make up the whole of a verse. If these phrases are of different lengths and different accentuation, and are so combined as to form the same kind of whole, the parts of which are, however, different in every different verse, then the ear receives the maximum of pleasure. This is a long study, and its principles cannot be discussed here. One central principle may, however, be mentioned; that is:

The CESURA, or rest, halt, or break-in each line ought to be constantly varied.

Two examples will suffice. Pope has the cæsura almost always in the same place, so that Hazlitt justly compares his Pegasus to a rocking-horse-" short end down, long end up; short end up, long end down." Milton, on the contrary, who was a much greater and truer artist than Pope, varies his cæsura infinitely. The symbol of Pope's cæsura would be a hard straight line; of Milton's a highly varied and flowing curve.

The following lines are from Pope.

The following are from Milton.

2 But to my task: | Neptune, besides the sway
21 Of every salt flood, and each ebbing stream,
1 Took in, by lot twixt high and nether Jove,
2 Imperial rule of all the sea-girt isles

4

3

That like to rich and various gems | inlay
The unadorned bosom | of the deep.

In the above lines, Milton places his cæsura after the first

foot (1), or even after the fourth (4), but never keeps it

fixed to one place (2) like Pope. Hence the varied music of Milton's verse, the cast-iron sameness (the cleverness of the sense aside) of Pope's. Among modern poets, Tennyson varies the casura with perhaps the greatest success.

There are four necessary conditions of a good rhyme; and the rhyme is destroyed by the violation of any one of these conditions.

1. The two syllables which rhyme with each other must be accented. Thus ring rhymes with sing, but not with pleasing.

2. The last consonant must be the same.

3. The vowel sound must be the same.

4. The preceding consonant (or sound of combined consonants) must be different.

Thus rhymes may be discovered simply by going through the alphabet and adding on letters-single, double, and. treble-to a final syllable. Thus from at we get bat, cat, (dat), fat, gat, hat,―flat, sprat, etc., etc.

But, as the English language is very poor in rhymes, certain allowances (or "poetical licences") are granted. While Spanish and Italian have an average of twenty-four rhymes to each word, English has an average of only three. Hence half-rhymes are admissible in English; and there is no objection to the following:

It must be observed, however, that the vowel sound in all of them is closely related, and that the other three rules of rhyme have been all observed.

In selecting rhymes, it is necessary to remember that a rhyme exists for the ear, and not for the eye. It follows that freight is an admissible rhyme with wait, though both look so very different.

The question now arises: How are we to set to work tematically to study verse?

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There are evidently two ways-and only two: (a) much reading, and (b) conscious imitation.

The analogy between learning to write verse and learning to paint or draw is tolerably complete. A student learns to◄ paint first by the careful study of the best pictures of the best masters-by steeping his mind in them, and knowing them so well that he can reproduce them to himself with his eyes shut; and secondly, by copying the best pictures.

(a) As regards the reading of poetry, that must be left to the pupil himself; only, however, with this advice, to read only what is universally recognised as the best; and in that, to read most, and most frequently, those poems which seem to him most musical in sound.

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(b) As regards the conscious imitation of poetry, it naturally divides itself into three parts. A verse consists of three elements. 1. The. Thought. 2. The Rhythmical Language; and 3, The Rhyme. We may therefore gain three kinds of exercises in verse.

1. One kind of exercise, in which the Rhyme and the Sense are given, but the language is changed.

2. Another kind, in which the Rhyme alone is given.

3. A third kind, in which the Sense alone is given.

The following easy practice, in rearranging words into verse may, however, precede these.

Ex. 1.

Arrange the following in couplets. Some very slight alterations may be necessary.

1. We have swept over cities renowned in song; they lie silent with deserts round them. (4 x x a.)

2. Ye birds that oversweep it in power and mirth, your tale of the beautiful earth is sad! (4 x x a.)

3. All the day was spent in schools of wisdom; the rabbi bent his steps homeward at eve. (5 a a).

4. Lo! the glowing sunset lies in the west, steeped in the glory of a thousand dyes. (5 a a.)

5. The fisherman, rocked at case in his boat, sings out to the *breeze his cheerful carol. (5 x a.)

6. Dim night-cool and still-is gathering over; faint lights begin to twinkle upon the hill. (5 x α.)

Ex. 2.

1. The monks always preferred a hill behind, to shelter from the wind church and abbey. (5 x a.)

2. The ceaseless tooth of time nor the march of the tempest could ever destroy that venerable arch. (5 x a.)

3. Those gallant cavaliers, in vain they fought for those who knew not either to resign or to reign. (5 x a.)

4. The very faintest relics of a shrine, of any worship whatever, awaken some divine thoughts. (5 x a).

5. The torrent breaks up with a thousand bubbles, like man's glory which is vain, and his troubles, which are vainer. (5 x a.) 6. Her duties claimed attention through the day; and she aimed to be useful as well as resigned. (5 x a.)

Ex. 3.

Stanzas of four lines, alternately rhymed.

1. Who can wrench from their rocky hold the pillars of eternal might? What gloom can hide, what wind quench, the flame of the right eternal? (4 a a.)

2. That proud chapel, where the chiefs of Roslin lie uncoffined, seemed all on fire-each baron sheathed in his iron panoply for (instead of) a sable shroud. (4 x a.)

3. No nightingale in some shady haunt did ever chant more welcome notes to weary bands of travellers among the sands of Arabia (Arabian sands). (4 a a.)

Some slight alterations in phrase are requisite.

1. We paused beside the pool that lies beneath the boughs of

the forest (forest bough); each seemed as if it were a little sky engulphed in a world (that lay) below. (4 x a.)

2. The noble dame upon her high turret, who waits her gallant knight, looks to the western beam to espy the flash of bright armour. (4 x a and 3 x a.)

3. His mother looked from the window with all a mother's longing; his little sister walked weeping (along) the greenwood path to meet her brother. (4 x a.)

4. They sought him east, they sought him west; they sought all through (thorough) the forest; they saw only the cloud of night; they heard nothing but the roar of Yarrow. (4 x a.)

Ex. 5.

1. All she does graceful and useful, blessing and blest wherever she goes; pure-thoughted as the mirror of a lake (that watery glass), and Heaven (is) reflected in her face.

2. He stood on the verge of the steep hill, that looks over the towers and wood of Branksome; and martial murmurs proclaimed from below the southern foe approaching.

3. The guileless man is ever blest, all crooked paths are straight to him; fresh, ever-growing strength awaits him on his way to endless rest.

4. As he sang, the cithern dropt from his hands, the light of his eyes dimmed (became dim); nevermore rang from the rocks or the river-bank, the sound of that (epithet) hymn.

Ex. 6.

The following stanzas have four lines alternately rhyming; and the next two rhyme with each other.

1. I do not crave the garish pomp, the sparkling show, or the -slave's golden shackles, the lordly ease that knows not the cares of men; nor does the delight of my calmer soul hang on dance and revelry by night.

2. To drink the crystal spring; to roam from land to land, and still to find a happy home in every place, and in all mankind friendly hearts, to take with gratitude and rich content the gifts sent by Heaven.

3. To rove in sunny climes, by deep blue seas, with slow and thoughtful steps; or, lying underneath the trees of more ancient and remote groves, to hear the sighing winds above me, and the silvery waterfalls replying.