where _led_ is used in the sense of Latin _ducere_ (marry) and “_refers_ the limbs,” where “refers” means “restores.”[96] Examples are few in Dryden’s original works, but “Annus Mirabilis” furnishes instances like the _ponderous ball expires_, where “expires” means “is blown forth,” and “each wonted room _require_” (“seek again”), whilst there is an occasional reminiscence of such Latin phrases as “manifest of crimes” for _manifestus sceleris_ (“Ab. and Achit.”). What has been said of the latinisms of Dryden applies also to those of Pope. Words like _prevent_, _erring_, _succeed_, _devious_, _horrid_, _missive_, _vagrant_, are used with their original signification, and there are passages like For this he bids the _nervous_ artists vie. Imitations of Latin constructions are occasionally found: Some god has told them, or themselves survey _The bark escaped_. Phrases like “_fulgid_ weapons,” “roseate _unguents_,” “_circumfusile_ gold,” “_frustrate_ triumphs,” etc., are probably coinages imposed by the necessities of translation. Other similar phrases, such as (tears) “_conglobing_ on the dust,” “with _unctuous_ fir _foment_ the flame,” seem to anticipate something of the absurdity into which this kind of diction was later to fall.[97] On the whole, the latinisms found in the works of Dryden and Pope are not usually deliberate creations for the purpose of poetic ornament. They are such as would probably seem perfectly natural in the seventeenth and early eighteenth century, when the traditions of classical study still persisted strongly, and when the language of prose itself was still receiving additions from that source. Moreover, the large amount of translation done by both poets from the classics was bound to result in the use of numerous classical terms and constructions. In 1705 there appeared the “Splendid Shilling” of John Philips, followed by his “Cyder” and other poems a year later. These poems are among the first of the Miltonic parodies or imitations, and, being written in blank verse, they may be regarded as heralding the struggle against the tyranny of the heroic couplet. Indeed, blank verse came to be distinctly associated with the Romantic movement, probably because it was considered that its structure was more encouraging to the unfettered imagination than the closed couplets of the classicists. It is thus interesting to note that the reaction in form, which marks one distinct aspect of Romanticism, was really responsible for some of the excesses against which the manifestoes afterwards protested; for it is in these blank verse poems especially that there was developed a latinism both of diction and construction that frequently borders on the ludicrous, even when the poet’s object was not deliberately humorous. In “Blenheim” terms and phrases such as _globous iron_, _by chains connexed_, etc., are frequent, and the attempts at Miltonic effects is seen in numerous passages like