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High on a throne of royal state, which får
Outshone the wĒalth / of Ormus, or of Ind,
Or where the gorgeous eāst | with richest hānd,
Showers on her kings | barbaric pearl and gold,
Satan exalted sat.”

Here it is observable that the cæsural place is changed three times, the pauses being on the fourth, sixth, fifth and sixth syllables, besides which, the two lines making the cæsura on the fourth, are distinguished by the one beginning in a trochee, the other in a spondee; and the third is distinguished from the fifth by coming to its cæsura in a dactyl. I should prefer, if it be admissible, putting the cæsura on barbaric, which would improve the sense and vary the pauses very considerably.

I will now give an instance of faulty composition in blank verse, to illustrate the same remarks by showing the defectiveness of blank metre, where these requirements are not observed. It is taken from the speech of Sarpedon, in Broome's Homer, I shall mark only the pauses and short quantities at them.

“Why are we honour'd, | Glaucus, by the Lycišas,

With seats superior, | and with larger bowls ?
Why do they worship / us like awful Gods,
And consecrate to us / peculiar ground,

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" It is fit
The spell should break of this protracted dream.".





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class 4388.29 to

1831, Dept.7. Obadiah Richi,

of London.

Gist of


RHYME, &c.

FROM the times of Petrarch and Boccacio down to the present, ability in Latin versification has been deemed one of the finest, if not the best test of classical taste and accuracy.

Scholars of . every age, and of every degree of genius and knowledge, have bestowed their attention on this subject; so that I know not the department of knowledge in which the roll of great names is longer, and in which the combination of talent and learning has effected less. Even those who have most successfully laboured in cultivating the metrical resources of our own or other languages, and have counted it their pride to imitate the beauties of Latin composition, have frequently believed that the Greeks and Romans

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