"By fountain clear, or spangled starlight sheen.”
"Shall I receive by gift, what of my own,

When and where likes me best, I can command?"
"Thy voice we hear, and thy behests obey."
"The whiles, the vaulted shrine around.
Seraphic wires were heard to sound."

"On the first friendly bank he throws him down."
"I'll seek the solitude he sought,

And stretch me where he lay."

"Not Hector's self should want an equal foe."

2. More violent and peculiar ellipses are allowable In poetry than in prose; as,

"Suffice, to-night, these orders to obey."

"Time is our tedious song should here have ending."
"For is there aught in sleep can charm the wise?"
"Tis Fancy, in her fiery car,

Transports me to the thickest war."

"Who never fasts, no banquet e'er enjoys."
"Bliss is the same in subject as in king,

In who obtain defence, or who defend."

3. Adjectives in poetry are often elegantly constructed with nouns which they do not strictly qualify; as, "The ploughman homeward plods his weary way." "The tenants of the warbling shade."

"And drowsy tinklings lull the distant folds."

4. The rules of grammar are often violated by the poets. A noun and its pronoun are often used in reference to the same verb; as,

"It ceased, the melancholy sound.”

"My banks they are furnished with bees."

5. An adverb is often admitted between the verb

and to, the sign of the infinitive; as,

"To sit on rocks, to muse o'er flood and fell,

To slowly trace the forest's shady scenes.

6. A common poetic license consists in employing or and nor instead of either and neither; as,

"And first

Or on the listed plain, or stormy sea."

"Nor grief nor fear shall break my rest."

7. Intransitive verbs are often made transitive, and adjectives used like abstract nouns; as,

แ The lightnings flash a larger curve.”
"Still in harmonious intercourse they lived
The rural day, and talked the flowing heart."
"Meanwhile, whate'er of beautiful or new,

By chance, or search, was offered to his view,
He scanned with curious eye."

8. Greek, Latin, and other foreign idioms, are allowable in poetry, though inadmissible in prose; as, "He knew to sing, and build the lofty rhyme." "Give me to seize rich Nestor's shield of gold." "There are, who, deaf to mad ambition's call,

Would shrink to hear the obstreperous trump of fame." "Yet to their general's voice they all obeyed."

"Never since created man

Met pub embodied force."

PART FOURTH.

PROSODY.

555. PROSODY treats of Elocution and Versifi cation.

§ 93. ELOCUTION.

556. ELOCUTION is correct pronunciation, or the proper management of the voice in reading or speaking.

557. In order to read and speak with grace and effect, attention must be paid to the proper pitch of the voice, the accent and quantity of the syllables, and to emphasis, pauses, and tones.

558.-1. In the PITCH and management of the voice, it should be neither too high nor too low; it should be distinct and clear; the utterance neither too quick nor too slow, and neither too varied nor too monotonous.

559.-2. ACCENT is the laying of a particular stress of voice on a certain syllable in a word, as the syllable vir- in vir'tue, virtuous.

560.-3. The QUANTITY of a syllable is the relative time which is required to pronounce it. A long syllable, in quantity, is equal to two short ones. Thus, pine, tube, note, require to be sounded as long again as pin, tub, not. In English versification, an accented syllable is long, an unaccented one is short.

561.-4. EMPHASIS means that greater stress of the voice which we lay on some particular word or words, in order to mark their superior importance in the sentence, and thereby the better to con. vey the idea intended by the writer or speaker.

562.-5. PAUSES, or rests, are cessations of the voice, in order to enable the reader or speaker to take breath; and to give the hearer a distinct perception of the meaning, not only of each sentence, but of the whole discourse.

563.-6. TONES consist in the modulation of the voice, and the notes, or variations of sound, which we employ in speaking, to express the different sentiments, emotions, or feelings, intended.

**A full consideration of these topics, in a work of this kind, would be as im practicable as it would be out of place, since it would require a volume for that purpose. They are fully treated of and exemplified in works on elocution; a sub. ject which is, or should be, taken up as a separate branch of study.

§ 94. VERSIFICATION.

564. VERSIFICATION is the art of arranging words into poetical lines, or verses.

565. A Verse, or Poetical Line, consists of a certain number of accented and unaccented syllables, arranged according to fixed rules.

566. A Couplet, or Distich, consists of two lines or verses taken together, whether rhyming with each other or not. A Triplet consists of three lines rhyming together.

567. A Stanza is a combination of several verses or lines, varying in number according to the poet's fancy and constituting a regular division of a poem or song This is often incorrectly called a verse.

568. Rhyme is the similarity of sound in the last syllables of two or more lines arranged in a certain order. Poetry, the verses of which have this similarity is sometimes called Rhyme.

569. Blank Verse is the name given to that species of poetry which is without rhyme.

FEET.

570. Feet are the smaller portions into which a line is divided; each of which consists of two or more syllables, combined according to accent.

571, In English versification, an accented syllable is accounted long; an unaccented syllable, short. In the following examples, a straight line (-) over a syllable shows that it is accented, and a curved line, or breve (~), that it is unaccented.

572. Monosyllables, which, when alone, are regarded as with out accent, often receive it when placed in a poetical line, and are long or short, according as they are with or without the ac cent: thus,

"To rouse him with the spur and rein,

With more than rapture's rāy."

In the ancient languages, each syllable has a certain quantity, long or short, independent of accent, for which there are certain definite rules. In this, they differ widely from the English.

573. Metre, or Measure, is the arrangement of a certain number of poetical feet in a verse or line.

1. When a line has the proper metre, or number of feet, it is called Acatalectic.

2. When it is deficient, it is called Catalectic.

4. When it has a redundant syllable, it is called Hypercatalectic, or Hypermeter.

574. A line consisting of one foot is called monometer; of two, dimeter; of three, trimeter; of four, tetrameter; of five, pentameter; of six, hexameter; of seven, heptameter.

575. Scanning is dividing a verse into the feet of which it is composed.

576. All feet in poetry are reducible to eight kinds; four of two syllables, and four of three, as follows: I. FEET OF TWO SYLLABLES,

1. An Iambus -; as. děfēnd.