Illi inter sese magnâ vi brachia tollunt. _Georg._ iv. 174. On the other hand, swift motion is imitated by a succession of short syllables: Quadrupedante putrem sonitu quatit ungula campum. Again: Radit iter liquidum, celeres neque commovet alas. Thirdly, a line composed of monosyllables, makes an impression, by the frequency of its pauses, similar to what is made by laborious interrupted motion: With many a weary step, and many a groan, Up the high hill he heaves a huge round stone. _Odyssey_, xi. 736. First march the heavy mules, securely slow; O’er hills, o’er dales, o’er craggs, o’er rocks, they go. _Iliad_, xxiii. 138. Fourthly, the impression made by rough sounds in succession, resembles that made by rough or tumultuous motion. On the other hand, the impression of smooth sounds resembles that of gentle motion. The following is an example of both. Two craggy rocks projecting to the main, The roaring wind’s tempestuous rage restrain; Within, the waves in softer murmurs glide, And ships secure without their haulsers ride. _Odyssey_, iii. 118. Another example of the latter: Soft is the strain when Zephyr gently blows, And the smooth stream in smoother numbers flows. _Essay on Crit. 366._ Fifthly, prolonged motion is expressed in an Alexandrine line. The first example shall be of slow motion prolonged: A needless Alexandrine ends the song; That, like a wounded snake, drags its slow length along. _Essay on Crit. 356._ The next example is of forcible motion prolonged: The waves behind impel the waves before, Wide-rolling, foaming high, and tumbling to the shore. _Iliad_, xiii. 1004. The last shall be of rapid motion prolonged: Not so when swift Camilla scours the plain, Flies o’er th’ unbending corn, and skims along the main. _Essay on Crit. 373._ Again, speaking of a rock torn from the brow of a mountain, Still gath’ring force, it smokes, and, urg’d amain, Whirls, leaps, and thunders down, impetuous to the plain. _Iliad_, xiii. 197. Sixthly, a period consisting mostly of long syllables, that is, of syllables pronounced slow, produceth an emotion resembling faintly that which is produced by gravity and solemnity. Hence the beauty of the following verse. Olli sedato respondit corde Latinus. Seventhly, a slow succession of ideas is a circumstance that belongs equally to settled melancholy, and to a period composed of polysyllables pronounced slow. Hence, by similarity of emotions, the latter is imitative of the former: In those deep solitudes and awful cells, Where heav’nly-pensive Contemplation dwells, And ever-musing Melancholy reigns. _Pope. Eloisa to Abelard._ Eighthly, a long syllable made short, or a short syllable made long, raises, by the difficulty of pronouncing contrary to custom, a feeling similar to that of hard labour: