Lag on the oth re fynd 21: 2 l. c : 5 l. on tham fyre: the ær | swa fealla hæf don Gewinnes with heora waldend. Lay the other fiends in fire, that erewhile had so fele Strife with their Ruler. Cad. 2 l : 5 l. c : 5 l. Næron metode : Thagyta wid lond ne weg as nyt te ac stod | bewriglen fæste Folde mid flode. Nor had the Maker As yet wide | land, nor pathways useful; but fast beset 51:1.c:5 l. Cæd. Tha spræcse of er mod a cyning: the ær | wæs eng la scynost. Then spake the haughty king, that erewhile was of angels sheenest. 5:51. c: 47. Se feond | mid his | geferlum eallum: feal|lon tha u fon of heof num The fiend with all his feres fell then on high from heaven. The last verse approaches very nearly to the favourite rhythm of Chapman; of which we have no less than five examples in the first six lines of his Iliad. 5 l: 1. c.: 5. Achilles bane ful wrath | resound]: O Goddess! that | imposed Infinite sorrows on the Greeks and many brave souls los'd : From breasts heroique, sent them farre to that | invisible cavel That no light com forts, and their lims: to dogs | and vultures gave!. I To all which Jove's | will gave | effect from whom | strife first begunne Betwixt | Atrides, king of men and The|tis' god like sonne. Iliad, 1. The same verse is also common in the translations of Phaer and Golding. Like Chapman also, these poets frequently begin the first section abruptly, and sometimes even the second; but they never allow themselves the liberty, which the latter so often takes, of opening a verse with the section 5: 2. c. 5:2. c: 5. This grace desir'd Vouchsafe to me! paines | for my teares let these rude Greekes | repay Forc'd with thy arrowes. him pray. Thus he pray'd, and Phoebus heard And vext at heart | down | from the tops of steepe | heaven stoopt; his bow And quiver cover'd round his hands did on his shoulders throw And of the angrie deitye, the arrowes as he mov'd Ratl'd about him 5:2.c:2 Iliad, 1. Jove's and Latona's sonne, who fired against the king of men buy : For presents of unvalu'd price his daughter's libertie, &c. 5: 2 l. c: 1. Iliad, 1. Thus Xanthus spake ; ablest Achilles now at least | our care Shall bring thee off; but not farre hence the fatal moments are Of thy grave ruine. Iliad. This kind of verse is sometimes used in Layamon, but more rarely than might have been expected. Robert of Gloucester has made it the great staple of his Chronicle. He uses a very loose rhythm, one of his sections approaching to the triple measure, while the other not unfrequently belongs to the strictest law of the common measure. 2:5. c: 8. Engelond ys a wel | god land]; ich wense of echle land best 6: 6. c. 51. The Saxones and | the Englische tho] : heo hadden al|on hon|de, 1 Five and thritty schiren heo maden in Engelonde. Rob. Glouc. p. 3. He seems to have preferred opening his verse abruptly, and, like Cædmon, generally began the second section with an unaccented syllable. Everwyk of fair est woodle: Lyn|colne of fair est men, Evlene algayn Den emarc ston|de: the contre of Chiches tre. We have now to consider those verses which end with the compound section; and will begin with some examples furnished by Cadmon. 17: 2:51. c.. forthon he sculde grund gesecam Heard es helle witles thes | the he wann with heofues wal dend. therefore must he seek th' abyss Of dread hell-torment, since he warr'd with heavens-weilder. 21: 5:51. c. Ced. God sylfa wearth Mihtig on mode yr re: wearp hinle on | that mor]ther innan.. God's mighty self became At heart enraged; he hurl'd him to that murderer's den. 27:57:17. c. thær he hæfth mon geworhtne After his on licnis se: mid tham | he wille eft | geset tan. Cad there he hath man ywrought After his likeness; with whom he wills again to people Heaven's realm with shining souls. 31: 5:51. c. Cœd. hehs ta heof ones walldend wearp hinle of | than helan stole. The highest Heaven-wielder hurl'd him from the lofty seat. This kind of verse is to be found in Layamon. 7:19 1. c. Cœd. To Bath e com | the Kaise|re and ❘ bilai | thene castel there, : To Bath came the Kaiser, and beset the castle there. 2:6:6. c. Lay. Fer de geond al | Scotland] and set te it an | his agere hand]. He went through all Scotland, and brought it under his own hand. Lay. Phaer and Chapman also used similar rhythms; the latter more sparingly than the former. 5:55. c. Then for disdaine, for on themselves their owne worke Jove did fling, 7 Their sister craw|lyd furth❘ both swift | of feete | and wight | of wing, A monster ghastly great]; for every plume | her car cas beares, Like number leering eyes she hath, like number harckning eares. Phaer Great Atreus' sonnes! said he, And all ye well-griev'd Greekes]: the Gods | whose habitations bel, In heavenly houses, grace your powers with Priam's razed town, And grant ye happy conduct home. Chapman. Seed of the Harpye! in the charge ye undertake of us, : Verses of seven accents are not unfrequently met with in the loose metre used by our dramatists. Such as begin with the compound section appear to have been most favoured. There can be little doubt that Shakespeare's text has suffered from the attempts, which have been made by his editors, to remove these seeming anomalies. Sometimes we find a word dropt, or altered, and at other times the verse broken up into fragments, in order to bring it within the limits of the ordinary rhythms. For example, in the folio of 1625, there is the following passage: We speak no treason man, we say the King A cherry lip, a bon ny eye; a pas sing pleasing tongue, R 3, 1. 1. The difference in the flow of the two last verses was certainly not accidental. The libertine sneer upon the wretched mistress, was to be contrasted with the bitter sarcasm levelled at more formidable, and therefore more hated rivals. But in the text, as "corrected" by Steevens, this happy turn of the rhythm is lost; A bonny eye, a passing pleasing tongue, And the Queen's kindred are called gentlefolks. But In Boswell's edition of Malone's Shakespeare we have the line written, as in the folio, with seven accents. in neither of the editions do the notes give the reader the slightest hint of any interference with the text, either for the purposes of amendment or of restoration! The poets of the seventeenth century occasionally introduced the verse of seven accents into their "heroic metre.” But the change of rhythm was too violent. The license hardly survived the age of Dryden. Let such a man begin without delay, But he must do beyond what I can say, |