Th[)e] br[=i]ght | dr[=o]ps r[=o]l|ling from her lifted arms. _Ibid_. c. 2, 59. Th[)e] p[=a]le | l[=a]mp gl[=i]m|mering through the sculptur'd ice. _Ibid_. 134. H[)e]r fa[=i]r | ch[=e]ek pr[=e]ss'd | upon her lily hand. _Temple of Nature_, c. I, 436. Th[)e] fo[=u]l | b[=o]ar's c[=o]n|quest on her fair delight. _Shakspeare, Venus and Adonis_, 1030. Th[)e] r[=e]d | bl[=o]od r[=o]ck'd | to show the painter's strife. _Ibid._ _Rape of Lucrece_, 1377. There is so little complexity in the construction of his sentences, that they may generally be reduced to a few of the first and simplest rules of syntax. On these he rings what changes he may, by putting the verb before its nominative or vocative case. Thus in the following verses from the Temple of Nature: On rapid feet o'er hills, and plains, and rocks, Speed the sacred leveret and rapacious fox; On rapid pinions cleave the fields above, The hawk descending, and escaping dove; With nicer nostril track the tainted ground, The hungry vulture, and the prowling hound; Converge reflected light with nicer eye, The midnight owl, and microscopic fly; With finer ear pursue their nightly course, The listening lion, and the alarmed horse. C. 3, 93. Sometimes he alternates the forms; as In Eden's groves, the cradle of the world, Bloom'd a fair tree with mystic flowers unfurl'd; On bending branches, as aloft it sprung, Forbid to taste, the fruit of knowledge hung; Flow'd with sweet innocence the tranquil hours, And love and beauty warm'd the blissful bowers. _Ibid._ 449. The last line or the middle of the last line in almost every sentence throughout his poems, begins with a conjunction affirmative or negative, _and_, or _nor_; and this last line is often so weak, that it breaks down under the rest. Thus in this very pretty impression, as it may almost be called, of an ancient gem; So playful Love on Ida's flowery sides With ribbon-rein the indignant lion guides; Pleased on his brindled back the lyre he rings, And shakes delirious rapture from the strings; Slow as the pausing monarch stalks along, Sheathes his retractile claws, and drinks the song. Soft nymphs on timid step the triumph view, And listening fauns with beating hoofs pursue; With pointed ears the alarmed forest starts, And love and music soften savage hearts. _Botanic Garden_, c. 4. 252. And in an exceedingly happy description of what is termed the picturesque: The rush-thatch'd cottage on the purple moor, Where ruddy children frolic round the door, The moss-grown antlers of the aged oak, The shaggy locks that fringe the colt unbroke, The bearded goat with nimble eyes, that glare Through the long tissue of his hoary hair, As with quick foot he climbs some ruin'd wall, And crops the ivy which prevents its fall, With rural charms the tranquil mind delight, And form a picture to the admiring sight. _Temple of Nature_, c. 3, 248.