Oft she rejects, I but never once offends. When the pause falls after the fifth syllable, dividing the line into two equal portions, the melody is sensibly altered. The verse loses that brisk and sprightly air, which it had with the former pause, and becomes more smooth, gentle, and flowing. EXAMPLE.-Eternal sunshine | of the spotless mind, Each prayer accepted, I and each wish resign'd. When the pause proceeds to follow the sixth syllable, the tenor of the music becomes solemn and grave. The verse marches now with a more slow and measured pace, than in either of the two former cases. EXAMPLE.-The wrath of Peleus' son, | the direful spring Of all the Grecian woes, | O goddess, sing! But the grave solemn cadence becomes still more sensible, when the pause falls after the seventh syllable, which is the nearest place to the end of the line that it can occupy. EXAMPLE.-And in the smooth description | murmur still. Besides the casural, there are sometimes lesser or half-pauses, as in the lines: Warms' in the sun," refreshes' in the breeze, Glows' in the stars," and blossoms' in the trees; Lives' through all life," extends' through all extent, LESSON CLXII. RULES FOR THE PRINCIPAL OR CASURAL PAUSE. 1. There should be only one principal or full pause in a line. 2. This pause may occur after the fourth, the fifth, the sixth, or the seventh syllable. This distribution of the pause lays a foundation for dividing English heroic verse into four kinds. Each kind, as above shown, has its own peculiar melody. 8. A full pause should never divide a word; thus, A noble superfluity it craves. Abhor, a perpetuity should stand. The same rule does not apply to a half-pause, which, being short and comparatively slight, is not disagreeable though it divide a word; as, Relentless walls | whose darksome round | contains. For her white virgins | hyme | neals sing. In these deep solitudes and aw | ful cells. Yet even here the melody suffers in some degree. It is desirable that a word should be pronounced without any pause between its component syllables. 4. The best place for the full pause is where there is a pause in the sense; but there may be a pause in the melody where the sense requires none, but it may not come after any word indifferently. Some words, like syllables of the same words, are so intimately connected as not to bear a separation even by a pause; hence, 5. A substantive must not be separated, by a pause, from its article; as, If Delia smile, the | flowers begin to spring. It should be pronounced If Delia smile, the flowers begin to spring. 6. The full pause must not come between an adjective and the noun following it, and qualified by it: thus, Of thousand bright | inhabitants of air The sprites of fiery | termagants inflame, The rest, his many-color'd | robe conceal'd, &c. But when the noun precedes its adjective, a full pause may be interposed, for a conception of a noun may be formed though unaccompanied by an adjective. 7. When an adverb precedes the verb, it should not be separated from it by a full pause; when it follows the verb, a pause may be interposed. Hence these lines are unmelodious: And which it much | becomes you to forget. At the..ose of a line, where a pause always occurs, it may come between the verb and the adverb which commences the following line; as While yet he spoke, the Prince advancing drew 8. A full pause may occur between a subject (or nominative) and the verb, and whether active or passive, if the verb follow it, but not otherwise. 9. A full pause may come between a transitive verb and its object, even when the object precedes the verb, thus: The peer now spreads | the glittering forceps wide, As ever sullied | the fair face of light. No happier task | these faded eyes pursue. 10. Words connected with conjunctions and prepositions admit a full pause between them, as: Assume what sexes | and what shape they please. The light militia | of the lower sky. 11. Conjunctions, prepositions, and articles, being dependent for meaning and utility upon the words that follow them, must not be separated from those by a full pause, as: Talthybius and | Emybates the good. LESSON CLXIII. RULES FOR FINAL PAUSES. 1. In the first line of a couplet, the concluding pause differs little, if at all, from the cæsural pause that divides the line, and hence the preceding rules apply to it. 2. The concluding pause of the couplet (that of the second line) is not graceful unless there be also a pause in the sense. Hence it follows that a couplet ought always to be concluded with some close in the sense, at least to the amount of a comma. This rule is seldom transgressed; but the following deviations are found in Pope: Nothing is foreign: parts relate to whole; Another: To draw fresh colors from the vernal flowers, To steal from rainbows ere they drop in showers A general rule is, that the sense must never be impaired or obscured by the position of any pause, as it is the following lines: Ulysses, first | in public cares, she found. And: Who rising, high | the imperial sceptre raised. With respect to inversion, many words which cannot bear a separation (by a pause) in their natural order, admit a pause when inverted. And it may be added, that when two words, or two members of a sentence, in their natural order, can be separated by a pause, such separation is always allowable in an inverted order. An inverted period, which deviates from the natural train of ideas, requires to be marked in some measure, even by pauses in the sense, that the parts may be distinctly known. Take the following examples: As with cold lips | I kiss'd the sacred veil. The same when the separation is made at the close of the first line of the couplet: For spirits, freed from mortal laws, with ease, Assume what sexes and what shapes they please. The pause is tolerable even at the close of the couplet, for the reason just now suggested, that inverted members require some slight pause in the sense: 'Twas where the plane-tree spreads its shades around The altars heaved; and from the crumbling ground A mighty dragon shot. Variety in verse is due to the place of the pause.-A number of successive lines having the pause in the same place is fatiguing, and ought not to occur, except where there is a uniformity in the members of a thought, as in the following examples: Again: By foreign hands | thy dying eyes were closed, Bright as the sun, I her eyes the gazers strike, It has been laid down as a general rule, that heroic verse admits ▲ cæsural pause only in one of four parts of a line-after the fourth, the fifth, the sixth, or seventh syllable. But this rule may be varied where the sense or expression requires a variation, and that, so far, the melody may be sacrificed. Hence, in Milton, we not unfrequently find the cæsural pause after the first, the second, or the third syllable-a license that sometimes adds vigor to the expression, as in the following examples: Thus with the year Seasons return, but not to me returns Day, or the sweet approach of even or morn. Celestial voices, to the midnight air, Sole or responsive each to other's note. And over them triumphant Death his dart And wild uproar Stood ruled, I stood vast infinitude confined. And hardening in his strength, Glories, for never since created man Met such embodied force. From his slack hand the garland wreathed for Eve LESSON CLXIV. ACCENTS IN VERSE. Supposing every long syllable to be accented, there is in every line one accent more prominent than the rest, being that which precedes the cæsural pause. It is distinguished into two kindsone that is immediately before the pause, and one that is divided |