502 Tra?isactio7is. 



— there is a triple unit ; and a. unit ending a line in this way is of frequent 

 occurrence : — 



(50.) a. Dwelled .styll/ full nid/ ny a day/. 

 h. They rode/ up m/to the toivne/. 

 c. And bad/ them nier/?;;/ to be/. 



In example (49) there is a word, " strynges," which, originally a word of 

 two syllables, is now a word of one syllable ; and the line would now be 



' (496.) Your strings/ trus/ty and true/. 



where a pause takes the place of the dropped second syllable of " strynges," 

 and the triple unit is still present. Is not this construction identical with 



the following ? — . , , , +, , 



° on wmg/ un/der the cope/ 



a toad/ close/ at the ear/ 



his side/ uu/der tlie lee/. 



18. Disregarding the pause, the following verses from " Paradise 

 Lost "— 



(51.) 'I. and thou profoundest Hell 



Recei\e thy new possessor ; one who brings 



^4 mind not to be changed by place or time. (i, 253.) 



b. to fall off 

 From their Creator, and transgress his will 



For one restraint, lord of the world besides ? (i, 32.) 



c. what in me is dark 



Illumin, what is low raise and support ; (i, 23.) 



— would be scanned — 



(51«.) a. A mind/ not to/ be changM/ by place/ or time/. 



b. For one/ restrsiint/, lord of/ the world/ besides ?/ 



c. Illu/min, what/ is low/ raise and/ supp(M't/ ; 



The natural pause following each of the words " mind," " restraint," and 

 " low " is disregarded, the consequence being an entirely unexpected meta- 

 morphosis. The verses, instead of being heroic or five-stressed verses, have 

 practically become romance or four-stressed lines containing two triple 

 units, one of w^hich is composed of an miaccented, an accented, and a stressed 

 syllable, as in the following lines from Shelley's "' Sensitive Plant " : — 



(52.) 1, (t. The sap shrank/ to the root/ through ev/ery pore/ (Pt. iii, 1. 88.) 



h. The dark grass/ and the fiowers/ among/ the gras.s/, {lb., 1. 13.) 



c. Like young lo/\'ei's whom youth/ and love/ make dear/ (Pt. i, 1. 68.) 



2, a. To roof/ the glow-worms/ from the eve/ning dew/. (Pt. i, 1. 57.) 

 6. The wa/tci" blooms un/der the riv/ulet/ (Pt. iii, 1. 42.) 



3, a. Broad wa/ter li/lies lay trem/ulously/, (Pt. i, 1. 45.) 

 b. Brought plea/sure there/ r^nd left pa/ssion behind/. (Pt. ii. 1. 24.) 



Each of these lines contains two consecutive triple units. In the former 

 of these units the syllable bearing the stress is preceded by a syllable bear- 

 ing a syntactic accent ; this accent is only slightly less marked than the 

 stress. In what respect do Milton's verses, read without the pause, differ 

 from Shelley's lines coupled wdth them in the following pairs ? — 



(53.) a. Like 3'»">img lo/vers whom youth/ and love/ make dear/ 

 A mind not/ to be chang'd/ bj' place/ or time/. 



b. To roof/ the glow-worms/ from the eve/ning dew/. 

 For <uie/ restraiut, lord/ of the world/ besides ?/ 



c. Brought ])lea/«uro there/ and left pa/ssion behind/. 

 Tllii/'iiin ; what/ is Inw raise/ and support/ ; 



