Oh ye immortal Gods]: what is | theogony?
Oh thou too mortal man: what is | philanthropy ?
Oh! world that was and is: what is cosmogony?
Some people have | accused me of | misanthropy,
And yet I know | no more than | the mahogany
That forms this desk: of what | they mean-lycanthropy
I comprehend, for without transformation

Men become wolves on any slight occasion.

Don Juan, 9. 20

The affectation has no other merit than its difficulty.

MIDDLE RHIME,

or that which exists between the last accented syllables of the two sections, may be considered as the direct offspring of final rhime. In the Anglo-Saxon poem already mentioned, each section rhimes, and becomes to many purposes a distinct verse. But when the rhiming syl

lables were confined to the close of what had been the alliterative couplet, this couplet became the verse, and it was then necessary to distinguish between the middle rhime, if any such were introduced, and the regular final rhime, which shut in the verse.

This middle rhime was most frequently introduced into verse of four accents. In the stanza of eight and six, as it has been termed, it was very common. In the 16th century it was employed by learned bishops, and on the most sacred subjects; but not with the approbation of Puttenham. That critic was of opinion that "rime or concord is not commendably used both in the end and middle of a verse; unlesse it be in toyes and trifling poesie, for it sheweth a certain lightness either of the matter or of the makers head, albeit these common rimers use it much." The poems of Burns show, that it still keeps its hold upon the people; and Coleridge, who wrote for the few, has used it, and with almost magical effect;

It crack'd and growl'd] and roar'd | and howl'd,
Like noises in a swound.

When, as is sometimes the case, the middle rhime occurs regularly, it would perhaps be better to divide the line.

SECTIONAL RHIME,

is that which exists between syllables contained in the same section. It was well known to all the early dialects. According to Olaus Wormius, the consonantal rhime will suffice in the first section; but in the second, there must be a correspondence both between the vowels and the final consonants. The same rule applies to Anglo-Saxon

verse.

The origin of this law will, I think, be obvious, when we recollect, that sectional rhime was not a substitute for alliteration, but merely an addition to it. Now in the first section, there was always a probability of finding two alliterative syllables,* and as a section never contained more than three, and generally but two accented syllables, if the common sectional rhime were added to the alliteration, this could hardly be effected without a perfect rhime. In some few cases, such has really been the result of this union; but, in general, they avoided it by aiming only at consonantal rhime. In the second section, where there was generally but one alliterative syllable, a closer correspondence was required.

In tracing the several kinds of sectional rhime, it will be convenient to class them according to the different sections in which they occur.

* See the section headed alliteration in the present chapter.

When the section begins with an accent, it will be represented by the figures 1, 2, 3, 4, accordingly as each couple of adjacent accents are separated by one unaccented syllable, or the first, the second, or both couples are separated by two unaccented syllables.

When the section begins with one unaccented syllable, it will, under the like circumstances, be designated by 5, 6,7, 8; and by 9, 10, 11, 12, when it begins with two unaccented syllables.

When the section ends with one or two unaccented syllables, we shall represent such ending by subjoining / or l to the figure, indicating such section, thus—17. 211.

We will now arrange our rhimes, and begin with such as are found in the section of two accents.

The section 1. was at all times rare, it generally occurs as the last section of a verse.

But he that in his deed was wiss,

Wyst thai assemblyt: war and quhar).

Wave, one 'gainst other; and far out drave

On Wendel-sea, the warrior bands.

Strong was and rethe

:

Se the wœtrum weold wreah | and theah te

Manfæthu bearn.

Cæd.

Alfred.

Strong was he and fierce

That wielded the waters; he cover'd and o'erwhelm'd'

The children of wrath.

Cadmon.

According to rule, we find both vowels and final consonants rhiming in the second section.

Section 2. is sometimes, but rarely, found containing rhime.

Skill mixt with will
Will | stoode for skill

is he that teaches best.

Tusser.

and law obeyed lust ;

Might | trode down right|: of king there was no feare.

Ferrers. M. for M. Somerset, 38.

The section 21. was very commonly rhimed, particularly by the Anglo-Saxon poets. The rhime was mostly double, and sometimes perfect,

Frodine and god ne: fæder Unwines.

The wise and good father of Unwin.

Ac hi halig god

Ferlede and nerede: fiftena stod

Deop ofer dunum: sæ drence flod

Traveller's Song.

The waters from the waters,-those that yet won
Under the firmament.

Cadmon.

Swil cum and swil cum: thu meaht sweatole ongitan.
By such and such things thou mayst plainly see, &c.

Light ly and brightly: breaks away
The morning from her mantle grey.

Alfred.

Byron.

What will you have? Me or your heart again?
Neither of either: I remit both twain.

L. L. L. 5.2.

This rhiming section not unfrequently closed the couplet

in Anglo-Saxon verse.

Tha wæron gesette: widle and side.
They were y-set wide and far.

Cadmon.

The rhiming section wide and side became, like many of the others, a household phrase. It still survives in some of our northern dialects.

The section 5 was often selected for the rhime by our later poets.

By leave and love of God above,

:

Yet though I go through death his wo, &c.

Archbishop Parker.

He told the gold upon the board. Heir of Linne.