Such lines are destitute of melody and are admissible only when they suit the sound to the sense. In the high burlesque stile, of which kind is Pope's Dunciad, they give the sentiment an ironical air of importance, and from this circumstance derive a beauty. On the other hand, a large proportion of unaccented syllables or particles, deprives language of energy; and it is this circumstance principally which in prose constitutes the difference between the grave historical, and the familiar stile. The greatest number of long syllables ever admitted into a heroic verse, is seven, as in the foregoing; the smallest number is three. "Or to a s[=a]d var[=i]ety of w[=o]e." The Trochaic measure, in which every foot closes with a weak syllable, is well calculated for lively subjects. "Softly sweet in Lydian measures Soon he sooth'd his soul to pleasures; War he sung is toil and trouble, Honor but an empty bubble," &c. The Anapæstic measure, in which there are two short syllables to one long, is best adapted to express the impetuosity of passion or action. Shenstone has used it to great advantage, in his inimitable pastoral ballad. It describes beautifully the strong and lively emotions which agitate the lover, and his anxiety to please, which continually hurries him from one object and one exertion to another. "I have found out a gift for my fair, I have found where the wood pigeons breed; Yet let me that plunder forbear, She will say 'twas a barbarous deed. For he ne'er could prove true, she averr'd, Who could rob a poor bird of her young: And I lov'd her the more when I heard Such tenderness fall from her tongue." The Amphibrachic measure, in which there is a long syllable between two short ones, is best adapted to lively comic subjects; as in Addison's Rosamond. "Since conjugal passion Has come into fashion, And marriage so blest on the throne is, Like Venus I'll shine, Be fond and be fine, And Sir Trusty shall be my Adonis." Such a measure gives sentiment a ludicrous air, and consequently is ill adapted to serious subjects. Great art may be used by a poet in choosing words and feet adapted to his subject. Take the following specimen. "Now here, now there, the warriors fall; amain Groans murmur, armor sounds, and shouts convulse the plain." The feet in the last line are happily chosen. The slow Spondee, in the beginning of the verse, fixes the mind upon the dismal scene of woe; the solemnity is heightened by the pauses in the middle of the second and at the end of the third foot. But when the poet comes to shake the plains, he closes the line with three forcible Iambics. Of a similar beauty take the following example. "She all night long, her amorous descant sung."