squeak</i>, <i>squat</i>, <i>squash</i>, <i>squabble</i>, <i>squib</i>; -<i>stab</i>, <i>stamp</i>, <i>stare</i>, <i>start</i>, <i>steal</i>, <i>steam</i>, <i>steep</i>, <i>steer</i>, <i>step</i>, -<i>stem</i>, <i>stick</i>, <i>sting</i>, <i>stir</i>, <i>stoop</i>, <i>storm</i>, <i>stow</i>; <i>strain</i>, <i>strap</i>, -<i>streak</i>, <i>stress</i>, <i>stretch</i>, <i>strew</i>, <i>stride</i>, <i>strike</i>, <i>string</i>, <i>strip</i>, -strive, stroll, strut, stuff, stump, stun, stagger, stammer, -<i>startle</i>, <i>strangle</i>, <i>stutter</i>, <i>struggle</i>, <i>stumble</i>; <i>sway</i>, -<i>sweep</i>, <i>swell</i>, <i>swing</i>, <i>swoop</i>, <i>swirl</i>.</p> - -<p class='c014'>This is truly a long roll; but it is one deserving of -all attention from those who are studying the euphony, -or the happy cacophony, of the English vocabulary, -with an eye to poetic composition. Each word here -is, to repeat a somewhat dubious phrase, a positive -<span class='pageno' id='Page_197'>197</span>auricular picture. There is variety in sense, but it is -still accompanied by fit variety of sound. And yet a -general similarity of significations exists among the -words formed by <i>s</i> with one or more additional consonants: -while still more akin are the sets of words begun -alike. The whole, collectively, express force, and -for the most part strong force. <i>Scare</i> and <i>scream</i> -imply (in sound and sense) sharp action; <i>shake</i> and -<i>shrink</i>, soft and moderate; <i>skate</i> and <i>skim</i>, quick and -smooth; <i>slip</i> and <i>sling</i>, rapid and easy; <i>smash</i> and -<i>smite</i>, strong and suppressive; <i>snarl</i> and <i>snap</i>, snarling -and snappish; <i>spit</i> and <i>split</i>, slight but decisive; -<i>squeeze</i> and <i>squeak</i>, forcible but petty; <i>stab</i> and <i>stamp</i>, -direct and powerful; <i>strain</i> and <i>strike</i>, full of <i>straining -strength</i>, and with their congeners, the most energetic -of words, in sound and sense, in the language. In -verbs opened by <i>sw</i>, as in <i>sweep</i> and <i>swirl</i>, the <i>s</i> gives -an onward impulse, as it were, and the <i>w</i> renders it so -far rotatory. Leigh Hunt applies the word swirl finely to ships:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"They chase the whistling brine, and swirl into the bay."</div> - </div> - </div> -</div> - -<p class='c014'>Most of the words formed with <i>t</i> as the initial derive -from it no very marked force, and depend for that -quality on the same terminations which have been -noticed as giving force to others. The <i>t</i> need not, -therefore, occupy our space. The <i>w</i> is also weak -alone, but forms terms of some initial pith with the -aspirate <i>h</i> as <i>wheel</i>, <i>whiff</i>, <i>whelm</i>, <i>whip</i>, <i>whirl</i>, <i>whisk</i>, -and <i>whoop</i>. There is a sort of sense of circuitous -motion given by the <i>wh</i>; and, with their well-discriminated -<span class='pageno' id='Page_198'>198</span>terminations, the verbs of action which it opens -are very expressive. When <i>wr</i> was pronounced <i>uurr</i>, -the words, <i>wrangle</i>, <i>wrestle</i>, <i>wreath</i>, <i>wring</i>, <i>wrench</i>, -and <i>wrath</i> were words of potency, twisting and convulsive. -But the <i>w</i> is now mute, and their might has departed.</p> - -<p class='c014'>It is because much, very much, of the power, the -majesty, and the beauty of English Poetry, as left to -us by our fathers, is traceable to the liberal use of the -Anglo-Saxon elements of our national language, that -the subject has been treated of here so lengthily. -Moreover, there has been evinced of late, it is painful -to add, a growing tendency on the part of many writers -to cultivate Gallicisms, as words of Roman derivation -are rightly named, to a still greater extent than has -yet been done amongst us, and to the repression of our -true native vocabulary. A gain may be made in -this way in respect of general harmony, as before -observed, but it is a gain which never can counterbalance -the loss in point of pith and picturesqueness. -It is not said here, that our greater recent -poets have been the chief deserters of the Anglo-Saxon -tongue. On the contrary, many of them have -shown a full sense of its merits, and have used it -finely. It is a remarkable corroboration, indeed, -of the present argument, that in all their best passages, -they almost uniformly employ the said tongue, -whether consciously or unconsciously. Look at -the following passage of Burns. It has been pronounced -by critics to embody the most powerful picture -in modern poetry.</p> -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='pageno' id='Page_199'>199</span>"Coffins stood round like open presses,</div> - <div class='line in1'>That shaw'd the dead in their last dresses;</div> - <div class='line in1'>And by some devilish cantrip sleight,</div> - <div class='line in1'>Each in its cauld hand held a light,</div> - <div class='line in1'>By which heroic Tam was able</div> - <div class='line in1'>To note upon the haly table</div> - <div class='line in1'>A murderer's banes in gibbet-airns;</div> - <div class='line in1'>Twa span-lang, wee unchristen'd bairns;</div> - <div class='line in1'>A thief, new cuttit frae a rape—</div> - <div class='line in1'>Wi' his last gasp his gab did gape;</div> - <div class='line in1'>A garter which a babe had strangled;</div> - <div class='line in1'>A knife, a father's throat had mangled,</div> - <div class='line in1'>Whom his ain son o' life had reft—</div> - <div class='line in1'>The gray hairs yet stack to the heft."</div> - </div> - </div> -</div> - -<p class='c005'>This passage forms a splendid specimen of almost pure -Anglo-Saxon; and, among the few words of a different -origin, one of the most marked may perhaps be rightly -held a blemish—namely <i>heroic</i>. Like Burns, Wordsworth, -and all those moderns who have studied ear-painting -(if this phrase may be again pardoned) as well -as eye-painting in their verses, have drawn freely on -the Anglo-Saxon vocabulary. All young and incipient -versifiers should study their works, and "Go and do -likewise."</p> - -<p class='c014'>The general construction of English verse, and the -various rules by which it is rendered melodious, -expressive, and picturesque, having now been explained, -it remains but to indicate, in a few words, the -principal divisions of Poetry common, among us. Epic -verse is held to be the highest description of poetical -composition. The "Iliad" of Homer and "Æneid" -of Virgil have always formed models in this department; -<span class='pageno' id='Page_200'>200</span>and it is remarkable, but true, that we can -scarcely be said to have one English epic that rises -to their standard, saving "Paradise Lost." Of the -character of an epic, it need but be said here, that the -subject, the diction, and the treatment must all be alike -lofty and sustained. In English, the decasyllabic is -the epic line, sometimes called the Heroic. If we have -so few epics, however, we have many poems of high -note that are usually styled Didactic, from their <i>teaching</i> -great truths. Akenside, Thomson, Cowper, -Rogers, and Campbell wrote such poems, some in -blank verse, others in rhyme. Where rhymed, they -are all written in Couplets, or pairs of lines, rhyming -to one another, in regular succession. Narrative, -Descriptive, and Satiric poems (the several objects of -which may be drawn from these epithets) are important -species of composition, and for the most part -constructed similarly to the Epic and Didactic pieces. -In truth, the ten-syllabled line, in couplets or in blank -verse, though best adapted for grave subjects, has -been employed on almost all themes by English poets. -Nearly the same thing may be said of the octosyllabic -verse, also written commonly in couplets, when used -in long compositions. Many poems, which may be -generally termed Romantic, have likewise been framed -in the eight-syllabled line, though not usually in couplets.</p> - -<p class='c014'>The name of Stanzas is bestowed, aggregately, on all -assemblages of lines, exceeding two in number, when -they are arranged continuously. The following is a -stanza of three lines, termed isolatedly a Triplet:—</p> -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='pageno' id='Page_201'>201</span>"Nothing, thou elder brother even to Shade.</div> - <div class='line in1'>Thou hadst a being ere the world was made,</div> - <div class='line in1'>And (well fix'd) art alone of ending not afraid."</div> - </div> - </div> -</div> - -<p class='c005'>Stanzas in four lines, called specially Quatrains, are -exemplified in Gray's "Churchyard Elegy." Indeed, -that stanza has long been denominated the Elegiac. -Tennyson's "In Memoriam" is composed in octosyllabic -quatrains. In stanzas of four lines, also, half -the minor poetry in the language is composed. The -general name of "Lyrical" is given to such poetry, -and implies the subjects to be occasional and detached, -and the pieces usually brief. "Songs" come within -the Lyric category. It would be needless to exemplify -a stanza so well known, either in its frequent form of -alternate rhyming lines of eight and eight syllables, or -its yet more common one of eight and six. No continuous -poems of any length or moment have been -written in five-line stanzas, and few in those of six -lines. The latest piece in the latter shape has been -Sir E. L. Bulwer's "King Arthur;" but the stanza is -too like the very famous one called in Italy the <i>ottava -rima</i>, with two lines lopped off and not beneficially. -The "Don Juan" of Byron is composed in this <i>ottava -rima</i>, or eight-lined stanza; but it was borrowed from -the Italians (the real inventors) by William Tennant, -and used in his "Anster Fair," long before Frere or -Byron thought of its appropriation—a circumstance of -which many critics have shown a discreditable ignorance. -It is the best of all stanzas for a light or burlesque -epic, the principle of its construction being—seriousness -in the first six lines, and in the last two a -<span class='pageno' id='Page_202'>202</span>mockery of that seriousness. The great poet, however, -can make any stanza great. Shakspeare used the six-line -stanza in his "Venus and Adonis," and that of -seven lines in his "Lucrece."</p> - -<p class='c014'>The only other regular English stanza, of high note, -and calling for mention here, is the Spenserian, consisting -of nine lines, the first eight decasyllabic, and -the last an Alexandrine of twelve feet. Many noble -poems have been written in this stanza, from Spenser's -"Fairy Queen" to Byron's "Childe Harold," which -may be viewed as romantic and narrative epics -respectively. It is calculated to convey aptly the -loftiest poetry, though Thomson and Shenstone have -employed it for lighter purposes, in the "Castle of -Indolence" and "Schoolmistress."</p> - -<p class='c014'>The sonnet is, in its highest moods, an epic in fourteen -lines; and, as regards its normal structure, -should present but four different rhymes in all. So -Milton wrote it, and so often Wordsworth, <i>facile -principes</i> in this walk of poetic composition; but six -or more rhymes are commonly admitted. The rhymes -of the successive lines stand thus, in the Miltonic -sonnet:—"arms, seize, please, harms, charms, these, -seas, warms, bower, spare, tower, air, power, bare." -In a sonnet, Wordsworth splendidly exemplifies the -sonnet, and tells its uses and its history. ("Scorn not," -&c. Wordsworth's Miscellaneous Sonnets.)</p> - -<p class='c014'>The Ode is a poem of irregular construction, or -rather was so constructed by the Greek bard Pindar, -and after him by Dryden and Collins, his best English -imitators. Wordsworth and Coleridge also wrote fine -<span class='pageno' id='Page_203'>203</span>odes of late years, and they followed the same irregularities -of composition. Shelley and Keats, however, -produced noble pieces, of the same kind, as those on -"Liberty" and "Melancholy," in which they used a -very free measure, but in orderly stanzas. It would be -out of place to describe at length the plan of the Pindaric -ode—for it had a general plan, though fantastic -in details. The wildest forms of it were styled the -dithyrambic; and impassioned grandeur of sentiment -and diction were its characteristics. Horace, in his -best odes, contented himself with aiming at dignity -and justness of thoughts, and pointedness of expression. -Dryden and Collins, as well as Coleridge -and Shelley, copied and approached the dithyrambic -fervour; while Keats sought but after beauty, and left -us masterpieces in that kind—"alas, too few!"</p> - -<p class='c014'>With yet a word on the art of Song-Writing, this -essay may be closed. It well merits a word, and -chiefly because it is an art the most easy in seeming, -and the most difficult in reality, in the entire range of -literary composition. People might easily discern this -truth, if they would but take note how few really great -song-writers have ever flourished among men, at any -time, or in any country. Without forgetting Ramsay, -Hogg, and Cunningham, it may be justly asserted that -Scotland has seen but one such bard, Robert Burns. -Ireland has likewise produced but one, Thomas Moore. -England has given birth to—not one song-writer of the -same high order! Such is the fact; for to such parties -as the Dibdins, Charles Morris, or Haynes Bayly, the -rank of great song-writers cannot be assigned. However, -<span class='pageno' id='Page_204'>204</span>it is but fair to admit that Moore should be -reckoned as in the main a song-writer of England, his -music only, and occasionally his subjects, being Irish. -His pieces are wholly in the English tongue, and by -the English nation he may so far be claimed. That -numberless individuals have written one or two good -songs, is unquestionable, but the circumstance only -strengthens the present argument. It shows the -difficulty of fitly carrying out and sustaining the -practice of song-writing.</p> - -<p class='c014'>Notwithstanding these glaring truths, the young, on -feeling the first prompting of the muse, fly to this -species of composition almost invariably. Now, -whether they do or do not possess the requisite poetical -powers (which is not the point under consideration -here), they certainly take up the said task, almost -always, in total ignorance of the rules of construction -necessary to be observed in song-writing. These are -few, but all-important. After simplicity and concentration -of thought and diction—the first elements in -such compositions—simplicity of grammatical arrangement -stands next in consequence. An inverted expression -is most injurious, and a parenthetic clause -almost uniformly fatal. All forms of complication are -indeed alike hurtful; and even epithets, and adjectives -of every kind, can be employed but sparingly, and -must be most direct and simple. That mode of poetic -diction, which introduces its similitudes by "as the," -"so the," and "like the," is ruinous in songs. Scarcely -less so are interjections, especially when of some length. -Look how sadly even Wordsworth failed, when he -<span class='pageno' id='Page_205'>205</span>thought to improve on the old ballad of Helen of Kirkconnel!</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Fair Ellen Irvine, <i>when, she sate</i></div> - <div class='line in3'><i>Upon the braes of Kirtle</i>,</div> - <div class='line in1'>Was lovely <i>as a Grecian maid</i>,</div> - <div class='line in3'><i>Adorn'd with wreaths of myrtle</i>."</div> - </div> - </div> -</div> - -<p class='c014'>Compare the effect of this stanza with its parenthetic -clause and its tale-tagged similitude, to that of the old -ballad, so remarkable for its simplicity:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"I wish I were where Helen lies;</div> - <div class='line in1'>Night and day on me she cries;</div> - <div class='line in1'>Oh! that I were where Helen lies,</div> - <div class='line in3'>On fair Kirkconnel lea."</div> - </div> - <div class='group'> - <div class='line in10'>* * * * * *</div> - </div> - <div class='group'> - <div class='line'>"Curst be the head that thought the thought,</div> - <div class='line in1'>Curst be the hand that shot the shot,</div> - <div class='line in1'>When in my arms burd Helen dropt,</div> - <div class='line in3'>And died to succour me."</div> - </div> - </div> -</div> - -<p class='c005'>Even on a reading, the effect of these pieces is -widely different, and would be felt ten times more -were they sung. The best music is ever cast away -on involved phraseology; and herein lies, in fact, the -main reason for simplicity of construction in songs.</p> - -<p class='c014'>With these hints on the Art of composing Songs, -most of the suggestions before given respecting the -selection of words of peculiar sounds, may also be kept -in mind. Burns forgot them not. Observe his Wandering -Willie:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Rest, ye wild winds, in the caves of your slumbers,</div> - <div class='line in3'>How your dread howling a lover alarms."</div> - </div> - </div> -</div> - -<p class='c005'><span class='pageno' id='Page_206'>206</span>But let all the most admired songs of Burns, and of -Moore also, be examined attentively, and the skilful -adaptation of the words to the sentiment, the position -and the purpose will appear clearly. What language, -for example, could be more artistically suited to an -exquisitely soft air than the following by Moore?—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"'Tis the last rose of summer,</div> - <div class='line in3'>Left blooming alone,</div> - <div class='line in1'>All its lovely companions</div> - <div class='line in3'>Are faded and gone."</div> - </div> - </div> -</div> - -<p class='c005'>If these lines were written in a dialect utterly strange -to the hearer, he still could not but feel their admirable -melodiousness, so appropriate to the melodious music. -In the case, therefore, of song-writing generally—whether -to known or unknown music—the purpose of -the composition must ever be kept in mind. A song, -if not satisfactorily fitted for vocal utterance, and -intelligible on the hearing of a moment, neither -deserves, nor will receive, popular appreciation and -acceptance. Where true poetry is interfused, as in the -productions of Burns and Moore, then, indeed, is -mastership in the art of song-writing really shown. -Of all classes of writers, the song-writer is perhaps the -most truly an artist.</p> -<div class='pbb'> - <hr class='pb c003' /> -</div> -<div class='chapter'> - <span class='pageno' id='Page_207'>207</span> - <h2 class='c001'><span class='xlarge'>Rules for Making English Verse.</span></h2> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c002'> - <div><span class='sc'>By</span> EDWARD BYSSHE.</div> - </div> -</div> - -<p class='c026'>These rules I have, according to the best of my judgment, -endeavoured to extract from the practice, and to frame after -the examples, of the poets that are most celebrated for a -fluent and numerous turn of verse.</p> - -<p class='c026'>In the English versification there are two things chiefly to -be considered:</p> - -<p class='c027'>1. The verses.</p> - -<p class='c027'>2. The several sorts of poems, or composition in verse.</p> - -<p class='c027'>But because in the verses there are also two things to be -observed, the structure of the verse and the rhyme, this -treatise shall be divided into three chapters;</p> - -<p class='c027'>I. Of the structure of English verses.</p> - -<p class='c027'>II. Of rhyme.</p> - -<p class='c027'>III. Of the several sorts of poems, or composition in verse.</p> -<div class='chapter'> - <h2 class='c001'>CHAPTER I.</h2> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c002'> - <div>OF THE STRUCTURE OF ENGLISH VERSES.</div> - </div> -</div> - -<p class='c028'>The structure of our verses, whether blank or in rhyme, -consists in a certain number of syllables; not in feet composed -of long and short syllables, as the verses of the Greeks -and Romans. And though some ingenious persons formerly -puzzled themselves in prescribing rules for the quantity -of English syllables, and, in imitation of the Latins, -composed verses by the measure of spondees, dactyls, &c., -yet the success of their undertaking has fully evinced the -vainness of their attempt, and given ground to suspect they -had not thoroughly weighed what the genius of our language -would bear, nor reflected that each tongue has its peculiar -beauties, and that what is agreeable and natural to one, is very -often disagreeable, nay, inconsistent with another. But that -design being now wholly exploded, it is sufficient to have -mentioned it.</p> - -<p class='c005'><span class='pageno' id='Page_208'>208</span>Our verses, then, consist in a certain number of syllables; -but the verses of double rhyme require a syllable more than -those of single rhyme. Thus in a poem whose verses consist -of ten syllables, those of the same poem that are accented -on the last save one, which we call verses of double rhyme, -must have eleven, as may be seen by these verses:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"A Man so various that he seem'd to be</div> - <div class='line in1'>Not one, but all Mankind's Epitome:</div> - <div class='line in1'>Stiff in Opinion, always in the Wrong,</div> - <div class='line in1'>Was ev'ry thing by starts, and nothing long;</div> - <div class='line in1'>But, in the Course of our revolving moon:</div> - <div class='line in1'>Was Fiddler, Chymist, Statesman and Buffoon:</div> - <div class='line in1'>Then all for Women, Painting, Rhyming, Drinking,</div> - <div class='line in1'>Besides Ten thousand Freaks that dy'd in Thinking,</div> - <div class='line in1'>Praising and Railing were his usual Themes,</div> - <div class='line in1'>And both, to shew his Judgment, in Extreams.</div> - <div class='line in1'>So over-violent, or over-civil,</div> - <div class='line in1'>That every Man with him was God or Devil."—<i>Dryden.</i></div> - </div> - </div> -</div> - -<p class='c014'>Where the four verses that are accented on the last save one -have eleven syllables, the others, accented on the last, but ten.</p> - -<p class='c005'>In a poem whose verses consist of eight, the double rhymes require nine; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"When hard Words, Jealousies, and Fears,</div> - <div class='line in1'>Set Folks together by the ears;</div> - <div class='line in1'>And made 'em fight, like mad, or drunk,</div> - <div class='line in1'>For Dame Religion as for Punk;</div> - <div class='line in1'>Whose honesty they all durst swear for,</div> - <div class='line in1'>Tho' not a Man of 'em knew wherefore:</div> - <div class='line in1'>Then did Sir Knight abandon Duelling,</div> - <div class='line in1'>And out he rode a Colonelling."—<i>Hudibras.</i></div> - </div> - </div> -</div> - -<p class='c014'>In a poem whose verses consist of seven, the double rhymes -require eight; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"All thy verse is softer far</div> - <div class='line in1'>Than the downy Feathers are</div> - <div class='line in1'>Of my Wings, or of my Arrows,</div> - <div class='line in1'>Of my Mother's Doves or Sparrows."—<i>Cowley.</i></div> - </div> - </div> -</div> - -<p class='c014'>This must also be observed in blank verse; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Welcome, thou worthy Partner of my Laurels!</div> - <div class='line in1'>Thou Brother of my Choice! A Band more sacred</div> - <div class='line in1'>Than Nature's brittle Tye. By holy Friendship!</div> - <div class='line in1'>Glory and Fame stood still for thy Arrival:</div> - <div class='line in1'>My Soul seem'd wanting of its better Half,</div> - <div class='line in1'>And languish'd for thy Absence like a Prophet,</div> - <div class='line in1'>Who waits the Inspiration of his God."—<i>Rowe.</i></div> - </div> - </div> -</div> - -<p class='c014'>And this verse of Milton,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Void of all Succour and needful Comfort,"</div> - </div> - </div> -</div> - -<p class='c015'>wants a syllable; for, being accented on the last save one, it -<span class='pageno' id='Page_209'>209</span>ought to have eleven, as all the verses but two of the preceding -example have. But if we transpose the words thus,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Of Succour and all needful Comfort void,"</div> - </div> - </div> -</div> - -<p class='c015'>it then wants nothing of its due measure, because it is accented -on the last syllable.</p> -<p class='c029'><span class='sc'>Section I.</span>—<i>Of the several sorts of verses; and, first, -of those of ten syllables: of the due observation of the accents, -and of the pause.</i></p> - -<p class='c005'>Our poetry admits for the most part but of three sorts of -verses; that is to say, of verses of ten, eight, or seven -syllables. Those of four, six, nine, eleven, twelve, and fourteen, -are generally employed in masks and operas, and in the -stanzas of lyric and Pindaric odes, and we have few entire -poems composed in any of those sort of verses. Those of -twelve and fourteen syllables are frequently inserted in our -poems in heroic verse, and when rightly made use of, carry a -peculiar grace with them. See the next section towards the end.</p> - -<p class='c014'>The verses of ten syllables, which are our heroic, are -used in heroic poems, in tragedies, comedies, pastorals, -elegies, and sometimes in burlesque.</p> - -<p class='c014'>In these verses two things are chiefly to be considered:</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>1. The seat of the accent.</div> - <div class='line'>2. The pause.</div> - </div> - </div> -</div> - -<p class='c014'>For 'tis not enough that verses have their just number of -syllables; the true harmony of them depends on a due observation -of the accent and pause.</p> - -<p class='c014'>The accent is an elevation or a falling of the voice on a -certain syllable of a word.</p> - -<p class='c014'>The pause is a rest or stop that is made in pronouncing -the verse, and that divides it, as it were, into two parts; each -of which is called an hemistich, or half-verse.</p> - -<p class='c014'>But this division is not always equal, that is to say, one of -the half-verses does not always contain the same number of -syllables as the other. And this inequality proceeds from -the seat of the accent that is strongest, and prevails most in -the first half-verse. For the pause must be observed at the -end of the word where such accents happen to be, or at the -end of the following word.</p> - -<p class='c014'>Now, in a verse of ten syllables this accent must be either -on the second, fourth, or sixth; which produces five several -pauses, that is to say, at the third, fourth, fifth, sixth or -seventh syllable of the verse:</p> - -<p class='c014'><span class='pageno' id='Page_210'>210</span>For,</p> - -<p class='c014'>When it happens to be on the second, the pause will be -either at the third or fourth.</p> - -<p class='c014'>At the third in two manners:</p> - -<p class='c014'>1. When the syllable accented happens to be the last save -one of a word; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"As busy—as intentive Emmets are;</div> - <div class='line in1'>Or Cities—whom unlook'd for Sieges scare."—<i>Davenant.</i></div> - </div> - </div> -</div> - -<p class='c014'>2. Or when the accent is on the last of a word, and the -next a monosyllable, whose construction is governed by that -on which the accent is; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Despise it,—and more noble Thoughts pursue."—<i>Dryden.</i></div> - </div> - </div> -</div> - -<p class='c005'>When the accent falls on the second syllable of the verse, -and the last save two of a word, the pause will be at the -fourth; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"He meditates—his absent Enemy."—<i>Dryden.</i></div> - </div> - </div> -</div> - -<p class='c005'>When the accent is on the fourth of a verse, the pause will -be either at the same syllable, or at the fifth or sixth.</p> - -<p class='c014'>At the same, when the syllable of the accent happens to -be the last of a word; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Such huge Extreams—inhabit thy great Mind,</div> - <div class='line in1'>God-like, unmov'd,—and yet, like Woman, kind."—<i>Waller.</i></div> - </div> - </div> -</div> - -<p class='c014'>At the fifth in two manners:</p> - -<p class='c014'>1. When it happens to be the last save one of a word; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Like bright Aurora—whose refulgent Ray</div> - <div class='line in1'>Fortells the Feavour—of ensuing Day;</div> - <div class='line in1'>And warns the Shepherd—with his Flocks, retreat</div> - <div class='line in1'>To leafy Shadows—from the threaten'd Heat."—<i>Waller.</i></div> - </div> - </div> -</div> - -<p class='c014'>2. Or the last of the word, if the next be a monosyllable -governed by it; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"So fresh the Wound is—and the Grief so vast."—<i>Waller.</i></div> - </div> - </div> -</div> - -<p class='c005'>At the sixth, when the syllable of the accent happens to be -the last save two of a word; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Those Seeds of Luxury,—Debate, and Pride."—<i>Waller.</i></div> - </div> - </div> -</div> - -<p class='c005'>Lastly, when the accent is on the sixth syllable of the verse, -the pause will be either at the same syllable or at the seventh.</p> - -<p class='c005'>At the same, when the syllable of the accent happens to be -the last of a word; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"She meditates Revenge—resolv'd to die."—<i>Waller.</i></div> - </div> - </div> -</div> - -<p class='c005'>At the seventh in two manners:</p> - -<p class='c014'>1. When it happens to be the last save one of a word; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Nor when the War is over,—is it Peace."—<i>Dryden.</i></div> - </div> - <div class='group'> - <div class='line'>"Mirrors are taught to flatter,—but our Springs."—<i>Waller.</i></div> - </div> - </div> -</div> - -<p class='c014'><span class='pageno' id='Page_211'>211</span>2. Or the last of a word, if the following one be a monosyllable -whose construction depends on the preceding word -on which the accent is; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"And since he could not save her—with her dy'd."—<i>Dryden.</i></div> - </div> - </div> -</div> - -<p class='c005'>From all this it appears, that the pause is determined by the -seat of the accent; but if the accents happen to be equally -strong on the second, fourth, and sixth syllable of a verse, -the sense and construction of the words must then guide to -the observation of the pause. For example, in one of the -verses I have cited as an instance of it at the seventh syllable,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Mirrors are taught to flatter, but our Springs."</div> - </div> - </div> -</div> - -<p class='c005'>The accent is as strong on <i>taught</i>, as on the first syllable of -<i>flatter</i>; and if the pause were observed at the fourth -syllable of the verse, it would have nothing disagreeable in -its sound; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Mirrors are taught—to flatter, but our Springs</div> - <div class='line in1'>Present th' impartial Images of things."</div> - </div> - </div> -</div> - -<p class='c005'>Which though it be no violence to the ear, yet it is to the -sense, and that ought always carefully to be avoided in -reading or in repeating of verses.</p> - -<p class='c014'>For this reason it is, that the construction or sense should -never end at a syllable where the pause ought not to be made; -as at the eighth and second in the two following verses:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Bright Hesper twinkles from afar:—Away</div> - <div class='line in1'>My Kids!—for you have had a Feast to Day."—<i>Stafford.</i></div> - </div> - </div> -</div> - -<p class='c005'>Which verses have nothing disagreeable in their structure -but the pause, which in the first of them must be observed -at the eighth syllable, in the second at the second; and so -unequal a division can produce no true harmony. And for -this reason too, the pauses at the third and seventh syllables, -though not wholly to be condemned, ought to be but sparingly -practised.</p> - -<p class='c014'>The foregoing rules ought indispensably to be followed in -all our verses of ten syllables; and the observation of them, -like that of right time in music, will produce harmony; the -neglect of them harshness and discord; as appears by the -following verses:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"None think Rewards render'd worthy their Worth.</div> - <div class='line in1'>And both Lovers, both thy Disciples were."</div> - </div> - </div> -</div> - -<p class='c005'>In which, though the true number of syllables be observed, -yet neither of them have so much as the sound of a verse. -Now their disagreeableness proceeds from the undue seat of -<span class='pageno' id='Page_212'>212</span>the accent. For example, the first of them accented on the fifth -and seventh syllables; but if we change the words, and -remove the accent to the fourth and sixth, the verse will -become smooth and easy; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"None think Rewards are equal to their Worth."</div> - </div> - </div> -</div> - -<p class='c005'>The harshness of the last of them proceeds from its being -accented on the third syllable, which may be mended thus, -by transposing only one word:</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"And Lovers both, both thy Disciples were."</div> - </div> - </div> -</div> - -<p class='c005'>In like manner the following verses,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"To be massacred, not in Battle slain."—<i>Blac.</i></div> - </div> - <div class='group'> - <div class='line'>"But forc'd, harsh, and uneasy unto all."—<i>Cowley.</i></div> - </div> - <div class='group'> - <div class='line'>"Against the Insults of the Wind and Tide."—<i>Blac.</i></div> - </div> - <div class='group'> - <div class='line'>"A second Essay will the Pow'rs appease."—<i>Blac.</i></div> - </div> - <div class='group'> - <div class='line'>"With Scythians expert in the Dart and Bow."—<i>Dryden.</i></div> - </div> - </div> -</div> - -<p class='c015'>are rough, because the foregoing rules are not observed in their -structure; for example, the first where the pause is at the -fifth syllable, and the accent on the third, is contrary to the -rule, which says, that the accent that determines the pause -must be on the second, fourth, or sixth syllable of the verse; -and to mend that verse we need only place the accent on the -fourth, and then the pause at the fifth will have nothing -disagreeable; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Thus to be murther'd, not in Battle slain."</div> - </div> - </div> -</div> - -<p class='c005'>The second verse is accented on the third syllable, and the -pause is there too; which makes it indeed the thing it expresses, -forced, harsh, and uneasy; it may be mended thus:</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"But forc'd and harsh, uneasy unto all."</div> - </div> - </div> -</div> - -<p class='c014'>The third, fourth, and fifth of those verses have like faults; -for the pauses are at the fifth, and the accent there too; -which is likewise contrary to the foregoing rules. Now they -will be made smooth and flowing, by taking the accent from -the fifth, and removing the seat of the pause; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Against th' Insults both of the Wind and Tide</div> - <div class='line in1'>A second Tryal will the Pow'rs appease.</div> - <div class='line in1'>With Scythians skilful in the Dart and Bow."</div> - </div> - </div> -</div> - -<p class='c005'>From whence we conclude, that in all verses of ten syllables, -the most prevailing accents ought to be on the second, -fourth, or sixth syllables; for if they are on the third, fifth, -or seventh, the verses will be rough and disagreeable, as has -been proved by the preceding instances.</p> - -<p class='c005'>In short, the wrong placing of the accent is as great a fault -in our versification, as false quantity was in that of the -<span class='pageno' id='Page_213'>213</span>ancients; and therefore we ought to take equal care to avoid -it, and endeavour so to dispose the words that they may -create a certain melody in the ear, without labour to the -tongue, or violence to the sense.</p> -<p class='c029'><span class='sc'>Section II.</span>—<i>Of the other sorts of verses that are used in -our poetry.</i></p> - -<p class='c014'>After the verses of ten syllables those of eight are most frequent, -and we have many entire poems composed in them.</p> - -<p class='c014'>In the structure of these verses, as well as of those of ten -syllables, we must take care that the most prevailing -accents be neither on the third nor fifth syllables of them.</p> - -<p class='c014'>They also require a pause to be observed in pronouncing -them, which is generally at the fourth or fifth syllable; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"I'll sing of Heroes,—and of Kings,</div> - <div class='line in1'>In mighty Numbers—mighty things;</div> - <div class='line in1'>Begin, my Muse,—but to the Strings,</div> - <div class='line in1'>To my great Song—rebellious prove,</div> - <div class='line in1'>The Strings will sound—of nought but Love."—<i>Cowley.</i></div> - </div> - </div> -</div> - -<p class='c014'>The verses of seven syllables, which are called anacreontic, -are most beautiful when the strongest accent is on the -third, and the pause either there or at the fourth; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Fill the Bowl—with rosy Wine,</div> - <div class='line in1'>Round our Temples—Roses twine</div> - <div class='line in1'>Crown'd with Roses—we contemn</div> - <div class='line in1'>Gyges' wealthy—Diadem."—<i>Cowley.</i></div> - </div> - </div> -</div> - -<p class='c014'>The verses of nine and of eleven syllables, are of two sorts; -one is those that are accented upon the last save one, which -are only the verses of double rhyme that belong to those of -eight and ten syllables, of which examples have already been -given. The other of those that are accented on the last -syllable, which are employed only in compositions for music, -and in the lowest sort of burlesque poetry; the disagreeableness -of their measure having wholly excluded them from -grave and serious subjects. They who desire to see examples -of them may find some scattered here and there in our masks -and operas, and in the burlesque writers. I will give but two:</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Hylas, O Hylas, why sit we mute?</div> - <div class='line in1'>Now that each Bird saluteth the Spring."—<i>Waller.</i></div> - </div> - <div class='group'> - <div class='line'>"Apart let me view then each Heavenly Fair,</div> - <div class='line in1'>For three at a time there's no Mortal can bear."—<i>Congreve.</i></div> - </div> - </div> -</div> - -<p class='c014'>The verses of twelve syllables are truly heroic both in their -measure and sound, though we have no entire works composed -in them; and they are so far from being a blemish to -<span class='pageno' id='Page_214'>214</span>the poems they are in, that on the contrary, when rightly employed, -they conduce not a little to the ornament of them; -particularly in the following rencontres:—</p> - -<p class='c014'>1. When they conclude an episode in an heroic poem. -Thus Stafford ends his translation of that of Camilla from -the eleventh Æneid with a verse of twelve syllables:</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"The ling'ring Soul th' unwelcome Doom receives,</div> - <div class='line in1'>And, murm'ring with Disdain, the beauteous Body leaves."</div> - </div> - </div> -</div> - -<p class='c014'>2. When they conclude a triplet and full sense together; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Millions of op'ning Mouths to Fame belong; }</div> - <div class='line in1'>And every Mouth is furnish'd with a Tongue; }</div> - <div class='line in1'>And round with list'ning Ears the flying Plague is hung." }</div> - <div class='line in48'>—<i>Dryden.</i></div> - </div> - </div> -</div> - -<p class='c005'>And here we may observe by the way, that whenever a -triplet is made use of in an heroic poem, it is a fault not to -close the sense at the end of the triplet, but to continue it -into the next line; as Dryden has done in his translation of -the eleventh Æneid, in these lines:</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"With Olives crown'd, the Presents they shall bear, }</div> - <div class='line in1'>A Purple Robe, a Royal Iv'ry Chair, }</div> - <div class='line in1'>And all the Marks of Sway that Latian Monarchs wear, }</div> - <div class='line in1'>And Sums of Gold," &c. }</div> - </div> - </div> -</div> - -<p class='c005'>And in the seventh Æneid he has committed the like fault:</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Then they, whose Mothers, frantick with their Fear, }</div> - <div class='line in1'>In Woods and Wilds the Flags of Bacchus bear, }</div> - <div class='line in1'>And lead his Dances with dishevell'd Hair, }</div> - <div class='line in1'>Increase thy Clamours," &c. }</div> - </div> - </div> -</div> - -<p class='c005'>But the sense is not confined to the couplet, for the close of -it may fall into the middle of the next verse, that is, the -third, and sometimes farther off, provided the last verse of -the couplet exceed not the number of ten syllables; for then -the sense ought always to conclude with it. Examples of -this are so frequent, that it is needless to give any.</p> - -<p class='c014'>3. When they conclude the stanzas of lyric or Pindaric -odes; examples of which are often seen in Dryden, and others.</p> - -<p class='c014'>In these verses the pause ought to be at the sixth syllable, -as may be seen in the foregoing examples.</p> - -<p class='c014'>We sometimes find it, though very rarely, at the seventh; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"That such a cursed Creature—lives so long a Space."</div> - </div> - </div> -</div> - -<p class='c014'>When it is at the fourth, the verse will be rough and -hobbling; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='pageno' id='Page_215'>215</span>"And Midwife Time—the ripen'd Plot to Murther brought."</div> - <div class='c008'>—<i>Dryden.</i></div> - </div> - <div class='group'> - <div class='line'>"The Prince pursu'd,—and march'd along with great equal Pace."</div> - <div class='c008'>—<i>Dryden.</i></div> - </div> - </div> -</div> - -<p class='c005'>In the last of which it is very apparent, that if the sense -and construction would allow us to make the pause at the -sixth syllable,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"The Prince pursu'd, and march'd—along with equal pace,"</div> - </div> - </div> -</div> - -<p class='c015'>the verse would be much more flowing and easy.</p> - -<p class='c014'>The verses of fourteen syllables are less frequent than those -of twelve; they are likewise inserted in heroic poems, &c., -and are agreeable enough when they conclude a triplet and -sense, and follow a verse of twelve; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"For Thee the Land in fragrant Flowers is drest; }</div> - <div class='line in1'>For thee the Ocean smiles, and smooths her wavy Breast, }</div> - <div class='line in1'>And Heav'n itself with more serene and purer Light is blest." }</div> - <div class='c008'>—<i>Dryden.</i></div> - </div> - </div> -</div> - -<p class='c005'>But if they follow one of ten syllables, the inequality of the -measure renders them less agreeable; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"While all thy Province, Nature, I survey, }</div> - <div class='line in1'>And sing to Memmius an immortal Lay }</div> - <div class='line in1'>Of Heav'n and Earth; and everywhere thy wonderous Pow'r display." }</div> - <div class='c008'>—<i>Dryden.</i></div> - </div> - </div> -</div> - -<p class='c005'>Especially if it be the last of a couplet only; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"With Court-Informer's Haunts, and Royal Spies,</div> - <div class='line'>Things done relates, not done she feigns, and mingles Truth</div> - <div class='line'>with Lies."</div> - <div class='c008'>—<i>Dryden.</i></div> - </div> - </div> -</div> - -<p class='c014'>But this is only in heroics; for in their Pindarics and -lyrics, verses of twelve or fourteen syllables are frequently -and gracefully placed, not only after those of twelve or ten, -but of any other number of syllables whatsoever.</p> - -<p class='c005'>The verses of four and six syllables have nothing worth -observing, and therefore I shall content myself with having -made mention of them. They are, as I said before, used -only in operas and masks, and in lyric and Pindaric odes. -Take one example of them:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"To rule by love,</div> - <div class='line in3'>To shed no Blood,</div> - <div class='line in1'>May be extoll'd above;</div> - <div class='line in3'>But here below,</div> - <div class='line in1'>Let Princes know,</div> - <div class='line in3'>'Tis fatal to be good."</div> - <div class='c008'>—<i>Dryden</i>.</div> - </div> - </div> -</div> - -<p class='c029'><span class='sc'>Section III.</span>—<i>Several rules conducing to the beauty of our -versification.</i></p> - -<p class='c014'>Our poetry being very much polished and refined since the -days of Chaucer, Spenser, and the other ancient poets, some -<span class='pageno' id='Page_216'>216</span>rules which they neglected, and that conduce very much to the -ornaments of it, have been practised by the best of the moderns.</p> - -<p class='c014'>The first is to avoid as much as possible the concourse of -vowels, which occasions a certain ill-sounding gaping, called -by the Latins <i>hiatus</i>; and which they thought so disagreeable -to the ear, that, to avoid it, whenever a word ended in -a vowel, and the next began with one, they never, even in -prose, sounded the vowel of the first word, but lost it in the -pronunciation; and it is a fault in our poets not to do the -like, whenever our language will admit of it.</p> - -<p class='c014'>For this reason the <i>e</i> of the particle the ought always to -be cut off before the words that begin with a vowel; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"With weeping Eyes she heard th' unwelcome News."—<i>Dryden.</i></div> - </div> - </div> -</div> - -<p class='c005'>And it is a fault to make the and the first syllable of the -following word two distinct syllables, as in this,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Restrain'd a while by the unwelcome Night."—<i>Waller.</i></div> - </div> - </div> -</div> - -<p class='c014'>A second sort of hiatus, and that ought no less to be avoided, -is when a word that ends in a vowel that cannot be cut off, -is placed before one that begins with the same vowel, or one -that has the like sound; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Should thy Iambicks swell into a Book."—<i>Waller.</i></div> - </div> - </div> -</div> - -<p class='c014'>The second rule is, to contract the two last syllables of the -preterperfect tenses of all the verbs that will admit of it; -which are all the regular verbs whatsoever, except only -those ending in <i>d</i> or <i>t</i>, and <i>de</i> or <i>te</i>. And it is a fault to -make amazed of three syllables, and loved of two, instead of -amazed of two, and loved of one.</p> - -<p class='c014'>And the second person of the present and preterperfect -tenses of all verbs ought to be contracted in like manner; as -thou lov'st, for thou lovest, &c.</p> - -<p class='c005'>The third rule is, not to make use of several words in a -verse that begin with the same letter; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"The Court he knew to Steer in Storms of State,</div> - <div class='line in1'>He in these Miracles Design discern'd."</div> - </div> - </div> -</div> - -<p class='c005'>Yet we find an instance of such a verse in Dryden's translation -of the first pastoral of Virgil:</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Till then a helpless, hopeless, homely swain."</div> - </div> - </div> -</div> - -<p class='c005'>Which I am persuaded he left not thus through negligence or -inadvertency, but with design to paint in the number and sound -of the words the thing he described—a shepherd in whom</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Nec spes libertatis erat, nec cura peculi."</div> - </div> - </div> -</div> - -<p class='c005'><span class='pageno' id='Page_217'>217</span>Now how far the sound of the <i>h</i> aspirate, with which three -feet of that verse begin, expresses the despair of the swain, -let the judicious judge. I have taken notice of it only to say, -that it is a great beauty in poetry, when the words and -numbers are so disposed, as by their order and sound to represent -the things described.</p> - -<p class='c014'>The fourth is, to avoid ending a verse by an adjective -whose substantive begins the following; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Some lost their quiet Rivals, some their kind</div> - <div class='line in1'>Parents," &c.—<i>Davenant.</i></div> - </div> - </div> -</div> - -<p class='c005'>Or, by a preposition when the case it governs begins the -verse that follows; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"The daily less'ning of our life, shews by</div> - <div class='line in3'>A little dying, how outright to dye."</div> - </div> - </div> -</div> - -<p class='c014'>The fifth is, to avoid the frequent use of words of many -syllables, which are proper enough in prose, but come not -into verse without a certain violence altogether disagreeable; -particularly those whose accent is on the fourth syllable from -the last, as undutifulness.</p> -<p class='c029'><span class='sc'>Section IV.</span>—<i>Doubts concerning the number of syllables of -certain words.</i></p> - -<p class='c014'>There is no language whatsoever that so often joins -several vowels together to make diphthongs of them, as ours; -this appears in our having several composed of three different -vowels, as <i>eau</i> and <i>eou</i> in beauteous, <i>iou</i> in glorious, <i>uai</i> -in acquaint, &c.</p> - -<p class='c014'>Now from hence may arise some difficulties concerning the -true pronunciation of those vowels, whether they ought to be -founded separately in two syllables, or jointly in one.</p> - -<p class='c014'>The ancient poets made them sometimes of two syllables, -sometimes but of one, as the measure of their verse required; -but they are now become to be but of one, and it is a fault -to make them of two: from whence we may draw this -general rule:—That whenever one syllable of a word ends -in a vowel, and the next begins with one, provided the -first of those syllables be not that on which the word is -accented, those two syllables ought in verse to be contracted -and made but one.</p> - -<p class='c014'>Thus beauteous is but two syllables, victorious but three; -and it is a fault in Dryden to make it four, as he has done in -this verse:</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Your arms are on the Rhine victorious."</div> - </div> - </div> -</div> - -<p class='c005'><span class='pageno' id='Page_218'>218</span>To prove that this verse wants a syllable of its due measure, -we need but add one to it; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Your arms are on the Rhine victorious now."</div> - </div> - </div> -</div> - -<p class='c005'>Where, though the syllable <i>now</i> be added to the verse, it has -no more than its due number of syllables; which plainly -proves it wanted it.</p> - -<p class='c014'>But if the accent be upon the first of these syllables, they -cannot be contracted to make a diphthong, but must be computed -as two distinct syllables: thus poet, lion, quiet, and -the like, must always be used as two syllables; poetry, and -the like, as three. And it is a fault to make riot, for example, -one syllable, as Milton has done in this verse,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Their Riot ascends above the lofty Tow'rs."</div> - </div> - </div> -</div> - -<p class='c014'>The same poet has in another place made use of a like word -twice in one verse, and made it two syllables each time;</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"With Ruin upon Ruin, Rout on Rout."</div> - </div> - </div> -</div> - -<p class='c005'>And any ear may discover that this last verse has its true -measure, the other not.</p> - -<p class='c014'>But there are some words that may be excepted; as diamond, -violet, violent, diadem, hyacinth, and perhaps some -others, which, though they are accented upon the first vowel, -are sometimes used but as two syllables; as in the following -verses:—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"From Diamond Quarries hewn, and Rocks of Gold."—<i>Milton.</i></div> - </div> - <div class='group'> - <div class='line'>"With Poppies, Daffadils, and Violets join'd."—<i>Tate.</i></div> - </div> - <div class='group'> - <div class='line'>"With vain, but violent force their Darts they flung."—<i>Cowley.</i></div> - </div> - <div class='group'> - <div class='line'>"His Ephod, Mitre, well-cut Diadem on."—<i>Cowley.</i></div> - </div> - <div class='group'> - <div class='line'>"My blushing Hyacinths, and my Bays I keep."—<i>Dryden.</i></div> - </div> - </div> -</div> - -<p class='c005'>Sometimes as three; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"A Mount of Rocky Diamond did rise."—<i>Blac.</i></div> - </div> - <div class='group'> - <div class='line'>"Hence the blue Violet and blushing Rose."—<i>Blac.</i></div> - </div> - <div class='group'> - <div class='line'>"And set soft Hyacinths of Iron blue."—<i>Dryden.</i></div> - </div> - </div> -</div> - -<p class='c014'>When they are used but as two syllables they suffer an -elision of one of their vowels, and are generally written thus, -di'mond, vi'let, &c.</p> - -<p class='c014'>This contraction is not always made of syllables of the -same word only; for the particle <i>a</i> being placed after a word -that ends in a vowel, will sometimes admit of the like contraction; -for example, after the word many; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Tho' many a victim from my Folds was bought,</div> - <div class='line in1'>And many a Cheese to Country Markets brought."—<i>Dryden.</i></div> - </div> - <div class='group'> - <div class='line'>"They many a Trophy gain'd with many a Wound."—<i>Davenant.</i></div> - </div> - </div> -</div> - -<p class='c014'><span class='pageno' id='Page_219'>219</span>After <i>to</i>; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Can he to a Friend, to a Son so bloody grow?"—<i>Cowley.</i></div> - </div> - </div> -</div> - -<p class='c014'>After <i>they</i>; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"From thee, their long-known King, they a King desire."—<i>Cowley.</i></div> - </div> - </div> -</div> - -<p class='c014'>After <i>by</i>; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"When we by a foolish Figure say."—<i>Cowley.</i></div> - </div> - </div> -</div> - -<p class='c005'>And perhaps after some others.</p> - -<p class='c014'>There are also other words whose syllables are sometimes -contracted, sometimes not; as bower, heaven, prayer, nigher, -towards, and many more of the like nature, but they generally -ought to be used but as one syllable; and then they suffer an -elision of the vowel that precedes their final consonant, and -ought to be written thus, bow'r, heav'n, pray'r, nigh'r, tow'rds.</p> - -<p class='c014'>The termination <i>ism</i> is always used but as one syllable; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Where grisly Schism and raging Strife appear."—<i>Cowley.</i></div> - <div class='line'>"And Rheumatisms I send to rack the Joynts."—<i>Dryden.</i></div> - </div> - </div> -</div> - -<p class='c005'>And, indeed, considering that it has but one vowel, it may -seem absurd to assert that it ought to be reckoned two syllables; -yet in my opinion those verses seem to have a syllable -more than their due measure, and would run better if we took -one from them; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Where grisly Schism, raging Strife appear,"</div> - <div class='line'>"I Rheumatisms send to rack the Joynts."</div> - </div> - </div> -</div> - -<p class='c005'>Yet this opinion being contrary to the constant practice of -our poets, I shall not presume to advance it as a rule for -others to follow, but leave it to be decided by such as are -better judges of poetical numbers.</p> - -<p class='c014'>The like may be said of the terminations <i>asm</i> and <i>osm</i>.</p> -<p class='c029'><span class='sc'>Section V.</span>—<i>Of the elisions that are allowed in our -versification.</i></p> - -<p class='c014'>In verses consisting only of a certain number of syllables, -nothing can be of more ease, or greater use to poets, than the -retaining or cutting off a syllable from a verse, according as -the measure of it requires; and therefore it is requisite to -treat of the elisions that are allowable in our poetry, some -of which have been already taken notice of in the preceding section.</p> - -<p class='c014'>By elision I mean the cutting off one or more letters from -a word, whereby two syllables come to be contracted into -one, or the taking away an entire syllable. Now when in a -word of more than two syllables, which is accented on the -<span class='pageno' id='Page_220'>220</span>last save two, the liquid <i>r</i> happens to be between two -vowels, that which precedes the liquid admits of an elision. -Of this nature are many words in <i>ance</i>, <i>ence</i>, <i>ent</i>, <i>er</i>, <i>ous</i>, and -<i>ry</i>; as temperance, preference, different, flatterer, amorous, -victory: which are words of three syllables, and often used -as such in verse; but they may be also contracted into two by -cutting off the vowel that precedes the liquid, as temp'rance, -pref'rence, diff'rent, flatt'rer, am'rous, vict'ry. The like elision -is sometimes used when any of the other liquids <i>l</i>, <i>m</i>, or -<i>n</i>, happen to be between two vowels in words accented like -the former; as fabulous, enemy, mariner, which may be -contracted fab'lous, en'my, mar'ner. But this is not so frequent.</p> - -<p class='c014'>Observe, that I said accented on the last save two; for if -the word be accented on the last save one, that is to say, on -the vowel that precedes the liquid, that vowel may not be -cut off. And therefore it is a fault to make, for example, -sonorous two syllables, as in this verse;</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"With Son'rous Metals wak'd the drowsy Day."—<i>Blac.</i></div> - </div> - </div> -</div> - -<p class='c005'>Which always ought to be three, as in this,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Sonorous Metals blowing martial sounds."—<i>Milton.</i></div> - </div> - </div> -</div> - -<p class='c005'>In like manner, whenever the letter <i>s</i> happens to be between -two vowels in words of three syllables, accented on the first, -one of the vowels may be cut off; as pris'ner, bus'ness, &c.</p> - -<p class='c005'>Or the letter <i>c</i> when it is sounded like <i>s</i>; that is to say, -whenever it precedes the vowel <i>e</i> or <i>i</i>; as med'cine for medicine. -Or <i>v</i> consonant, as cov'nant for covenant.</p> - -<p class='c005'>To these may be added the gerunds of all verbs whose -infinities end in any of the liquids, preceded by a vowel or -a diphthong, and that are accented on the last save one; for -the gerunds being formed by adding the syllable <i>ing</i> to the -infinitive, the liquid that was their final letter comes thereby -to be between two vowels; and the accent that was on the last -save one of the infinitive, comes to be on the last save two of -the gerunds: and therefore the vowel or diphthong that precedes -the liquid may be cut off; by means whereof the -gerund of three syllables comes to be but of two; as from -travel, travelling, or trav'ling; from endeavour, endeavouring, -or endeav'ring, &c.</p> - -<p class='c005'>But if the accent be on the last syllable of such a verb, its -gerund will not suffer such an elision. Thus the gerund of -devour must always be three syllables, devouring, not -<span class='pageno' id='Page_221'>221</span>dev'ring; because all derivatives still retain the accent of -their primitives, that is, on the same syllable; and the accent -always obliges the syllable on which it is to remain entire.</p> - -<p class='c005'>The gerunds of the verbs in <i>ow</i>, accented on the last save -two, suffer an elision of the <i>o</i> that precedes the <i>w</i>; as foll'wing, wall'wing.</p> - -<p class='c005'>The particle <i>it</i> admits of an elision of its vowel before it -was, were, will, would; as 'tis, 'twas, 'twere, 'twill, 'twould, -for it is, it was, &c.</p> - -<p class='c005'>It likewise sometimes suffers the like elision when placed -after a word that ends in a vowel; as by't for by it, do't for -do it; or that ends in a consonant after which the letter <i>t</i> can -be pronounced; as was't for was it, in't for in it, and the like. -But this is not so frequent in heroic verse.</p> - -<p class='c005'>The particle <i>is</i> may lose its <i>i</i> after any word that ends in a -vowel, or in any of the consonants after which the letter <i>s</i> -may be sounded; as she's for she is, the air's for the air is, &c.</p> - -<p class='c005'>To (sign of the infinitive mood) may lose its <i>o</i> before any -verb that begins with a vowel; as t'maze, t'undo, &c.</p> - -<p class='c005'>To (sign of the dative case) may likewise lose its <i>o</i> before -any noun that begins with a vowel; as t'air, t'every, &c. But -this elision is not so allowable as the former.</p> - -<p class='c005'>Are may lose its <i>a</i> after the pronouns personal, we, you, -they; as we're, you're, they're. And thus it is that this -elision ought to be made, and not, as some do, by cutting off -the final vowels of the pronouns personal, w'are, y'are, th'are.</p> - -<p class='c005'>Will and would may lose all their first letters, and retain -only their final one, after any of the pronouns personal; as -I'll for I will, he'd for he would; or after who, who'll for who -will, who'd for who would.</p> - -<p class='c005'>Have may lose its two first letters after I, you, we, they; -as I've, you've, we've, they've.</p> - -<p class='c005'>Not, its two first letters after can; as can't for cannot.</p> - -<p class='c005'>Am, its <i>a</i> after <i>i</i>; I'm for I am.</p> - -<p class='c005'>Us, its <i>u</i> after let; let's for let us.</p> - -<p class='c005'>Taken, its <i>k</i>, ta'en; for so it ought to be written, not ta'ne.</p> - -<p class='c005'>Heaven, seven, even, eleven, and the participles driven, -given, thriven, and their compounds, may lose their last vowel; -as heav'n, forgiv'n, &c. See the foregoing section.</p> - -<p class='c005'>To these may be added, bow'r, pow'r, flow'r, tow'r, show'r, -for bower, tower, &c.</p> - -<p class='c005'>Never, ever, over, may lose their <i>v</i>, and are contracted -thus, ne'er, e'er, o'er.</p> - -<p class='c005'><span class='pageno' id='Page_222'>222</span>Some words admit of an elision of their first syllable; as -'tween, 'twixt, 'mong, 'mongst, 'gainst, 'bove, 'cause, 'fore, for -between, betwixt, among, amongst, against, above, because, -before, and some others that may be observed in reading our -poets.</p> - -<p class='c005'>I have already, in the third section of this chapter, spoken -of the elision of the <i>e</i> of the particle the before vowels; but it -is requisite likewise to take notice, that it sometimes loses its -vowel before a word that begins with a consonant, and then -its two remaining letters are joined to the preceding word; -as to th' wall for to the wall, by th' wall for by the wall, &c., -but this is scarcely allowable in heroic poetry.</p> - -<p class='c005'>The particles in, of, and on, sometimes lose their consonants, -and are joined to the particle the in like manner, as i'th', -o'th', for in the, of the.</p> - -<p class='c005'>In some of our poets we find the pronoun his loses its two -first letters after any word that ends in a vowel; as to's, by's, -&c., for to his, by his, &c.; or after many words that end in -a consonant, after which the letter <i>s</i> can be pronounced; as -in's, for's, for in his, for his, &c. This is frequent in Cowley, -who often takes too great liberty in his contractions; as -t'your for to your, t'which for to which, and many others; in -which we must be cautious in following his example, but the -contracting of the pronoun his in the manner I mentioned is -not wholly to be condemned.</p> - -<p class='c005'>We sometimes find the word who contracted before words -that begin with a vowel; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Wh' expose to Scorn and Hate both them and it."—<i>Cowley.</i></div> - </div> - </div> -</div> - -<p class='c005'>And the preposition in like manner; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"B' unequal Fate and Providence's Crime."—<i>Dryden.</i></div> - <div class='line'>"Well did he know how Palms b' Oppression speed."—<i>Cowley.</i></div> - </div> - </div> -</div> - -<p class='c005'>And the pronouns personal, he, she, they, we; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Timely h' obeys her wise Advice, and strait</div> - <div class='line in1'>To unjust Force sh' opposes just Deceit."—<i>Cowley.</i></div> - </div> - <div class='group'> - <div class='line'>"Themselves at first against themselves th' excite."—<i>Cowley.</i></div> - </div> - <div class='group'> - <div class='line'>"Shame and Woe to us, if w' our Wealth obey."—<i>Cowley.</i></div> - </div> - </div> -</div> - -<p class='c005'>But these and the like contractions are very rare in our -most correct poets, and indeed ought wholly to be avoided, -for 'tis a general rule that no vowel can be cut off before -another, when it cannot be sunk in the pronunciation of it: -and therefore we ought to take care never to place a word -that begins with a vowel after a word that ends in one (mute -<i>e</i> only excepted), unless the final vowel of the former can be -<span class='pageno' id='Page_223'>223</span>lost in its pronunciation, for to leave two vowels opening on -each other, causes a very disagreeable hiatus. Whenever -therefore a vowel ends a word, the next ought to begin with -a consonant, or what is equivalent to it; as our <i>w</i> and <i>h</i> -aspirate plainly are.</p> - -<p class='c005'>For which reason it is a fault in some of our poets to cut -off the <i>e</i> of the particle the; for example, before a word that -begins by an <i>h</i> aspirate; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"And th' hasty Troops march'd loud and cheerful down."—<i>Cowley.</i></div> - </div> - </div> -</div> - -<p class='c005'>But if the <i>h</i> aspirate be followed by another <i>e</i>, that of -the particle the may be cut off; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Th' Heroick Prince's Courage or his love."—<i>Waller.</i></div> - </div> - <div class='group'> - <div class='line'>Th' Hesperian Fruit, and made the Dragon sleep."—<i>Waller.</i></div> - </div> - </div> -</div> - -<div class='chapter'> - <h2 class='c001'>CHAPTER II.</h2> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c002'> - <div>OF RHYME.</div> - </div> -</div> - -<p class='c029'><span class='sc'>Section I.</span>—<i>What rhyme is, and the several sorts of it.</i></p> - -<p class='c005'>Rhyme is a likeness or uniformity of sound in the terminations -of two words. I say of sound, not of letters; for the -office of rhyme being to content and please the ear, and not -the eye, the sound only is to be regarded, not the writing: -thus maid and persuade, laugh and quaff, though they differ -in writing, rhyme very well: but plough and cough, though -their terminations are written alike, rhyme not at all.</p> - -<p class='c005'>In our versification we may observe three several sorts of -rhyme: single, double, and treble.</p> - -<p class='c005'>The single rhyme is of two sorts: one, of the words that are -accented on the last syllable; another, of those that have -their accent on the last save two.</p> - -<p class='c005'>The words accented on the last syllable, if they end in a -consonant, or mute <i>e</i>, oblige the rhyme to begin at the vowel -that precedes their last consonant, and to continue to the end -of the word. In a consonant; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Here might be seen, the Beauty, Wealth, and Wit,</div> - <div class='line in1'>And Prowess, to the Pow'r of Love submit."</div> - <div class='c008'>—<i>Dryden.</i></div> - </div> - </div> -</div> - -<p class='c005'>In mute <i>e</i>; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"A Spark of Virtue, by the deepest Shade</div> - <div class='line'>Of sad Adversity, is fairer made."</div> - <div class='c008'>—<i>Waller.</i></div> - </div> - </div> -</div> - -<p class='c005'>But if a diphthong precede the last consonant the rhyme must -begin at that vowel of it whose sound most prevails; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Next to the Pow'r of making Tempest cease,</div> - <div class='line in1'>Was in that storm to have so calm a Peace."</div> - <div class='c008'>—<i>Waller.</i></div> - </div> - </div> -</div> - -<p class='c005'><span class='pageno' id='Page_224'>224</span>If the words accented on the last syllable end in any of the -vowels, except mute <i>e</i>, or in a diphthong, the rhyme is made -only to that vowel or diphthong. To the vowel; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"So wing'd with Praise we penetrate the Sky,</div> - <div class='line in1'>Teach Clouds and Stars to praise him as we fly."—<i>Waller.</i></div> - </div> - </div> -</div> - -<p class='c005'>To the diphthong; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"So hungry Wolves, tho' greedy of their Prey,</div> - <div class='line in1'>Stop when they find a Lion in the Way."—<i>Waller.</i></div> - </div> - </div> -</div> - -<p class='c014'>The other sort of single rhyme is of the words that have -their accent on the last syllable save two, and these rhyme -to the other in the same manner as the former; that is to -say, if they end in any of the vowels, except mute <i>e</i>, the -rhyme is made only to that vowel; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"So seems to speak the youthful Deity;</div> - <div class='line in1'>Voice, Colour, Hair, and all like Mercury."—<i>Waller.</i></div> - </div> - </div> -</div> - -<p class='c005'>But if they end in a consonant or mute <i>e</i>, the rhyme must -begin at the vowel that precedes that consonant, and continue -to the end of the word; as has been shewn by the former examples.</p> - -<p class='c005'>But we must take notice, that all the words that are -accented on the last save two, will rhyme not only to one -another, but also to all the words whose terminations have -the same sound, though they are accented on the last syllable. -Thus tenderness rhymes not only to poetess, wretchedness, -and the like, that are accented on the last save two, but -also to confess, excess, &c., that are accented on the last; as,</p> - -<p class='c005'>"Thou art my Father now these Words confess - That Name, and that indulgent Tenderness."—<i>Dryden.</i></p> -<p class='c029'><span class='sc'>Section II.</span>—<i>Of double and treble rhyme.</i></p> - -<p class='c005'>All words that are accented on the last save one, require -rhyme to begin at the vowel of that syllable, and to continue -to the end of the word; and this is what we call double rhyme; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Then all for Women, Painting, Rhyming, Drinking,</div> - <div class='line in1'>Besides ten thousands Freaks that dy'd in Thinking."—<i>Dryden.</i></div> - </div> - </div> -</div> - -<p class='c005'>But it is convenient to take notice, that the ancient poets -did not always observe this rule, and took care only that the -last syllables of the words should be alike in sound without -any regard to the seat of the accent. Thus nation and affection, -tenderness and hapless, villany and gentry, follow and -willow, and the like, were allowed as rhymes to each other -in the days of Chaucer, Spenser, and the rest of the ancients; -<span class='pageno' id='Page_225'>225</span>but this is now become a fault in our versification; and these -two verses of Cowley rhyme not at all,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"A dear and lively Brown was Merab's Dye;</div> - <div class='line in1'>Such as the proudest Colours might envy."</div> - </div> - </div> -</div> - -<p class='c005'>Nor these of Dryden,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Thus Air was void of Light, and Earth unstable,</div> - <div class='line in1'>And Waters dark Abyss unnavigable."</div> - </div> - </div> -</div> - -<p class='c014'>Because we may not place an accent on the last syllable of -envy, nor on the last save one of unnavigable; which nevertheless -we must be obliged to do, if we make the first of -them rhyme to dye, the last to unstable.</p> - -<p class='c014'>But we may observe, that in burlesque poetry it is permitted -to place an accent upon a syllable that naturally has none; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"When Pulpit, Drum Ecclesiastick,</div> - <div class='line in1'>Was beat with Fist instead of a Stick."</div> - </div> - </div> -</div> - -<p class='c005'>Where, unless we pronounce the particle <i>a</i> with a strong accent -upon it, and make it sound like the vowel <i>a</i> in the last -syllable but one of ecclesiastic, the verse will lose all its beauty -and rhyme. But this is allowable in burlesque poetry only.</p> - -<p class='c014'>Observe that these double rhymes may be composed of two -several words, provided the accent be on the last syllable of -the first of them; as these verses of Cowley, speaking of gold,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"A Curse on him who did refine it,</div> - <div class='line in1'>A Curse on him who first did coin it."</div> - </div> - </div> -</div> - -<p class='c005'>Or some of the verses may end in an entire word, and the -rhyme to it be composed of several; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Tho' stor'd with Deletery Med'cines</div> - <div class='line in1'>Which whosoever took is dead since."—<i>Hudibras.</i></div> - </div> - </div> -</div> - -<p class='c014'>The treble rhyme is very seldom used, and ought wholly -to be exploded from serious subjects; for it has a certain -flatness unworthy the gravity required in heroic verse. In -which Dryden was of opinion, that even the double rhymes -ought very cautiously to find place; and in all his translations -of Virgil he has made use of none, except only in such -words as admit of a contraction, and therefore cannot properly -be said to be double rhymes; as giv'n, driv'n, tow'r, -pow'r, and the like. And indeed, considering their measure -is indifferent from that of a heroic verse, which consists but of -ten syllables, they ought not to be too frequently used in -heroic poems; but they are very graceful in the lyric, to -which, as well as to the burlesque, those rhymes more -properly belong.</p> -<p class='c029'><span class='pageno' id='Page_226'>226</span><span class='sc'>Section III.</span>—<i>Further instructions concerning rhyme.</i></p> - -<p class='c014'>The consonants that precede the vowels where the rhyme -begins, must be different in sound, and not the same; for -then the rhyme will be too perfect; as light, delight; vice, -advice, and the like; for though such rhymes were allowable -in the days of Spenser and the other old poets, they are not -so now, nor can there be any music in one single note. -Cowley himself owns, that they ought not to be allowed -except in Pindaric odes, which is a sort of free poetry, and -there too very sparingly and not without a third rhyme to -answer to both; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"In barren Age wild and inglorious lye,</div> - <div class='line in3'>And boast of past Fertility,</div> - <div class='line in1'>The poor relief of present Poverty."—<i>Cowley.</i></div> - </div> - </div> -</div> - -<p class='c005'>Where the words fertility and poverty rhyme very well to the -last word of the first verse, lye; but cannot rhyme to each -other, because the consonants that precede the last vowels -are the same, both in writing and sound.</p> - -<p class='c014'>But this is yet less allowable, if the accent be on the last -syllable of the rhyme; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Her Language melts Omnipotence, arrests</div> - <div class='line in1'>His hand, and thence the vengeful Light'ning wrests."—<i>Blac.</i></div> - </div> - </div> -</div> - -<p class='c005'>From hence it follows, that a word cannot rhyme to itself -though the signification be different; as, he leaves to the -leaves, &c.</p> - -<p class='c014'>Nor the words that differ both in writing and sense, if -they have the same sound, as maid and made, prey and pray, -to bow and a bough; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"How gaudy Fate may be in Presents sent,</div> - <div class='line in1'>And creep insensible by Touch or Scent."—<i>Oldham.</i></div> - </div> - </div> -</div> - -<p class='c005'>Nor a compound to its simple; as move to remove, taught -to untaught, &c.</p> - -<p class='c014'>Nor the compounds of the same words to one another, as -disprove to approve, and the like. All which proceeds from -what I said before, viz., that the consonants that precede -the vowels where the rhyme begins, must not be the same in -sound, but different. In all which we vary from our neighbours; -for neither the French, Italians, nor Spaniards, will -allow, that a rhyme can be too perfect; and we meet with -frequent examples in their poetry, where not only the compounds -rhyme to their simples, and to themselves, but even -where words written and pronounced exactly alike, provided -they have a different signification, are made use of as rhymes -to another. But this is not permitted in our poetry.</p> - -<p class='c014'><span class='pageno' id='Page_227'>227</span>We must take care not to place a word at the middle of a -verse that rhymes to the last word of it; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"So young in show, as if he still should grow."</div> - </div> - </div> -</div> - -<p class='c014'>But this fault is still more inexcusable, if the second verse -rhyme to the middle and end of the first; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Knowledge he only sought, and so soon caught,</div> - <div class='line in1'>As if for him Knowledge had rather sought."—<i>Cowley.</i></div> - </div> - <div class='group'> - <div class='line'>"Here Passion sways, but there the Muse shall raise</div> - <div class='line in1'>Eternal Monuments of louder Praise."—<i>Waller.</i></div> - </div> - </div> -</div> - -<p class='c014'>Or both the middle and end of the second to the last word -of the first; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Farewell, she cry'd, my Sister, thou dear Part,</div> - <div class='line in1'>Thou sweetest Part of my divided Heart."—<i>Dryden.</i></div> - </div> - </div> -</div> - -<p class='c005'>Where the tenderness of expression will not atone for the -jingle.</p> -<div class='chapter'> - <h2 class='c001'>CHAPTER III.</h2> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c002'> - <div>OF THE SEVERAL SORTS OF POEMS, OR COMPOSITION IN VERSE.</div> - </div> -</div> - -<p class='c028'>All our poems may be divided into two sorts: the first -are those composed in couplets; the second those that are -composed in stanzas, consisting of several verses.</p> -<h3 class='c021'><span class='sc'>Section I.</span>—<i>Of the poems composed in couplets.</i></h3> - -<p class='c020'>In the poems composed in couplets, the rhymes follow one -another, and end at each couplet; that is to say, the second -verse rhymes to the first, the fourth to the third, the sixth to -the fifth, and in like manner to the end of the poem.</p> - -<p class='c014'>The verses employed in this sort of poems are either verses -of ten syllables; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Oh! could I flow like thee, and make thy Stream</div> - <div class='line in1'>My great Example, as it is my Theme;</div> - <div class='line in1'>Tho' dark yet clear; tho' gentle, yet not dull;</div> - <div class='line in1'>Strong without Rage; without o'erflowing full."—<i>Denham.</i></div> - </div> - </div> -</div> - -<p class='c005'>Or of eight; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"O fairest Piece of well-form'd Earth,</div> - <div class='line in1'>Why urge you thus your haughty Birth?</div> - <div class='line in1'>The Pow'r, which you have o'er us lies,</div> - <div class='line in1'>Not in your Race, but in your Eyes.</div> - <div class='line in1'>Smile but on me, and you shall scorn</div> - <div class='line in1'>Henceforth to be of Princes born:</div> - <div class='line in1'>I can describe the shady Grove,</div> - <div class='line in1'>Where your lov'd Mother slept with Jove:</div> - <div class='line in1'>And yet excuse the faultless Dame,</div> - <div class='line in1'>Caught with her Spouse's Shape and Name:</div> - <div class='line in1'>Thy matchless Form will credit bring,</div> - <div class='line in1'>To all the Wonders I shall sing."—<i>Waller.</i></div> - </div> - </div> -</div> - -<p class='c005'><span class='pageno' id='Page_228'>228</span>Or of seven; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Phillis, why should we delay</div> - <div class='line in1'>Pleasures shorter than the Day?</div> - <div class='line in1'>Could we, which we never can,</div> - <div class='line in1'>Stretch our Lives beyond their Span,</div> - <div class='line in1'>Beauty like a Shadow flies,</div> - <div class='line in1'>And our Youth before us dies.</div> - <div class='line in1'>Or would Youth and Beauty stay,</div> - <div class='line in1'>Love has Wings, and will away.</div> - <div class='line in1'>Love has swifter Wings than Time."</div> - </div> - </div> -</div> - -<p class='c014'>But the second verse of the couplet does not always contain -a like number of syllables with the first; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"What shall I do to be for ever known,</div> - <div class='line in3'>And make the Age to come my own?</div> - <div class='line in1'>I shall like Beast and common People die,</div> - <div class='line in3'>Unless you write my Elegy."</div> - </div> - </div> -</div> - -<h3 class='c021'><span class='sc'>Section II.</span>—<i>Of the poems composed in stanzas;<br />and first, of the stanzas consisting of three and of four verses.</i></h3> - -<p class='c030'>In the poems composed of stanzas, each stanza contains a -certain number of verses, consisting for the most part of a different -number of syllables; and a poem that consists of several -stanzas we generally call an ode; and this is lyric poetry.</p> - -<p class='c005'>But we must not forget to observe, that our ancient poets -frequently made use of intermixed rhyme in their heroic -poems, which they disposed into stanzas and cantos. Thus -the "Troilus and Cressida" of Chaucer is composed in -stanzas consisting of seven verses; the "Fairy Queen" of -Spenser in stanzas of nine, &c.; and this they took from the -Italians, whose heroic poems generally consist in stanzas of -eight. But this is now wholly laid aside, and Davenant, -who composed his "Gondibert" in stanzas of four verses in -alternate rhyme, was the last that followed their example of -intermingling rhymes in heroic poetry.</p> - -<p class='c005'>The stanzas employed in our poetry cannot consist of less -than three, and are seldom of more than twelve verses, except -in Pindaric odes, where the stanzas are different from one -another in number of verses, as shall be shown.</p> - -<p class='c005'>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 useless; it being easy to demonstrate that -they may be varied almost to an infinity, that would be different -from one another, either in the number of the verses -of each stanza, or in the number of the syllables of each -verse; or, lastly, in the various intermingling of the rhyme. -I shall therefore confine myself to mention only such as are -<span class='pageno' id='Page_229'>229</span>most frequently used by the best of our modern poets. And -first of the stanzas consisting of three verses.</p> - -<p class='c005'>In the stanzas of three verses, or triplets, the verses of -each stanza rhyme to one another, and are either heroic; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Nothing, thou elder Brother even to Shade! }</div> - <div class='line in1'>Thou hadst a Being ere the World was made, }</div> - <div class='line in1'>And (well fix'd) art alone of ending not afraid."—<i>Rochester.</i> }</div> - </div> - </div> -</div> - -<p class='c005'>Or else they consist of eight syllables; as these of Waller, -"Of a fair lady playing with a snake,"</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Strange that such Horror and such Grace }</div> - <div class='line in1'>Should dwell together in one Place, }</div> - <div class='line in1'>A Fairy's Arm, an Angel's Face." }</div> - </div> - </div> -</div> - -<p class='c005'>Nor do the verses of the stanzas always contain a like number -of syllables; for the first and third may have ten, the -second but eight; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Men without Love have oft so cunning grown, }</div> - <div class='line in3'>That something like it they have shown, }</div> - <div class='line in1'>But none who had it, ever seem'd t'have none." }</div> - </div> - <div class='group'> - <div class='line'>"Love's of a strangely open, simple Kind, }</div> - <div class='line in3'>Can no Arts or Disguises find; }</div> - <div class='line in1'>But thinks none sees it, 'cause itself is blind."—<i>Cowley.</i> }</div> - </div> - </div> -</div> - -<p class='c005'>In the stanzas of four verses, the rhyme may be intermixed -in two different manners; for either the first and third verse -may rhyme to each other, and by consequence the second -and fourth, and this is called alternate rhyme; or the first and -fourth may rhyme, and by consequence the second and third.</p> - -<p class='c005'>But there are some poems, in stanzas of four verses, where -the rhymes follow one another, and the verses differ in number -of syllables only; as in Cowley's "Hymn to the Light," -which begins thus—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"First-born of Chaos! who so fair didst come</div> - <div class='line in3'>From the old Negro's darksome Womb:</div> - <div class='line in1'>Which, when it saw the lovely Child,</div> - <div class='line in3'>The melancholy Mass put on kind Looks and smil'd."</div> - </div> - </div> -</div> - -<p class='c005'>But these stanzas are generally in alternate rhyme, and -the verses either consist of ten syllables; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"She ne'er saw Courts, but Courts could have undone</div> - <div class='line in2'>With untaught Looks and an unpractis'd Heart:</div> - <div class='line in1'>Her nets the most prepar'd could never shun;</div> - <div class='line in2'>For Nature spread them in the scorn of Art."—<i>Davenant.</i></div> - </div> - </div> -</div> - -<p class='c005'>Or of eight; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Had Echo with so sweet a Grace,</div> - <div class='line in3'>Narcissus loud Complaint return'd:</div> - <div class='line in1'>Not for Reflection of his Face,</div> - <div class='line in3'>But of his Voice the Boy had burn'd."—<i>Waller.</i></div> - </div> - </div> -</div> - -<p class='c005'>Or of ten and eight, that is to say, the first and third of ten, -the second and fourth of eight; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='pageno' id='Page_230'>230</span>"Love from Time's Wings has stol'n the Feathers sure</div> - <div class='line in3'>He has, and put them to his own:</div> - <div class='line in1'>For Hours of late as long as Days endure,</div> - <div class='line in3'>And very Minutes Hours are grown."—<i>Cowley.</i></div> - </div> - </div> -</div> - -<p class='c005'>Or of eight and six in the like manner; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Then ask not Bodies doom'd to die,</div> - <div class='line in3'>To what Abode they go:</div> - <div class='line in1'>Since Knowledge is but Sorrow's Spy,</div> - <div class='line in3'>'Tis better not to know."—<i>Davenant.</i></div> - </div> - </div> -</div> - -<p class='c005'>Or of seven; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Not the silver Doves that fly,</div> - <div class='line in3'>Yoak'd in Cythera's Car;</div> - <div class='line in1'>Nor the Wings that lift so high,</div> - <div class='line in3'>And convey her Son so far,</div> - <div class='line in1'>Are so lovely sweet and fair,</div> - <div class='line in3'>Or do more ennoble Love;</div> - <div class='line in1'>Are so choicely match'd a Pair,</div> - <div class='line in3'>Or with more consent do move."—<i>Waller.</i></div> - </div> - </div> -</div> - -<p class='c031'><i>Note.</i>—That it is absolutely necessary that both the construction -and sense should end with the stanza, and not fall -into the beginning of the following one as it does in the last -example, which is a fault wholly to be avoided.</p> -<h3 class='c021'><span class='sc'>Section III.</span>—<i>Of the stanzas of six verses.</i></h3> -<p class='c031'>The stanzas of six verses are generally only one of the -before-mentioned quadrans or stanzas of four verses, with -two verses at the end, that rhyme to one another; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line in1'>"A rural Judge dispos'd of Beauty's Prize,</div> - <div class='line in4'>A simple Shepherd was preferr'd to Jove:</div> - <div class='line in2'>Down to the Mountains from the Partial Skies,</div> - <div class='line in2'>Came Juno, Pallas, and, the Queen of Love,</div> - <div class='line'>To plead for that which was so justly giv'n,</div> - <div class='line'>To the bright Carlisle of the Courts of Heaven."</div> - </div> - </div> -</div> - -<p class='c005'>Where the four first verses are only a quadran, and consist -of ten syllables, each in alternate rhyme.</p> - -<p class='c014'>The following stanza, in like manner, is composed of a -quadran, whose verses consist of eight syllables, and to which -two verses that rhyme to one another are added to the end; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Hope waits upon the flow'ry Prime,</div> - <div class='line in3'>And Summer, tho' it be less gay,</div> - <div class='line in1'>Yet is not look'd on as a Time</div> - <div class='line in3'>Of Declination and Decay;</div> - <div class='line in1'>For with a full Hand that does bring</div> - <div class='line in1'>All that was promis'd by the Spring."—<i>Waller.</i></div> - </div> - </div> -</div> - -<p class='c014'>Sometimes the quadran ends the stanza, and the two lines -of the same rhyme begin it; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='pageno' id='Page_231'>231</span>"Here's to thee, Dick; this whining Love despise;</div> - <div class='line in1'>Pledge me my Friend, and drink till thou be'st wise.</div> - <div class='line'>It sparkles brighter far than she;</div> - <div class='line in2'>'Tis pure and right without Deceit;</div> - <div class='line'>And such no Woman e'er can be:</div> - <div class='line in2'>No; they are all sophisticate."—<i>Cowley.</i></div> - </div> - </div> -</div> - -<p class='c014'>Or as in these, where the first and last verse of the stanza -consist of ten syllables,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"When Chance or cruel Bus'ness parts us two,</div> - <div class='line in3'>What do our Souls, I wonder, do?</div> - <div class='line in3'>While Sleep does our dull Bodies tie,</div> - <div class='line in1'>Methinks at Home they should not stay,</div> - <div class='line in3'>Content with Dreams, but boldly fly</div> - <div class='line in1'>Abroad, and meet each other half the way."—<i>Cowley.</i></div> - </div> - </div> -</div> - -<p class='c014'>Or as in the following stanza, where the fourth and fifth -verses rhyme to each other, and the third and sixth,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"While what I write I do not see,</div> - <div class='line in1'>I dare thus ev'n to you write Poetry.</div> - <div class='line'>Ah! foolish Muse! thou dost so high aspire,</div> - <div class='line in1'>And knows't her judgment well,</div> - <div class='line in1'>How much it does thy Pow'r excel;</div> - <div class='line'>Yet dar'st be read by thy just Doom the Fire."—<i>Cowley.</i></div> - <div class='line in34'>(Written in Juice of Lemon.)</div> - </div> - </div> -</div> - -<p class='c014'>But in some of these stanzas the rhymes follow one another; -as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Take heed, take heed, thou lovely Maid,</div> - <div class='line in2'>Nor be by glitt'ring Ills betray'd:</div> - <div class='line'>Thyself for Money! Oh! let no Man know</div> - <div class='line in2'>The Price of Beauty fall'n so low.</div> - <div class='line in2'>What Dangers ought'st thou not to dread,</div> - <div class='line in2'>When Love, that's blind, is by blind Fortune led?"—<i>Cowley.</i></div> - </div> - </div> -</div> - -<p class='c014'>Lastly, some of these stanzas are composed of two triplets; -as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"The Lightning which tall Oaks oppose in vain,</div> - <div class='line in3'>To strike sometimes does not disdain</div> - <div class='line in3'>The humble Furzes of the Plain.</div> - <div class='line in3'>She being so high and I so low,</div> - <div class='line in3'>Her Pow'r by this does greater show,</div> - <div class='line in1'>Who at such Distance gives so sure a blow."—<i>Cowley.</i></div> - </div> - </div> -</div> - -<h3 class='c021'><span class='sc'>Section IV.</span>—<i>Of the stanzas of eight verses.</i></h3> - -<p class='c020'>I have already said that the Italians compose their heroic -poems in stanzas of eight verses, where the rhyme is disposed -as follows: The first, third, and fifth verses rhyme to one -another, and the second, fourth, and sixth, the two last -always rhyme to each other. Now our translators of their -heroic poems have observed the same stanza and disposition -of rhyme, of which take the following example from Fairfax's -translation of Tasso's "Goffredo," cant. 1, stan. 3,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Thither thou know'st the World is best inclin'd,</div> - <div class='line in3'>Where luring Parnass most his Beams imparts;</div> - <div class='line'>And Truth, convey'd in verse of gentlest Kind,</div> - <div class='line in3'>To read sometimes will move the dullest Hearts;</div> - <div class='line in1'>So we, if Children young diseas'd we find,</div> - <div class='line in3'>Anoint with Sweets the Vessel's foremost parts,</div> - <div class='line in1'>To make them take the Potions sharp we give;</div> - <div class='line in3'>They drink deceiv'd, and so deceiv'd they live."</div> - </div> - </div> -</div> - -<p class='c014'><span class='pageno' id='Page_232'>232</span>But our poets seldom employ this stanza in compositions -of their own; where the following stanza of eight verses are -most frequent,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Some others may with Safety tell</div> - <div class='line in1'>The mod'rate Flames which in them dwell;</div> - <div class='line in1'>And either find some Med'cine there,</div> - <div class='line in1'>Or cure themselves ev'n by Despair:</div> - <div class='line in1'>My Love's so great, that it might prove</div> - <div class='line in1'>Dang'rous to tell her that I love.</div> - <div class='line in1'>So tender is my Wound it cannot bear</div> - <div class='line in1'>Any Salute, tho' of the kindest Air."—<i>Cowley.</i></div> - </div> - </div> -</div> - -<p class='c005'>Where the rhymes follow one another, and the six first -verses consist of eight syllables each, the two last of ten.</p> - -<p class='c005'>We have another sort of stanza of eight verses, where the -fourth rhymes to the first, the third to the second, and the four -last are two couplets; and where the first, fourth, sixth, and -eighth are of ten syllables each, the four others but of eight; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"I've often wish'd to love: What shall I do?</div> - <div class='line in3'>Me still the cruel Boy does spare;</div> - <div class='line in3'>And I a double Task must bear,</div> - <div class='line in1'>First to woo him, and then a Mistress too.</div> - <div class='line in3'>Come at last, and strike for shame,</div> - <div class='line in3'>If thou art any Thing besides a Name;</div> - <div class='line in3'>I'll think thee else no God to be,</div> - <div class='line in3'>But Poets rather Gods, who first created thee."—<i>Cowley.</i></div> - </div> - </div> -</div> - -<p class='c014'>Another, when the two first and two last verses consist of -ten syllables each, and rhyme to one another, the four other -but of eight in alternate rhyme.</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Tho' you be absent hence, I needs must say,</div> - <div class='line in1'>The Trees as beauteous are, and Flow'rs as gay,</div> - <div class='line in1'>As ever they were wont to be:</div> - <div class='line in3'>Nay the Birds rural Musick too</div> - <div class='line in1'>Is as melodious and free,</div> - <div class='line in3'>As if they sung to pleasure you.</div> - <div class='line in1'>I saw a Rose bud ope this Morn; I'll swear</div> - <div class='line in1'>The blushing Morning open'd not more fair."—<i>Cowley.</i></div> - </div> - </div> -</div> - -<p class='c014'>Another, where the four first verses are two couplets, the -four last in alternate rhyme; as in Cowley's "Ode of a Lady -that made Posies for Rings,"</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line in1'>"I little thought the Time would ever be,</div> - <div class='line in2'>That I should Wit in dwarfish Posies see,</div> - <div class='line in2'>As all Words in few Letters live,</div> - <div class='line in2'>Thou to few Words all Sense dost give.</div> - <div class='line in2'><span class='pageno' id='Page_233'>233</span>'Twas Nature taught you this rare Art,</div> - <div class='line in2'>In such a Little, Much to show;</div> - <div class='line in2'>Who all the Good she did impart</div> - <div class='line'>To womankind, epitomiz'd in you.</div> - </div> - </div> -</div> - -<h3 class='c021'><span class='sc'>Section V.</span>—<i>Of the stanzas of ten and twelve verses.</i></h3> - -<p class='c020'>The stanzas of ten and twelve verses are seldom employed -in our poetry, it being very difficult to confine ourselves to -a certain disposition of rhyme, and measure of verse, for so -many lines together; for which reason those of four, six, and -eight verses are the most frequent. However, we sometimes -find some of ten and twelve; as in Cowley's ode, which he -calls "Verses Lost upon a Wager," where the rhymes follow -one another; but the verses differ in the number of syllables.</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"As soon hereafter will I Wagers lay</div> - <div class='line in3'>'Gainst what an Oracle shall say;</div> - <div class='line in1'>Fool that I was to venture to deny</div> - <div class='line in3'>A Tongue so us'd to Victory;</div> - <div class='line in1'>A Tongue so blest by Nature and by Art,</div> - <div class='line in1'>That never yet it spoke, but gain'd a heart.</div> - <div class='line in3'>Tho' what you said had not been true,</div> - <div class='line in3'>If spoke by any else but you;</div> - <div class='line in3'>Your speech will govern Destiny,</div> - <div class='line in1'>And Fate will change rather than you shall lye."—<i>Cowley.</i></div> - </div> - </div> -</div> - -<p class='c014'>The same poet furnishes us with an example of a stanza of -twelve verses in the ode he calls "The Prophet," where the -rhymes are observed in the same manner as in the former examples.</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Teach me to love! Go teach thy self Wit:</div> - <div class='line in3'>I chief Professor am of it.</div> - <div class='line in1'>Teach Craft to Scots, and Thrift to Jews,</div> - <div class='line in3'>Teach Boldness to the Stews.</div> - <div class='line in1'>In Tyrants Courts teach supple Flattery,</div> - <div class='line in1'>Teach Jesuits that have travell'd far too lie,</div> - <div class='line in3'>Teach fire to burn, and Winds to blow,</div> - <div class='line in3'>Teach restless Fountains how to flow,</div> - <div class='line in3'>Teach the dull Earth fixt to abide,</div> - <div class='line in1'>Teach Womankind Inconstancy and Pride,</div> - <div class='line in1'>See if your Diligence there will useful prove;</div> - <div class='line in3'>But prithee teach not me to love."</div> - </div> - </div> -</div> - -<h3 class='c021'><span class='sc'>Section VI.</span>—<i>Of the stanzas that consist of an odd</i></h3> -<p class='c030'><i>number of verses.</i></p> - -<p class='c014'>We have also stanzas that consist of odd numbers of -verses, as of five, seven, nine, and eleven; in all which it of -necessity follows that three verses of the stanza rhyme to -one another, or that one of them be a blank verse.</p> - -<p class='c014'>In the stanzas of five verses the first and third may rhyme, -and the second and two last; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='pageno' id='Page_234'>234</span>"See not my Love how Time resumes</div> - <div class='line in1'>The Beauty which he lent these Flow'rs:</div> - <div class='line in1'>Tho' none should taste of their Perfumes,</div> - <div class='line in1'>Yet they must live but some few Hours:</div> - <div class='line in1'>Time what we forbear devours."—<i>Waller.</i></div> - </div> - </div> -</div> - -<p class='c005'>Which is only a stanza of four verses in alternate rhyme, to -which a fifth verse is added that rhymes to the second and fourth.</p> - -<p class='c014'>See also an instance of a stanza of five verses, where the -rhymes are intermixed in the manner as the former, but the -first and third verses are composed but of four syllables each.</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line in2'>"Go, lovely Rose,</div> - <div class='line'>Tell her that wastes her time and me,</div> - <div class='line in2'>That now she knows,</div> - <div class='line'>When I resemble her to thee,</div> - <div class='line'>How sweet and fair she seems to be."—<i>Waller.</i></div> - </div> - </div> -</div> - -<p class='c014'>In the following example the two first verses rhyme, and -the three last.</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line in2'>"'Tis well, 'tis well with them, said I,</div> - <div class='line'>Whose short-liv'd Passions with themselves can die.</div> - <div class='line in2'>For none can be unhappy, who }</div> - <div class='line in4'>'Midst all his Ills a Time does know, }</div> - <div class='line'>Tho' ne'er so long, when he shall not be so."—<i>Cowley.</i> }</div> - </div> - </div> -</div> - -<p class='c014'>In this stanza the two first and the last, and the third and -fourth rhyme to one another.</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"It is enough, enough of Time and Pain</div> - <div class='line in3'>Hast thou consum'd in vain;</div> - <div class='line in3'>Leave, wretched Cowley, leave,</div> - <div class='line in3'>Thy self with Shadows to deceive.</div> - <div class='line in1'>Think that already lost which thou must never gain."—<i>Cowley.</i></div> - </div> - </div> -</div> - -<p class='c014'>The stanzas of seven verses are frequent enough in our -poetry, especially among the ancients, who composed many -of their poems in this sort of stanza; see the example of one -of them taken from Spenser in the "Ruins of Time," where -the first and third verses rhyme to one another, the second, -fourth, and fifth, and the two last.</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"But Fame with golden Wings aloft does fly</div> - <div class='line in3'>Above the Reach of ruinous Decay,</div> - <div class='line in1'>And with brave Plumes does beat the Azure Sky,</div> - <div class='line in3'>Admir'd of base-born Men from far away:</div> - <div class='line in3'>Then whoso will with virtuous Deeds assay,</div> - <div class='line in1'>To mount to Heaven, on Pegasus must ride,</div> - <div class='line in3'>And in sweet Poets verse be glorify'd."</div> - </div> - </div> -</div> - -<p class='c014'>I have rather chosen to take notice of this stanza, because -that poet and Chaucer have made use of it in many of their -poems, though they have not been followed in it by any of -the moderns, whose stanzas of seven verses are generally -composed as follows.</p> - -<p class='c014'><span class='pageno' id='Page_235'>235</span>Either the four first verses are a quadran in alternate -rhyme, and the three last rhyme to one another; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Now by my Love, the greatest Oath that is,</div> - <div class='line in3'>None loves you half so well as I;</div> - <div class='line in3'>I do not ask your Love for this;</div> - <div class='line in1'>But for Heav'ns sake believe me or I die.</div> - <div class='line in3'>No Servant sure but did deserve }</div> - <div class='line in1'>His Master should believe that he did serve; }</div> - <div class='line in1'>And I'll ask no more Wages, tho' I starve." }</div> - </div> - </div> -</div> - -<p class='c005'>Or the four first two couplets, and the three last a -triplet; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Indeed I must confess</div> - <div class='line'>When Souls mix 'tis a Happiness,</div> - <div class='line'>But not compleat 'till Bodies too combine,</div> - <div class='line'>And closely as our Minds together join.</div> - <div class='line'>But half of Heav'n the Souls in Glory taste }</div> - <div class='line in2'>'Till by Love in Heav'n at last }</div> - <div class='line in2'>Their Bodies too are plac'd." }</div> - </div> - </div> -</div> - -<p class='c005'>Or, on the contrary, the three first may rhyme, and the -four last be in rhymes that follow one another; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"From Hate, Fear, Hope, Anger, and Envy free, }</div> - <div class='line in3'>And all the Passions else that be, }</div> - <div class='line in3'>In vain I boast of Liberty: }</div> - <div class='line in3'>In vain this State a Freedom call,</div> - <div class='line in1'>Since I have Love; and Love is all.</div> - <div class='line in1'>Sot that I am! who think it fit to brag</div> - <div class='line in1'>That I have no Disease besides the Plague."—<i>Cowley.</i></div> - </div> - </div> -</div> - -<p class='c005'>Or the first may rhyme to the two last, the second to the -fifth, and third and fourth to one another; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"In vain thou drowsy God I thee invoke,</div> - <div class='line in3'>For thou who dost from Fumes arise,</div> - <div class='line in3'>Thou who Man's Soul dost overshade</div> - <div class='line in3'>With a thick Cloud by Vapours made,</div> - <div class='line in3'>Canst have no Pow'r to shut his Eyes,</div> - <div class='line in3'>Or Passage of his Spirits to choak,</div> - <div class='line in1'>Whose Flame's so pure, that it sends up no Smoak."—<i>Cowley.</i></div> - </div> - </div> -</div> - -<p class='c005'>Or lastly, the four first and two last may be in the following -rhyme, and the fifth a blank verse; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Thou robb'st my Days of Bus'ness and Delights,</div> - <div class='line in3'>Of Sleep thou robb'st my Nights.</div> - <div class='line in1'>Ah lovely Thief! what wilt thou do?</div> - <div class='line in3'>What, rob me of Heav'n too!</div> - <div class='line in1'>Thou e'en my Prayers dost from me steal,</div> - <div class='line in3'>And I with wild Idolatry</div> - <div class='line in1'>Begin to God, and end them all in thee."—<i>Cowley.</i></div> - </div> - </div> -</div> - -<p class='c014'>The stanzas of nine and of eleven syllables are not so -frequent as those of five and seven. Spenser has composed -his "Fairy Queen" in stanzas of nine verses, where the first -rhymes to the third, the second to the fourth, fifth and -seventh, and the sixth to the last; but this stanza is very -<span class='pageno' id='Page_236'>236</span>difficult to maintain, and the unlucky choice of it reduced -him often to the necessity of making use of many exploded -words; nor has he, I think, been followed in it by any of -the moderns, whose six first verses of the stanzas that consist -of nine are generally in rhymes that follow one another, -and the three last a triplet; as,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Beauty, Love's Scene and Masquerade,</div> - <div class='line'>So well by well-plac'd Lights, and Distance made;</div> - <div class='line'>False Coin! with which th' Imposter cheats us still,</div> - <div class='line'>The Stamp and Colour good, but Metal ill:</div> - <div class='line in2'>Which light or base we find, when we</div> - <div class='line'>Weigh by Enjoyment, and examine thee.</div> - <div class='line in2'>For tho' thy Being be but Show,</div> - <div class='line in2'>'Tis chiefly Night which Men to thee allow,</div> - <div class='line in2'>And chuse t' enjoy thee, when thou least art thou."</div> - <div class='c008'>—<i>Cowley.</i></div> - </div> - </div> -</div> - -<p class='c014'>In the following example the like rhyme is to be observed, -but the verses differ in measure from the former,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Beneath this gloomy Shade,</div> - <div class='line'>By Nature only for my Sorrows made,</div> - <div class='line in2'>I'll spend this Voice in Cries;</div> - <div class='line in2'>In Tears I'll waste these Eyes,</div> - <div class='line in2'>By Love so vainly fed;</div> - <div class='line'>So Lust of old the Deluge punished.</div> - <div class='line in2'>Ah wretched Youth! said I;</div> - <div class='line in2'>Ah wretched Youth! twice did I sadly cry;</div> - <div class='line in6'>Ah wretched Youth! the Fields and Floods reply."—<i>Cowley.</i></div> - </div> - </div> -</div> - -<p class='c014'>The stanzas consisting of eleven verses are yet less frequent -than those of nine, and have nothing particular to be -observed in them. Take an example of one of them, where -the six first are three couplets, the three next a triplet, the -two last a couplet; and where the fourth, the seventh, and -the last verses are of ten syllables each, the others of eight,</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"No, to what Purpose should I speak?</div> - <div class='line in1'>No, wretched Heart, swell till you break:</div> - <div class='line in3'>She cannot love me if she would,</div> - <div class='line in1'>And, to say Truth, 'twere Pity that she should.</div> - <div class='line in3'>No, to the Grave thy Sorrows bear,</div> - <div class='line in3'>As silent as they will be there;</div> - <div class='line in1'>Since that lov'd Hand this mortal Wound does give.</div> - <div class='line in3'>So handsomely the Thing contrive,</div> - <div class='line in3'>That she may guiltless of it live:</div> - <div class='line in3'>So perish, that her killing thee</div> - <div class='line in1'>May a Chance-Medley, and no Murder be."—<i>Cowley.</i></div> - </div> - </div> -</div> - -<h3 class='c021'><span class='sc'>Section VII.</span>—<i>Of Pindaric odes, and poems in blank verse.</i></h3> - -<p class='c020'>The stanzas of Pindaric odes are neither confined to a certain -number of verses, nor the verses to a certain number of -syllables, nor the rhymes to a certain distance. Some -stanzas contain fifty verses or more, others not above ten, and -sometimes not so many; some verses fourteen, nay, sixteen -<span class='pageno' id='Page_237'>237</span>syllables, others not above four: sometimes the rhymes -follow one another for several couplets together, sometimes -they are removed six verses from each other; and -all this in the same stanza. Cowley was the first who -introduced this sort of poetry into our language: nor can -the nature of it be better described than as he himself has -done it, in one of the stanzas of his ode upon liberty, which -I will transcribe, not as an example, for none can properly -be given where no rule can be prescribed; but to give an -idea of the nature of this sort of poetry.</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"If Life should a well-order'd Poem be,</div> - <div class='line in4'>In which he only hits the White,</div> - <div class='line in4'>Who joins true Profit with the best Delight;</div> - <div class='line in1'>The more heroick Strain let others take,</div> - <div class='line in1'>Mine the Pindarick Way I'll make:</div> - <div class='line in1'>The Matter shall be grave, the Numbers loose and free;</div> - <div class='line in1'>It shall not keep one settled Pace to Time,</div> - <div class='line in1'>In the same Tune it shall not always Chime,</div> - <div class='line in1'>Nor shall each Day just to his Neighbour rhyme.</div> - <div class='line in1'>A thousand Liberties it shall dispense,</div> - <div class='line in1'>And yet shall manage all without Offence,</div> - <div class='line in1'>Or to the Sweetness of the Sound, or Greatness of the Sense,</div> - <div class='line in1'>Nor shall it ever from one Subject start,</div> - <div class='line in3'>Nor seek Transitions to depart;</div> - <div class='line in1'>Nor its set Way o'er Stiles and Bridges make,</div> - <div class='line in3'>Nor thro' Lanes a compass take,</div> - <div class='line in1'>As if fear'd some Trespass to commit,</div> - <div class='line in3'>When the wide Air's a Road for it.</div> - <div class='line in1'>So the Imperial Eagle does not stay</div> - <div class='line in3'>'Till the whole Carcass he devour,</div> - <div class='line in3'>That's fall'n into his Pow'r,</div> - <div class='line in1'>As if his gen'rous Hunger understood,</div> - <div class='line in1'>That he can never want Plenty of Food;</div> - <div class='line in3'>He only sucks the tasteful Blood,</div> - <div class='line in1'>And to fresh Game flies cheerfully away,</div> - <div class='line in1'>To Kites and meaner Birds, he leaves the mangled Prey."</div> - </div> - </div> -</div> - -<p class='c014'>This sort of poetry is employed in all manner of subjects; -in pleasant, in grave, in amorous, in heroic, in philosophical, -in moral, and in divine.</p> - -<p class='c014'>Blank verse is where the measure is exactly kept without -rhyme. Shakespeare, to avoid the troublesome constraint of -rhyme, was the first who invented it; our poets since him -have made use of it in many of their tragedies and comedies; -but the most celebrated poem in this kind of verse is Milton's -"Paradise Lost," from the fifth book of which I have taken the -following lines for an example of blank verse.</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"These are thy glorious Works, Parent of Good!</div> - <div class='line in1'>Almighty! thine this universal Frame,</div> - <div class='line in1'>Thus wond'rous fair! thyself how wond'rous then!</div> - <div class='line in1'><span class='pageno' id='Page_238'>238</span>Speak you, who best can tell, ye Sons of Light,</div> - <div class='line in1'>Angels! for you behold him, and with Songs,</div> - <div class='line in1'>And Choral Symphonies, Day without Night,</div> - <div class='line in1'>Circle his Throne rejoycing, you in Heaven.</div> - <div class='line in1'>On Earth, join all ye Creatures, to extol</div> - <div class='line in1'>Him first, him last, him midst, and without End!</div> - <div class='line in1'>Fairest of Stars, last in the Train of Night,</div> - <div class='line in1'>If better thou belong not to the Dawn,</div> - <div class='line in1'>Sure Pledge of Day, that crown'st the smiling Morn</div> - <div class='line in1'>With the bright Circlet, praise him in thy Sphere,</div> - <div class='line in1'>While Day arises, that sweet hour of Prime!</div> - <div class='line in1'>Thou Sun! of this great World both Eye and Soul,</div> - <div class='line in1'>Acknowledge him thy Creator, sound his Praise</div> - <div class='line in1'>In thy eternal Course, both when thou climb'st,</div> - <div class='line in1'>And when high Noon hast gain'd and when thou fall'st.</div> - <div class='line in1'>Moon! that now meet'st the Orient Sun, now fly'st</div> - <div class='line in1'>With the fix'd Stars, fix'd in their Orb that flies,</div> - <div class='line in1'>And ye five other wand'ring Fires! that move</div> - <div class='line in1'>In Mystick Dance, not without Song resound</div> - <div class='line in1'>His Praise, who out of Darkness call'd up Light.</div> - <div class='line in1'>Air! and ye Element! the eldest Birth</div> - <div class='line in1'>Of Nature's Womb, that in Quaternion run</div> - <div class='line in1'>Perpetual Circle multiform and mix</div> - <div class='line in1'>And nourish all Things; let your ceaseless Change</div> - <div class='line in1'>Vary to our great Maker still new praise.</div> - <div class='line in1'>Ye Mists and Exhalations! that now rise</div> - <div class='line in1'>From Hill or standing Lake, dusky or gray,</div> - <div class='line in1'>Till the Sun paint your fleecy Skirts with gold,</div> - <div class='line in1'>In Honour to the World's great Author rise;</div> - <div class='line in1'>Whether to deck with Clouds th' uncolour'd Sky,</div> - <div class='line in1'>Or wet the thirsty Earth with falling show'rs,</div> - <div class='line in1'>Rising or falling still advance his Praise.</div> - <div class='line in1'>His Praise, ye Winds! that from our Quarters blow,</div> - <div class='line in1'>Breathe soft or loud; and wave your Tops, ye Pines!</div> - <div class='line in1'>With ev'ry Plant, in sign of Worship, wave.</div> - <div class='line in1'>Fountains! and ye that warble as you flow</div> - <div class='line in1'>Melodious Murmurs, warbling tune his Praise.</div> - <div class='line in1'>Join Voices all ye living Souls, ye Birds!</div> - <div class='line in1'>That singing, up to Heav'ns high Gate ascend,</div> - <div class='line in1'>Bear on your Wings, and in your Notes his Praise</div> - <div class='line in1'>Ye that in Waters glide! and ye that walk</div> - <div class='line in1'>The Earth! and stately tread, or lovely creep;</div> - <div class='line in1'>Witness if I be silent, Ev'n or Morn,</div> - <div class='line in1'>To Hill or Valley, Fountain, or fresh Shade,</div> - <div class='line in1'>Made Vocal by my Song, and taught his Praise."</div> - </div> - </div> -</div> - -<p class='c014'>Thus I have given a short account of all the sorts of poems -that are most used in our language. The acrostics, anagrams, -&c., deserve not to be mentioned, and we may say -of them what an ancient poet said long ago,</p> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div>"<i>Stultum est difficiles habere nugas,</i></div> - <div><i>Et stultus labor est ineptarum.</i>"</div> - </div> -</div> - -<p class='c005'>FINIS.</p> -<div class='pbb'> - <hr class='pb c003' /> -</div> -<p class='c032'><span class='pageno' id='Page_239'>239</span><span class='small'>"Decidedly, this Life of De Quincey is the best biography of the year -in the English language."—<i>Vide Critical Notices.</i></span></p> - -<p class='c005'><span class='small'>In Two Volumes, crown 8vo, cloth, with Portrait, price 21s.</span></p> - -<div class='nf-center-c0'> -<div class='nf-center c007'> - <div><span class='xlarge'>THOMAS DE QUINCEY:</span></div> - <div class='c003'><span class='large'>HIS LIFE AND WRITINGS.</span></div> - <div class='c003'><i>WITH UNPUBLISHED CORRESPONDENCE.</i></div> - <div class='c003'>By H. A. PAGE,</div> - <div class='c003'><span class='small'>Author of "Memoir of Hawthorne," "Golden Lives," &c.</span></div> - </div> -</div> - -<hr class='c033' /> - -<p class='c034'>The letters comprise nearly one hundred, from Mr. de Quincey -to his family, the Wordsworths, and others; and to him from Mr. -Thomas Carlyle, Professor Wilson, and others.</p> -<hr class='c033' /> - -<p class='c034'><b>Times.</b>—The work is enriched by letters which his two surviving -daughters have brought out of long-closed repositories.... In -taking leave of this creditable book, we thank Mr. Page for his -labour of love, and congratulate him on the collaboration that he has -been favoured with.</p> - -<p class='c034'><b>Academy.</b>—At last we are indulged with a Life of De Quincey, ... -and we are mistaken if the result be not to set Thomas de Quincey -on a higher pinnacle as a man with conduct and conscience, a man -with responsible family relations, a true gentleman as well as a cultivated -scholar, than he had hitherto reached. The author is one -practised in kindred pursuits, and has had the great advantage of Mr. -James Hogg's reminiscences of De Quincey, as well as free access to -De Quincey's daughters, and the papers and documents in their -possession.</p> - -<p class='c034'><b>Pall Mall Gazette.</b>—This biography deserves to be commended. -Mr. Page's mastery of the subject is evident, and his criticism exhibits -many delicate touches.... Among the reminiscences, those -by Mr. Hogg will be read with special interest; they give us a life-like -portrait of De Quincey, and tell some quaint anecdotes, which -give us a better insight into some of his characteristics than the most -elaborate disquisition.</p> - -<p class='c034'><b>Illustrated London News.</b>—It would be as well to consult these two -volumes before any rash assertion be made that everybody knows all -that can be known, or is worthy of being known, about the celebrated -"English Opium-Eater."</p> - -<p class='c034'><b>New York Herald.</b>—After reading Mr. Page's biography, we have a -very home-like feeling for De Quincey, and we cannot help saying, -"Dear old man!" as we read his letters.... Mr. Hogg's reminiscences -are very entertaining, and show the genial side of De Quincey's -nature; and Dr. Eatwell's medical view is curious and interesting. -Altogether Mr. Page's Life of De Quincey is one of the most -valuable books of the year, and is as full of anecdote as a nut is of meat.</p> - -<p class='c034'><b>Glasgow Herald.</b>—Mr. Page merits great praise for the pains he has -taken to fix De Quincey's position in literature, and to trace the -workings of a mind richly endowed indeed with gifts, even when -measured by the standard of his own bright compeers.</p> - -<p class='c034'>⁂ A Prospectus will be forwarded on application, giving Extracts -from ALL the Criticisms which have appeared, upwards of fifty.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>LONDON: JOHN HOGG, PATERNOSTER ROW.</div> - </div> -</div> - -<p class='c028'><span class='pageno' id='Page_240'>240</span><i>A HANDBOOK OF REFERENCE AND QUOTATION.</i></p> - -<p class='c005'>MOTTOES AND APHORISMS FROM SHAKESPERE:</p> -<p class='c034'>a Collection of Two Thousand Seven Hundred Mottoes and Aphorisms, -alphabetically arranged, with a copious Index of Nine -Thousand References to the infinitely varied Words and Ideas of -the Mottoes. Any word or idea can be traced at once, and the correct -quotation (with name of play, act, and scene) had without -going further. Second edition, fcap. 8vo, cloth, price 2s. 6d.</p> - -<p class='c034'>"A very useful Handbook, ... rendering the wit and wisdom of -Shakespere practically available to all speakers and writers,—yea, it -may even be adapted to ordinary conversation.... The book might -almost be called a Shakespere concordance."—<i>Cambridge Chronicle.</i></p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><i>WOOD ENGRAVINGS BY THOMAS BEWICK.</i></div> - </div> -</div> - -<p class='c005'>THE PARLOUR MENAGERIE: <span class='small'>wherein are exhibited, in -a Descriptive and Anecdotical Form, the Habits, Instinct, Natural -Peculiarities, and Mysterious Existences of the more Interesting -Portions of the Animal Creation, with upwards of 300 Wood Engravings, -chiefly by Bewick and two of his pupils. Large crown -8vo, gilt edges, price 7s. 6d.</span></p> - -<p class='c005'><span class='small'>"One of the best of the gossiping natural history books for an -intelligent boy that we have seen for some time. It is brimfull of -interesting anecdotes.... The eulogistic note from Professor Owen -is a good guaranty of the accuracy of the information which it contains."—<i>Church Times.</i></span></p> - -<hr class='c033' /> - -<p class='c005'>THE POSTHUMOUS WORKS OF THE LATE REV. G. OLIVER, D.D.,</p> - -<p class='c005'>Author of "THE LANDMARKS OF MASONRY," &c. &c.</p> - -<p class='c005'>I.—THE DISCREPANCIES OF FREEMASONRY: <span class='small'>Examined -during a Week's Gossip with the late celebrated Bro. -Gilkes, and other Eminent Masons. Crown 8vo, cloth, with numerous -Diagrams, price 7s. 6d.</span></p> - -<p class='c005'><span class='small'>"It is difficult to imagine a more charming book, or one more calculated -to inspire the Masonic Student with enthusiasm for the Royal -Art."—<i>Freemason's Chronicle.</i></span></p> - -<p class='c005'><span class='small'>"A most amusing and curious book."—<i>Standard.</i></span></p> - -<hr class='c017' /> - -<p class='c005'>II.—THE PYTHAGOREAN TRIANGLE; <span class='small'>or, The Science of Numbers. -Crown 8vo, cloth, with Diagrams, price 6s.</span></p> - -<p class='c005'><span class='small'>"In addition to all its stores of curious and varied learning, as connected -with the Craft, the Rev. Doctor's treatise contains many sage -remarks on a host of other interesting topics, which will please all -curious readers."—<i>Standard.</i></span></p> -<hr class='c033' /> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><span class='small'><i>Dedicated by permission to JOHN HERVEY, Esq., Grand Secretary.</i></span></div> - </div> -</div> - -<p class='c005'>THE ROYAL MASONIC CYCLOPÆDIA OF HISTORY, RITES, -SYMBOLISM, AND BIOGRAPHY. <span class='small'>Containing upwards of -3000 Subjects, together with numerous Original Articles on Archæological -and other topics. Edited by Kenneth R. H. Mackenzie. -Demy 8vo, 792 pp., half morocco, Roxburgh style, gilt top, price 21s.</span></p> - -<p class='c005'><span class='small'>"<i>The work is marked by extreme learning and moderation.</i>"—​" -<i>Public Opinion.</i></span></p> - -<hr class='c033' /> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>LONDON: JOHN HOGG, PATERNOSTER ROW.</div> - </div> -</div> - -<div class='pbb'> - <hr class='pb c025' /> -</div> -<div class='footnotes'> - -<div class='chapter'> - <h2 class='c035'>FOOTNOTES:</h2> -</div> -<div class='footnote' id='f1'> -<p class='c028'><a href='#r1'>1</a>. The derivation of this vulgarism is ancient, and not very -dignified. "Sewer" and "shore," meaning a drain, are, -of course, the same word. It seems absurd, when we have -so few vowels, to allow the distinctive sound of any of them -to be lost, as it would be in this case, by the "o" and "u" -becoming interchanged.</p> -</div> -<div class='footnote' id='f2'> -<p class='c005'><a href='#r2'>2</a>. There is one decided advantage to the public which -would accrue from the teaching of versification in schools. -We should be saved the infliction of much nonsense, published -under the name of poetry. For it is to be hoped that -no man, who had been well-grounded in the mechanism of -verse as a lad, would think of publishing in mature age what -he would know were but school-exercises only, and not -poems.</p> -</div> -<div class='footnote' id='f3'> -<p class='c005'><a href='#r3'>3</a>. An instance of the contrary effect will be found in Tennyson's -line—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"Long lines of cliff breaking had left a chasm."</div> - </div> - </div> -</div> - -<p class='c005'>Here the proper stress should be "breaki'ng," according to -scansion, but the accent thrown back on the first syllable gives -a sudden sort of halt suggestive of the fall of the cliff.</p> -</div> -<div class='footnote' id='f4'> -<p class='c005'><a href='#r4'>4</a>. Yet this is not all that is requisite to make music. Browning, -I think I may say, never repeats the same sound; Tennyson -frequently does; yet the latter's verse has a better flow -than the former's. But this may be the result of other arts -employed by the Laureate.</p> -</div> -<div class='footnote' id='f5'> -<p class='c005'><a href='#r5'>5</a>. The cæsura in some cases falls at the end of the foot.</p> -</div> -<div class='footnote' id='f6'> -<p class='c005'><a href='#r6'>6</a>. The name Pentameter (<i>five</i>-foot) is derived from the long -syllables being incomplete feet, and counting together as one, -so as to make five with the four dactyls. In anapæstics and -iambics the <i>metre</i> is a dipod, <i>i.e.</i>, it includes two feet, so that -an iambic dimeter contains not two but four iambics.</p> -</div> -<div class='footnote' id='f7'> -<p class='c005'><a href='#r7'>7</a>. He, however, seems to have been curiously ignorant of the -ever-changing nature of English pronunciation. When Pope -rhymed "line" and "join," and "obey" and "tea," it was -the fashion to pronounce "join" as "jine" and "tea" as -"tay." Bysshe also finds fault with lines on points of accent, -and condemns some in which "envy´," "e´ssay," "i´nsults," -and "e´xpert" occur, being apparently unacquainted with the -difference of accent, which is admissible in each instance; and -which, in some, has now superseded the style in fashion in -his time.</p> -</div> -<div class='footnote' id='f8'> -<p class='c005'><a href='#r8'>8</a>. Alliteration is a means, not an end. So long as alliterative -verse pleases the ear, and yet does not betray to its reader the -cause of the pleasant sensation, it is an admirable addition to -the beauty of the verse. But as soon as it attracts the reader's -attention, as a <i>tour de force</i>, it is a blot, because it inflicts an -injury on the poem by engaging the mind on the machinery -instead of the matter. Instead of thinking how exquisite the -poem is, we are wondering how often that clever contortionist, -the poet, will fling his summersault of alliteration.</p> -</div> -<div class='footnote' id='f9'> -<p class='c005'><a href='#r9'>9</a>. The spondee (two long syllables) can have no equivalent -in accent, as it would need two accented syllables next to each -other, which can only be used very exceptionally.</p> -</div> -<div class='footnote' id='f10'> -<p class='c005'><a href='#r10'>10</a>. In the classic measures a long ( — ) is equivalent to two -short ( ᴗ ) quantities, in the English feet it is the unaccented -syllables (which we may rudely consider the shorts) which are -capable of resolution. In spite of this difference, however, -it seems most simple to keep the old terms, and use the old -formulæ.</p> -</div> -<div class='footnote' id='f11'> -<p class='c005'><a href='#r11'>11</a>. Various forms of stanza may be combined in one poem -(though most usually in the ode only), provided regard be had -to harmony and unity, so that the metres be not varied unsuitably -or violently.</p> -</div> -<div class='footnote' id='f12'> -<p class='c005'><a href='#r12'>12</a>. In couplets, the two lines, in triplets (with two exceptional -forms) the three, rhyme together. In quatrains usually the alternate -lines rhyme. As the lines of the stanza increase in number, -the methods of rhyming of course vary.</p> -</div> -<div class='footnote' id='f13'> -<p class='c005'><a href='#r13'>13</a>. See also Shelley's "Queen Mab."</p> -</div> -<div class='footnote' id='f14'> -<p class='c005'><a href='#r14'>14</a>. This is the simple decasyllabic, the peculiarity being a -division into stanzas of three lines.</p> -</div> -<div class='footnote' id='f15'> -<p class='c005'><a href='#r15'>15</a>. It is a curious confirmation of my theory about the Cockney -grounds for objection to this rhyme, that the author of a handbook -who condemns "heart" and "art" as a rhyme, fails to -see any fault in "dawn" and "morn," or in "applaud" and -"aboard" as rhymes. Of course, where the "h" is mute as in -"hour," it cannot rhyme with the simple vowel as in "our," -sound being the test of rhyme, and the ear the only judge. A -"rhyme to the eye" is an impossibility.</p> -</div> -<div class='footnote' id='f16'> -<p class='c005'><a href='#r16'>16</a>. This does not apply to the generous use of a rhyme at the -half-line to mark the cæsural pause, as in this line—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line'>"'Twas in the prime of summer time."</div> - </div> - </div> -</div> - -<p class='c005'>Nor is there any objection—but rather the contrary—to the use -of two rhyming words in a line, provided they are not identical -with the final rhymes, as for example—</p> - -<div class='lg-container-b c007'> - <div class='linegroup'> - <div class='group'> - <div class='line in3'>"That thrice the human span</div> - <div class='line'>Through <i>gale</i> and <i>hail</i> and fiery bolt</div> - <div class='line in4'>Had stood erect as man."</div> - </div> - </div> -</div> - -</div> -<div class='footnote' id='f17'> -<p class='c005'><a href='#r17'>17</a>. I would, however, warn the beginner not to adopt the -license of loose rhyming, which in Barham is lost sight of amid -the brightness of the wit.</p> -</div> -<div class='footnote' id='f18'> -<p class='c005'><a href='#r18'>18</a>. This and similar words cannot (see Chap. VI.) stand at -the end of serious verse. In comic verse it is different.</p> -</div> -<div class='footnote' id='f19'> -<p class='c005'><a href='#r19'>19</a>. I have reprinted in the Appendix so much of the introductory -matter of "The Young Poet's Guide" (on which this -treatise is founded) as appears to me to contain hints that -may be read with profit, even though it differs slightly from -my views.</p> -</div> -<div class='footnote' id='f20'> -<p class='c005'><a href='#r20'>20</a>. The absurdity of talking of perfect and imperfect rhymes -is only equalled by that of speaking of good grammar and -bad grammar. A shilling is a shilling—what the vulgar call -"a bad shilling" is no shilling at all.—T.H.</p> -</div> -<div class='footnote' id='f21'> -<p class='c005'><a href='#r21'>21</a>. In words ending in "y," with an accent on the antipenultimate, -there should be no attempt to make "single" rhymes.—T.H.</p> -</div> -<div class='footnote' id='f22'> -<p class='c005'><a href='#r22'>22</a>. The union of <i>sound</i> alone constitutes rhyme. You do not -match colours by the nose, or sounds by the eye.—T.H.</p> -</div> -<div class='footnote' id='f23'> -<p class='c005'><a href='#r23'>23</a>. But decidedly ought not to be.—T.H.</p> -</div> -<div class='footnote' id='f24'> -<p class='c005'><a href='#r24'>24</a>. Here we have the old blunder of taking the licenses of poets -as laws for versifiers.—T.H.</p> -</div> -<div class='footnote' id='f25'> -<p class='c005'><a href='#r25'>25</a>. Why "pëa"?—T.H.</p> -</div> -<div class='footnote' id='f26'> -<p class='c005'><a href='#r26'>26</a>. But it falls at end of the word—the English cæsura never -divides a word as the classic one does. In the second instance -the "is" being enclitic is practically part of the word.—T.H.</p> -</div> -<div class='footnote' id='f27'> -<p class='c005'><a href='#r27'>27</a>. Because he was writing words to an air.—T.H.</p> -</div> - -</div> - -<div class='nf-center-c0'> -<div class='nf-center c025'> - <div>TRANSCRIBER'S NOTE</div> - </div> -</div> - -<p class='c028'>Indents are as per the original.</p> - -<p class='c005'>Variations in spelling hyphenation, punctuation and accentuation -were maintained.</p> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Practical Guide to English -Versification, by Tom Hood - -*** END OF THIS PROJECT GUTENBERG EBOOK PRACTICAL GUIDE TO ENGLISH *** - -***** This file should be named 51873-h.htm or 51873-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/1/8/7/51873/ - -Produced by Jonathan Ingram, readbueno and the Online -Distributed Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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