or, in technical language, a decasyllabic quatrain, like _Annus Mirabilis_ or Gray's _Elegy_, but with hypercatalexis or redundance in the first and third lines and occasional trochees for iambics; followed by a batch, rhymed _a a a b c c b_, of seven three-foot lines also iambic. This, which as far as the first quatrain is concerned is very nearly the exact metre of Emily Brontë's _Remembrance_ and of Myers's _St. Paul_, suits the second and third stanzas as well as the first. When the reader comes to the fourth stanza, or if, like some irregular spirits, he takes the last first and begins with it, the most obvious scansion, though the lines are syllabically the same, will be different. Mys¦tical | gram¦mar of | am¦orous | glan¦ces; Feel¦ing of | pul¦ses, the | phy¦sic of | love; Rhetor¦ical | cour¦tings and | mu¦sical | dan¦ces; Num¦bering of | kiss¦es a¦rith¦metic | prove; Eyes ¦ like a|stron¦omy; Straight-¦limbed ge|om¦etry; In ¦ her art's | in¦geny Our wits ¦ were | sharp ¦ and keen. Ne¦ver Mark | An¦tony Dal¦lied more | wan¦tonly With the fair ¦ | Egypt¦ian | Queen. (Trisyllabic rhythm either dactylic[7] or anapaestic[8] as may be on general principles preferred.) And this may have occurred to him even with the first as thus: When ¦ as the | night¦ingale | chan¦ted her | ves¦pers. Now which of these is to be preferred? and which did the author mean? (two questions which are not so identical as they may seem). My own answer, which I have already given elsewhere,[9] is that both are uncertain, and that he probably had each of the rhythms in his head, but confusedly.[10] 'Square Cap' is much less doubtful, or not doubtful at all, and it may be thought to prove the anapaestic-dactylic scansion, especially the anapaestic of 'Mark Antony'. For it will be observed that, even from the first two verses, you can get no iambic run, except of the most tumbling character, on the line _here_. Come hith|er, Apoll|o's bounc|ing girl, And in | a whole hip|pocrene | of sherry Let 's drink | a round | till our brains | do whirl, Tu|ning our pipes | to make | ourselves merry. _A Cam|bridge lass, Ve|nus-like born | of the froth Of an old | half-filled jug | of bar|ley broth, She, she | is my mis|tress, her sui|tors are many, But she'll | have a Square|-cap if e'er | she have any_. The problem is scarcely one for dogmatic decision, but it is one of some interest, and of itself entitles Cleveland to attention of the prosodic kind. For these pieces are quite early--before 1645--and a third, 'How the Commencement grows new' (q.v.), is undeniably trisyllabic and meant for some such a tune as the 'Sellenger's Round' which it mentions.