But again, four is not necessary. We do not, indeed, find verses in six groups, because there is not room for six in the ten syllables; and we do not find verses of two, because one of the main distinctions of verse from prose resides in the comparative shortness of the group; but it is even common to find verses of three. Five is the one forbidden number; because five is the number of the feet; and if five were chosen, the two patterns would coincide, and that opposition which is the life of verse would instantly be lost. We have here a clue to the effect of polysyllables, above all in Latin, where they are so common and make so brave an architecture in the verse; for the polysyllable is a group of Nature’s making. If but some Roman would return from Hades (Martial, for choice), and tell me by what conduct of the voice these thundering verses should be uttered—‘_Aut Lacedæmonium Tarentum_,’ for a case in point—I feel as if I should enter at last into the full enjoyment of the best of human verses. But, again, the five feet are all iambic, or supposed to be; by the mere count of syllables the four groups cannot be all iambic; as a question of elegance, I doubt if any one of them requires to be so; and I am certain that for choice no two of them should scan the same. The singular beauty of the verse analysed above is due, so far as analysis can carry us, part, indeed, to the clever repetition of L, D, and N, but part to this variety of scansion in the groups. The groups which, like the bar in music, break up the verse for utterance, fall uniambically; and in declaiming a so-called iambic verse, it may so happen that we never utter one iambic foot. And yet to this neglect of the original beat there is a limit. ‘Athens, the eye of Greece, mother of arts,’ {24} is, with all its eccentricities, a good heroic line; for though it scarcely can be said to indicate the beat of the iamb, it certainly suggests no other measure to the ear. But begin ‘Mother Athens, eye of Greece,’ or merely ‘Mother Athens,’ and the game is up, for the trochaic beat has been suggested. The eccentric scansion of the groups is an adornment; but as soon as the original beat has been forgotten, they cease implicitly to be eccentric. Variety is what is sought; but if we destroy the original mould, one of the terms of this variety is lost, and we fall back on sameness. Thus, both as to the arithmetical measure of the verse, and the degree of regularity in scansion, we see the laws of prosody to have one common purpose: to keep alive the opposition of two schemes simultaneously followed; to keep them notably apart, though still coincident; and to balance them with such judicial nicety before the reader, that neither shall be unperceived and neither signally prevail.