Thus, while metrical rhythm is retained, it has been freed from its former monotonous regularity, and has become almost infinitely varied. The dissyllable, dominant hitherto, has taken a much humbler place. Every metre into which English words will run is now adopted, and fresh combinations are constantly being made; while upon the poetic rhythm itself is superimposed the natural rhythm of speech. In most of these devices Mr Monro, and others, are presumably following the precept and example of the Laureate; but in any case there can be no doubt of the richness, suppleness, and variety of the metrical effects attained. Most of the pieces in this little chapbook illustrate at some point the influence of untrammelled speech-rhythm; and in one, called "Hearthstone," it is rather accentuated. I quote from the poem for that reason: the slight excess will enable the device to be observed more readily, but will not obscure other characteristic qualities which are clearly marked here--of tenderness, quiet tone, and delicate colouring. I want nothing but your fireside now. ..... Your book has dropped unnoticed: you have read So long you cannot send your brain to bed. The low quiet room and all its things are caught And linger in the meshes of your thought. (Some people think they know time cannot pause.) Your eyes are closing now though not because Of sleep. You are searching something with your brain; You have let the old dog's paw drop down again ... Now suddenly you hum a little catch, And pick up the book. The wind rattles the latch; There's a patter of light cool rain and the curtain shakes; The silly dog growls, moves, and almost wakes. The kettle near the fire one moment hums. Then a long peace upon the whole room comes. So the sweet evening will draw to its bedtime end. I want nothing now but your fireside, friend.