In the penult line the proper place of the musical pause is at the end of the fifth syllable; but it enlivens the expression by its coincidence with that of the sense at the end of the second syllable. The stopping short before the usual pause in the melody, aids the impression that is made by the description of the stone’s stopping short. And what is lost to the melody by this artifice, is more than compensated by the force that is added to the description. Milton makes a happy use of this licence; witness the following examples from his _Paradise Lost_. ---- Thus with the year Seasons return, but not to me returns Day || or the sweet approach of even or morn. Celestial voices to the midnight-air Sole || or responsive each to others note. And over them triumphant Death his dart Shook || but delay’d to strike. ---- And wild uproar Stood rul’d || stood vast infinitude confin’d. ---- And hard’ning in his strength Glories || for never since created man Met such embodied force. From his slack hand the garland wreath’d for Eve Down drop’d || and all the faded roses shed. Of unessential night, receives him next, Wide gaping || and with utter loss of being Threatens him, _&c._ ----For now the thought Both of lost happiness and lasting pain Torments him || round he throws his baleful eyes, _&c._ If we consider the foregoing passages with respect to melody singly, the pauses are undoubtedly out of their proper place. But being united with those of the sense, they inforce the expression and enliven it greatly. And the beauty of expression is communicated to the sound, which, by a natural deception, makes even the melody appear more perfect than if the musical pauses were regular. * * * * *