The accent, to which we proceed, is not less essential than the other circumstances above handled. By a good ear it will be discerned, that in every line there is one syllable distinguishable from the rest by a strong accent. This syllable making the 7th portion, is invariably long; and in point of time occupies a place nearly at an equal distance from the pause which succeeds the 5th portion, and the semipause, which succeeds the 8th: Nec bene promeritis || capitûr nec | tangitur ira Again, Non sibi sed toto || genitûm se | credere mundo Again, Qualis spelunca || subitô com|mota columba In these examples, the accent is laid upon the last syllable of a word. And that this is a favourable circumstance for the melody, will appear from the following consideration. In reading, there must be some pause after every word, to separate it from what follows; and this pause, however short, supports the accent. Hence it is, that a line thus accented, has a more spirited air, than where the accent is placed on any other syllable. Compare the foregoing lines with the following. Alba neque Assyrio || fucâtur | lana veneno Again, Panditur interea || domus ômnipo|tentis Olympi Again, Olli sedato || respôndit | corde Latinus In lines where the pause comes after the short syllable succeeding the 5th portion, the accent is displaced and rendered less sensible. It seems to be split into two, and to be laid partly on the 5th portion, and partly on the 7th, its usual place; as in Nuda genu, nodôque || sinûs col|lecta fluentes Again, Formosam resonâre || docês Amar|yllida sylvas Beside this capital accent, slighter accents are laid upon other portions; particularly upon the 4th, unless where it consists of two short syllables; upon the 9th, which is always a long syllable; and upon the 11th, where the line concludes with a monosyllable. Such conclusion, by the by, lessens the melody, and for that reason is not to be indulged unless where it is expressive of the sense. The following lines are marked with all the accents. Ludere quæ vêllem calamô permîsit agresti Again, Et duræ quêrcus sudâbunt rôscida mella Again, Parturiunt môntes, nascêtur rîdiculûs mus Inquiring into the melody of Hexameter verse, we soon discover, that order or arrangement doth not constitute the whole of it. Comparing different lines, equally regular as to the succession of long and short syllables, the melody is found in very different degrees of perfection. Nor does the difference arise from any particular combination of Dactyles and Spondees, or of long and short syllables. On the contrary, we find lines where Dactyles prevail and lines where Spondees prevail, equally melodious. Of the former take the following instance: Æneadum genetrix hominum divumque voluptas. Of the latter: Molli paulatim flavescet campus arista.