What can be more different as to melody than the two following lines, which, however, as to the succession of long and short syllables, are constructed precisely in the same manner? Spond. Dact. Spond. Spond. Dact. Spond. Ad talos stola dimissa et circumdata palla. _Hor._ Spond. Dact. Spond. Spond. Dact. Spond. Placatumque nitet diffuso lumine cœlum. _Lucret._ In the former, the pause falls in the middle of a word, which is a great blemish, and the accent is disturbed by a harsh elision of the vowel _a_ upon the particle _et_. In the latter the pauses and the accent are all of them distinct and full: there is no elision: and the words are more liquid and sounding. In these particulars consists the beauty of an Hexameter line with respect to melody; and by neglecting these, many lines in the Satires and Epistles of Horace are less agreeable than plain prose; for they are neither the one nor the other in perfection. To make these lines sound, they must be pronounced without relation to the sense. It must not be regarded, that words are divided by pauses, nor that harsh elisions are multiplied. To add to the account, prosaic low sounding words are introduced; and which is still worse, accents are laid on them. Of such faulty lines take the following instances. Candida rectaque sit, munda hactenus sit neque longa. Jupiter exclamat simul atque audirit; at in se Custodes, lectica, ciniflones, parasitæ Optimus est modulator, ut Alfenus Vafer omni Nunc illud tantum quæram, meritone tibi sit. Next in order comes English heroic verse, which shall be examined under the whole five heads, of number, quantity, arrangement, pause, and accent. This verse sometimes employs rhymes and sometimes not, which distinguishes it into two kinds; one named _metre_, and one _blank verse_. In the former, the lines are connected two and two by similarity of sound in the final syllables; and such connected lines are termed _couplets_. Similarity of sound being avoided in the latter, banishes couplets. These two sorts must be handled separately, because there are many peculiarities in each. The first article with respect to rhyme or metre, shall be discussed in a few words. Every line consists of ten syllables, five short and five long. There are but two exceptions, both of them rare. A couplet can bear to be drawn out, by adding a short syllable at the end of each of the two lines: There hero’s wits are kept in pond’rous vases, And beau’s in snuff-boxes and tweezer-cases. The piece, you think, is incorrect? Why, take it; I’m all submission; what you’d have it, make it. This licence is sufferable in a single couplet; but if frequent would soon become disgustful. The other exception concerns the second line of a couplet, which is sometimes stretched out to twelve syllables, termed an _Alexandrine line_. A needless Alexandrine ends the song, That, like a wounded snake, drags its slow length along.