*Ready to be

The bride of the gray old sea.

he last example the quantity of the foot "to be" is ned to fill the metric time, and to mark the rhyme sea."

ryant's "Forest Hymn," in five-foot iambic verse, sev secutive lines flow on with no final pause.

"For his simple heart

Might not resist the sacred influences

Which, from the stilly twilight of the place,
And from the gray old trunks that high in heaven
Mingled their mossy boughs, and from the sound
Of the invisible breath that swayed at once
All their green tops, stole over him and bowed
His spirit with the thought of boundless power
And inaccessible majesty. Ah, why
Should we, in the world's riper years, neglect
God's ancient sanctuaries, and adore

Only among the crowd, and under roofs
That our frail hands have raised?"

THE CÆSURAL PAUSE.

cæsura is a peculiar pause of the sense in the line breaks a foot, one part of which foot flows with the ›efore the pause, and the other part of the same foot ith the group after the pause.

cæsura does not affect the rhythm or reading of verse re than other pauses. It affects the scanning merely.

sural foot is often made of two short and unaccented s, and is then marked by time only.

time of the natural pauses of emphasis, and pauses eparate the ideas, is counted in reading the lines only s it is needed to equalize the measure. When thus the pause affects the measure like a rest in music.

The poet in this example has utilized ing it an essential part of the measure, In the other lines the syllables alone fil

Sometimes the pause of emphasis is portional part of the measure of a line

"Hark! 't is the voice of the I

And it speaks to our heart

And it tells of the bear | ing
Who com | passed its sum ||

Observe the use of the emphatic mon and of the dissyllabic foot at the begi "who com." Such feet are allowed, they can take the same time as the re

It is not claimed that all lines can ured. The pause is often extra time

verse.

When the regular rhythm will give assumed to be the poet's reading. In t "Lives of great men áll r

Wé can make our live

the trochaic reading must be preferred, by a strong accent on "we," and pre harmony with the other lines.

"We can make our lives sublime" gi

agreeable variety in the flow of verse is often introinto dissyllabic measure by the use of a foot of three les.

And whát | is so ráre | as a dáy | in Júne?

Thén if | éver | come pér | fect days;

Then Heaven | tries the earth | if it bé | in túne,
And ó | ver it sóft | ly her wárm | ear láys.”

- measure of time is the same in the first line as if writus: "And what so rare | as days | in June."

the added syllables give a pleasing rhythmic variety, makes half the charm of the verse. Note, also, that cond line begins with trochaic feet and ends with iamhus still further varying the rhythmic beauty.

etimes these exceptional "feet" are used to give vao the verse, and often to accommodate the sense. =trisyllabic measure often begins or ends with a foot O syllables, and sometimes of one long syllable, which I be read with the same time as the standard feet, thus ving to the ear the regular trisyllabic measure.

h, yoúng | Lochinvár | is come oút | of the Wést!" ear Fá | ther, take cáre | of thy chíl | dren, the boys." e unaccented syllable in the first foot is long, and equals tric time the two unaccented syllables in the standard

-éar to each | heart are the | námes of the | bráve;
Résting in glóry, how | swéetly they sleep!
éw-drops at | évening fall | sóft on each | gráve,
Kindred and | strángers bend | fondly to | wéep."

ese dactylic lines end with a foot of one accented sylla-hich, being at the end of the line and emphatic, can be ably prolonged to fill the standard time.

metimes the emphasis of the sense overmasters the reguetric accent.

Has there án y old fél | low got mixed with the boys?"