As in the rest of Hebrew poetry, so here, the measure is neither regular nor smooth, and does not depend on rhyme. Yet there is an amount of assonance, which at times approaches to rhyme. Much of the meaning of the poem depends on the use of the personal pronouns--_we_ and _he_ stand contrasted to each other--and it is these coming in a lengthened form at the end of many of the lines that suggest to the ear something like rhyme. For instance, in liii. 5, 6, the second and third verses of the third strophe, two of the lines run out on the bisyllable -ênū, two on înu, and two on the word lānū, while the third has ênu, not at the end, but in the middle; in each case, the pronominal suffix of the first person plural. We transcribe these lines to show the effect of this. W^ehu' m^eholal mipp^esha'ênū M^edhukka' me`ăwōnōthênū Mūṣar sh^elōmēnū `alaw Ubhahăbhurātho nirpa'-lānū Kullānū kass-ss'on ta`înū 'îsh l^edharko panînū Wa Jahweh hiphgî`a bô 'eth-`awon kullānū. This is the strophe in which the assonance comes oftenest to rhyme; but in strophe i. êhū ends two lines, and in strophe ii. it ends three. These and other assonants occur also at the beginning and in the middle of lines. We must remember that in all the cases quoted it is the personal pronouns, which give the assonance,--the personal pronouns on which so much of the meaning of the poem turns; and that, therefore, the parallelism primarily intended by the writer is one rather of meaning than of sound. The pair of lines, parallel in meaning, though not in sound, which forms so large a part of Hebrew poetry, is used throughout this poem; but the use of it is varied and elaborated to a unique degree. The very same words and phrases are repeated, and placed on points, from which they seem to call to each other; as, for instance, the double _many_ in strophe i., the _of us all_ in strophe iii., and _nor opened he his mouth_ in strophe iv. The ideas are very few and very simple; the words _he_, _we_, _his_, _ours_, _see_, _hear_, _know_, _bear_, _sickness_, _strike_, _stroke_, and _many_ form, with prepositions and particles, the bulk of the prophecy. It will be evident how singularly suitable this recurrence is for the expression of reproach, and of sorrowful recollection. It is the nature of grief and remorse to harp upon the one dear form, the one most vivid pain. The finest instance of this repetition is verse 6, with its opening keynote "kullanu"--_of us all like sheep went astray_, with its close on that keynote _guilt of us all_, "kullanu." But throughout notes are repeated, and bars recur, expressive of what was done to the Servant, or what the Servant did for man, which seem in their recurrence to say, You cannot hear too much of me: I am the very Gospel. A peculiar sadness is lent to the music by the letters h and l in "holie" and "hehelie," the word for