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A Description Of The Blank Verse Prosodies Of John Milton, James Thomson, Edward Young, William Cowper, And William Wordsworth

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A Description Of The Blank Verse Prosodies Of John Milton, James Thomson, Edward Young, William Cowper, And William Wordsworth

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Content INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. Xerox University Microfilms 300 North Zeab Road Ann Arbor, M ichigan 48106 74 - 26,041 OLSEN, L e slie Ann, 1944- A DESCRIPTION OF T H E B L A N K VERSE PROSODIES O F JO H N M ILTON, JAM ES TH C M SO N , E D W A R D Y O U N G , W ILLIAM C O W PE R , A N D W ILLIAM W O R D S W O R T H . U n iv ersity o f Southern C a lifo r n ia , Ph.D., 1974 Language and L itera tu re, modem University Microfilms. A XEROXCompany, Ann Arbor, Michigan © 1974 LESLIE ANN OLSEN A L L RIGHTS R E SE R V E D THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. A DESCRIPTION OF THE BLANK VERSE PROSODIES OF JOHN MILTON, JAM ES THOMSON, EDWARD YOUNG, WILLIAM COW PER, AND WILLIAM WORDSWORTH by L e s lie Ann O lsen A D isse r ta tio n P r e se n te d to the FA C U LTY OF THE GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In P a rtia l F u lfillm en t of the R eq u irem en ts for the D egree DOCTOR OF PHILOSOPHY (E nglish ) June 1974 UNIVERSITY O F S O U T H E R N CA LIFORNIA TH E GRADUATE SCHOO L UNIVERSITY PARK LOS AN G ELES. CA LIFO R N IA 9 0 0 0 7 This dissertation, written by under the direction of hex.... Dissertation Com mittee, and approved by all its members, has been presented to and accepted by The Graduate School, in partial fulfillment of requirements of the degree of L&slifi..Ann..Qls.e.n. D O C T O R OF P H IL O S O P H Y Dean MftTTEE DISgERTATIO Chairman To My Parents ii T A B L E OF CO NTENTS C hapter P a g e I. I N T R O D U C T IO N ............................................................................. 1 II. M ETHODOLOGY................................................................................. 30 HI. A D ESC R IPTIO N OF M ILTO N'S P R O S O D Y ................. 53 IV. A D ESC R IPTIO N OF THOMSON'S P R O S O D Y .............. 121 V. A D ESC R IPTIO N OF YOUNG'S P R O S O D Y .................... 164 VI. A D ESC R IPTIO N OF C O W PER 'S PRO SO DY................. 196 VH. A D ESC R IPTIO N OF WORDSWORTH'S PROSODY. . 228 VHI. C O N C L U S IO N ..................................................................................... 264 BIB L IO G R A PH Y ............................................................................................................ 289 A P P E N D IX E S A . C om p u ter Data fo r the M ilton S a m p l e ............................ 300 B . C om p u ter D ata fo r the T h o m so n S a m p le ......................... 383 C. C om pu ter Data fo r the Young S a m p le ............................... 461 D. C om pu ter D ata fo r the C ow per S a m p le ............................ 543 E . C om pu ter D ata fo r the W ordsw orth S a m p le .................. 617 CHAPTER I INTRODUCTION This d isserta tio n w ill attempt to d escrib e the prosodic c h a r a c te r istic s of five blank v e rse poets: John M ilton, h is eighteenth - century s u c c e s s o r s - - J a m e s Thom son, Edward Young, and W illiam C ow p er--an d W illiam W ordsworth. In the past, c ritica l resp on se to the eighteenth -cen tury poets has suffered from the fact that M ilton published P a ra d ise L ost in 1667 and that it was a popular and in flu en tial poem . In the eigh teen th -cen tu ry, the number of editions and co m - 1 2 m en ta ries on M ilton, the num ber of poets that p raised him , the a llu - 3 sions to and ech o es of h is poetry, and the number of long blank v e rse poem s published after P a ra d ise L ost a ll bore w itn ess to the adm iration and im itation in sp ired by M ilton's poetry and e sp ec ia lly by P arad ise L o st. One c ritic a l resp o n se to this situation has been to a s s e r t that "blank v e rse m eant v e r se that w as M iltonic and 'Miltonic v e rse ' u su - 4 a lly m eant little m ore than blank v e rse ." To a certain extent, this attitude lurks behind the standard tw entieth -cen tury c ritic a l treatm en ts of p ost-M ilton ic blank v e r se by John W alter Good, George Saintsbury, 5 and Raymond H avens, e sp e c ia lly in th eir tracing of M iltonic in v ersio n s 2 and u s e s of language in the eig h teen th -cen tu ry blank v e r s e p o ets. T his attitude also lu rk s behind the m o r e recen t con d em n ation s of M ilton by M iddleton M urray and T. S. E lio t, p ro testin g M ilton 's d isa str o u s influence on la te r E n g lish poets: To p a ss under the sp e ll of M ilton is to be con d em n ed to im itate him . It is quite d ifferen t with Sh ak esp eare. S h ak esp eare b affles and lib er a te s; M ilton is p e r sp icu o u s and c o n s t r i c t s . ^ T here is a good deal m o r e of M ilton 's influence in the b a d n ess of the bad v e r s e of the eig h teen th -cen tu ry than of anybody's e lse .^ And fin a lly , th is attitude a lso lu rk s behind F . R. L e a v is' p ro test a g a in st the m onotony of M ilton 's v e r s e as he c h e e r e d "M ilton's d is - g lod gm en t, in the p ast d ecad e, after h is two c e n tu r ie s of p rom in en ce." H o w ev er, th is p e r sp e c tiv e h as e m p h a sized the M iltonic c h a r a c t e r is t ic s of the eig h teen th -cen tu ry poets at the ex p en se of th ose c h a r a c te r is tic s w hich d isc r im in a te the poets fr o m M ilton and fro m each oth er. When p ro so d ic is s u e s have been d is c u s s e d , the com m on M iltonic denom inator th ese c r it ic s have o th erw ise found in eig h teen th - cen tu ry blank v e r s e h as b een r ep la ce d by its apparent a n tith e sis, by the com m on a ssu m p tio n that to so m e extent a str ic tly r e g u la r ist co u p le t p r o so d y --fe a tu r in g en d -sto p p ed lin e s of a b so lu tely reg u la r iam b ic p en ta m eter v e r s e , m e d ia l c a e s u r a s , and few , if any, in v e r sio n s or 9 su b stitution s - - h a s ren d ered the eig h teen th -cen tu ry blank v e r s e p r o s ody m o re rigid than M ilto n 's and th er e fo re d ifferen t fro m it. This p o sitio n has had so m e r e sp e c ta b le prop on en ts, am ong th em the 3 e ig h te e n th -c e n tu r y p r o s o d is t E d w ard B y s s h e w ith h is d efin ition "blank v e r s e i s w h ere the m e a s u r e is kept e x a c tly w ithout R h y m e " ^ and, m o r e r e c e n tly , R aym ond H a v en s w ith h is sta tem en t " T h o m so n , G lo v e r , and the r e s t could h a rd ly k eep th e ir blank v e r s e fr o m slip p in g b ack into u n rim ed c o u p le ts. H o w e v e r , th is p o sitio n h a s e m p h a s iz e d the a n ti- M ilton ic c h a r a c te r of the e ig h te e n th -c e n tu r y blank v e r s e p o e ts at th e e x p e n s e , a g a in , o f th o se p r o so d ic c h a r a c t e r is t ic s w h ich d is c r im in a te the blank v e r s e p o e ts fr o m e a c h oth er (or w hich r e la te th em to M ilton ). E v en if one t r i e s to m a k e such p r o so d ic d is c r im in a t io n s , v e r y little r e a l data e x is t s to su p p ort th em . What in d ee d a c tu a lly c h a r a c t e r i z e s M ilto n 's o r T h o m so n 's o r Y ou n g's handling of s t r e s s o r of a sso n a n c e and a llit e r a tio n ? D o e s one of th em ten d to r e s e r v e a p a r t i cu la r p r o so d ic fe a tu r e , su ch a s an e la b o r a te p attern of a s so n a n c e and a llite r a tio n , fo r a p a r tic u la r p u r p o se , su ch as u n d e r s c o r in g a p a r tic u la r th em e or e m o tio n a l s ta te ? What d efin ab le M ilto n ic c h a r a c t e r is t ic s app ear in la te r p o e ts ? H ow o fte n ? A nd w h ere w ith in the lin e ? If a p oet d o e s im ita te a c e r ta in p r o so d ic tr a it found in M ilton or in one of the o th er p o e ts , d o es he u se th is tr a it to the sa m e e f f e c t ? A c r it ic m u st know the often q u an titative a n s w e r s to su ch q u e stio n s b e fo r e he can p ro v id e r e lia b le p r o so d ic d e s c r ip t io n s and d is c r im in a t io n s . M ilto n 's p r o so d y h a s r e c e iv e d m u ch a tten tion , ran gin g fr o m is o la te d c o m m e n ts to e s s a y s su ch a s S a m u el J o h n so n 's R a m b ler e s s a y s to b o o k -le n g th s tu d ie s su ch a s th o se by R o b ert B r id g e s , S. E. Sprott, A nts O ras, and F . T. P r in c e . U nfortunately, the prosody of Thom son, Young, C ow per, and W ordsworth has r ec e iv ed on the whole far le s s and far in ferior attention. O bviously, the resu ltin g dearth of con crete data p reclu d es a n a ly sis, co m p a riso n , and evaluation any m o re relia b le than the often con trad ictory, im p r e s sio n istic , or ligh tly supported co m m en ts that ch a ra cterize m o st past p rosod ic stu d ies. The fir s t ta sk , then, is to d e scrib e the variou s p ro so d ies by a w e ll-d efin ed and c o n sisten tly applied sy ste m , to conduct a la r g e - s c a le , accurate a n a ly sis of p rosod ic fe a tu re s, th eir freq u en cy and th eir distribution of o ccu rren ce within the individual w ork s. This study intends to provide such a d escrip tio n . It d oes not intend to deal d irectly with such c o n s e quent is s u e s as p rosodic influence of one or another prosody on the poets studied, but m e r e ly to d escrib e the blank v e r se techniq ues of five d ifferen t p oets and to su g g est at le a s t som e w ays in which each u sed a unique in stru m en t to achieve a unique effect. M o rris H alle and Sam uel Jay K ey ser have provided such a w ell-d efin ed sy ste m for studying iam bic pentam eter v e r s e . In E n glish 13 S tress: Its F o r m , Its Growth and Its R ole in V e r s e , they outlined a new lin g u istic a lly b ased th eory of prosody which they thought would " ch aracterize the a c ce n tu a l-sy lla b ic m e te r known as iam bic pen tam - 14 eter." H alle and K ey ser argue that the 'trad ition al1 (or p r e - lin gu istic) E n g lish p r o so d ist could ch a r a cter iz e the "m eter known as iam bic pentam eter" by the follow ing m e tr ic a l p rin cip les: P r in c ip le 1. The ia m b ic p en ta m eter lin e c o n s is t s of fiv e fe e t to w hich m a y be appended one or two e x t r a - m e t r ic a l u n s t r e s s e d s y lla b le s . P r in c ip le 2. The ia m b ic foot c o n s is t s of two s y lla b le s . P r in c ip le 3, E a ch e v en [-n u m b er e d ] sy lla b le i s stro n g ly s tr e s s e d . P r in c ip le 4. 15 E a ch odd [-n u m b er e d ] sy lla b le is l e s s str o n g ly s t r e s s e d . In d ea lin g w ith s t r e s s , th ey argu e that s t r e s s in p o etry fo llo w s lin g u is tic s t r e s s , and th at, for in sta n c e , b e c a u se r e g io n s c a r r ie s a lin g u istic s t r e s s on the f ir s t s y lla b le , it m u st c a r r y th is sa m e s t r e s s in a lin e of p o etry . In th is v ie w , such a lin e fr o m P a r a d ise L o st, " R egions of s o r r o w , d o lefu l s h a d e s, w h ere p ea ce" (P L I, 65), and in d eed m an y lin e s fr o m our b e s t p o e ts, v io la te s a s tr ic t ap p lica tio n of the m e t r ic a l p r in c ip le s ju st ou tlin ed fo r the " m eter known a s ia m b ic p en ta m e ter ." To h elp accou n t fo r such lin e s , H alle and K e y se r arg u e, p r o s o d is ts h ave g e n e r a lly in clu d ed a l i s t of a llow ab le d ev ia tio n s to the above m e t r ic a l p r in c ip le s in clu d in g the w eak foot or p h y rru s, the stron g foot or sp o n d ee, the in v e r te d fo o t or tr o c h e e , e lis io n , etc . With the addition of th e s e allo w a b le d ev ia tio n s the n o w -m o d ified tr a d i tio n a l th eo r y w ill c h a r a c te r iz e m an y m o r e of the ia m b ic p en ta m eter lin e s . H o w e v e r , H alle and K e y se r argu e that ev en with th e se m o d ifica tio n s the th eory does not reco m m en d its e lf e sp e c ia lly , for it fa ils to provide any explanation for the fa ct that only certa in d eviation s are to lera ted and not o th ers. Since the allow ed d eviations share only the property of being included in a ^ lis t, why could not other d eviation s a lso be included in such a lis t ? F u rth er, they articu lated a m o re s e r io u s draw back to the t r a ditional prosody. They have argued that fo r the follow ing th ree lin e s, m o s t rea d er s and w r ite r s of m e tr ic a l E n g lish v e rse would find the s e c ond and third to be m e tr ic a l lin e s or "lawful em b od im en ts of the ia m - 17 bic pen tam eter," w h erea s the f ir s t would be co n sid e re d "unm etrical" 18 or "exceptional." 1. Ode to the W est Wind by P e r c y B yssh e Shelley 2. O w ild W est Wind, thou breath of A utum n's being 3. The cu rfew to lls the knell of parting day H ow ever, they have also argued that the fir s t line could be judged m e t r ic a l by the trad ition al prosody; it sim p ly contains "an in verted fir s t foot . . . a h eavy foot . . . and two v e r s e -m e d ia l troch aic substitu- 19 tio n s," all allow able deviation s. In fact, by lib e r a lly invoking the lis t of allow able d eviation s, any ten or tw elve sy lla b le s of E n glish p ro se could be so ju stified a s a m e tr ic a l lin e of iam b ic p en tam eter. There is no th e o r e tic a l lim it to the num ber of such deviations nor to the p o ssib le com bin ation of such d eviation s a line m ay contain. Such a situation is in tolerab le to p r o so d ists who b e lie v e , as do H alle and K e y se r , that a th eory of p rosody should at le a s t d istin gu ish m e tr ic a l lin e s of E n g lish p oetry from "unm etrical" or "exceptional" lin e s of 7 E nglish poetry or fro m random lin es of E nglish p rose. Such th eo retica l p rob lem s as the two outline above led Halle and K eyser to d escrib e the "meter known as iam bic pentam eter" in a new way, by a d ecasyllab ic line in som e w ays rem in iscen t of, but by no m eans identical with, the traditional d escrip tion outlined above. There are three m ain assu m ptions behind th is new description: 1. Word s tr e s s within a poetic line does not violate lin guistic word s tr e s s (region s w ill alw ays c a rr y a s tr e s s on the fir s t syllab le). 2. A d escrip tion of E nglish iam bic v e r se m ust con sid er the num ber of sylla b les in a line. 3. A d escrip tion of E n glish iam bic v e rse m ust also con sid er the location and environm ent of s tr e s s or accent within the lin e, that is , the placem ent of the "syllables bearing lin g u istica lly given s tr e s s greater than that of adjacent syllable s . " ^ Given th ese th ree assu m p tion s, Halle and K eyser r e s t their theory on an A b stract M etrical P attern and two C orrespondence Rules: ABSTRACT METRICAL PA T T ER N (W) S WS WS WS WS (X)(X) w here elem en ts e n clo sed in p aren th eses m ay be om itted and where each X position m ay be occupied only by an u n stre sse d syllable CORRESPONDENCE RULES (i) A position (S, W, or X) corresp on d s to a single syllable OR to a sonorant sequence incorporating at m o st two vow els (im m ed ia tely adjoining or separated by a sonorant consonant) DEFINITION: When a fully s tr e s s e d syllable occu rs betw een two sy lla b les in the sam e syntactic constituent within a line of v e r s e , th is syllab le is ca lled a " str ess m axim um " (ii) F u lly s t r e s s e d s y lla b le s o ccu r in S p o sitio n s only and in all S p o sitio n s OR F u lly s t r e s s e d s y lla b le s occu r in S p o sitio n s only but not in all S p o sitio n s OR S tr e s s m a x im a occu r in S p o sitio n s only but not in all S . . p i p o sitio n s. 1 Som e defin ition s are in ord er. Under the definition of the A b stra ct M e tr ic a l P a ttern , the "W" r e p r e s e n ts an od d -n u m b ered p o s i tion in the line w hich m a y be o ccu p ied by a w e a k ly -s tr e s s e d or an u n s tr e s s e d sy lla b le , but which m ay not be occu p ied by a s t r e s s m a x i m um . The "S" r e p r e s e n ts an e v en -n u m b e r ed p osition w ithin the line w hich m a y be occu p ied by a s t r e s s m axim u m and w hich a lso m ay c o n tain a s t r e s s e d or an u n s t r e s s e d sy lla b le . The "X" r e p r e se n ts a p o s i tion w hich m ay be o ccu p ied only by a v e r s e - t e r m in a l, e x tr a -m e tr ic a l u n s tr e s s e d sy lla b le . The C orresp on d en ce R ule (i) d efin es the p o ssib le en viron m en t fo r e lis io n . E lis io n m ay occu r only o v er a sonorant s e qu en ce, w hich is any seq u en ce of at m o s t two v o w els (or sy lla b les) sep arated at m o s t by a sonorant consonant (1, r, m , h, or n). B y th is C o rresp o n d en ce R ule, e lis io n can o c cu r betw een two adjoining v o w e ls - - as when "many a tim e" b e c o m e s "many a tim e " - - o r over a sonorant c o n s o n a n t--a s when "glittering" b e c o m e s " g litt'r in g ." The s t r e s s m a x im u m is defined a s a " s tr e s s e d sy lla b le betw een two u n str e ss e d sy lla b le s in the sa m e syn tactic constitu en t." F o r "in the sam e sy n ta ctic constituent" we m ay read "not sep a ra ted by a m ajor syn tactic 9 break" (w hich w ould m a rk the end of one sy n ta ctic co n stitu en t and the beginning of another) or for m o s t c a s e s "not sep a ra ted by punctuation," sin c e sy n ta ctic b rea k s are co m m o n ly in d ica ted orth ograp h ic a lly by punctuation. R e fe r r in g to th eir e x a m p le s (17) and (18) fr o m C h a u cer's T ro ilu s and C r e s e y d e , H alle and K e y se r lis t the fo llow in g a s e x a m p le s of m a jo r sy n ta ctic b reak s: (17) By God, right in m y lite l c lo s e t yonder (TC. 3 .6 6 3 ) And sey d (e ), "Here at th is c lo s e t d oore w ithoute" (TC. 3 .6 8 4 ) (18) T h e r e fo r e , as fren d , fu llis h in m e a s s u r e (TC. 1 .6 8 0 ) E x a m p le s of m a jo r sy n ta ctic b rea k s a re the b reak s b etw een an in ter je c tio n and the fo llo w in g p h rase as in (17), or b etw een a p h rase of d ir e c t quotation and the fo llow in g d ir e c t quote a s in (17), or b etw een a p a ren th etica l e x p r e s s io n and the fo llow in g c la u s e as in (18), or b etw een the c la u s e s in a c o m p le x sen te n c e. ^ The p r e se n ta tio n of the th eo ry in E n g lish S t r e s s a lso s p e c ifie s the n e u tra lizin g e ffe c t of a p au se or ju n ctu re (a sy n ta ctic break) on a p oten tial s t r e s s m a x im u m . Since a s t r e s s m a x im u m m a y o c cu r only "betw een tw o u n s t r e s s e d s y lla b le s in the sa m e sy n ta ctic co n stitu en t w ithin a lin e of v e r s e " and sin c e the ap p ea ra n ce of a sy n ta ctic break p r e c lu d e s that of an u n s t r e s s e d s y lla b le , the e ffe c t of a sy n ta ctic b reak im m e d ia te ly p r e ce d in g or fo llow in g a s t r e s s m a x im u m is to n e u tra lize the s t r e s s m a x im u m . Otto J e s p e r s e n m a d e a r ele v a n t p s y c h o lo g ic a l o b se r v a tio n long ago: If I h e a r a sy lla b le after a p au se it is a b so lu tely im p o ss ib le fo r m e to know w h eth er it is m ea n t by the sp ea k er a s a stron g o r a w eak sy lla b le; I have nothing to c o m p a r e it w ith till I h e a r what fo llo w s. And it is e x tr e m e ly d ifficu lt to sa y w ith any d e g r ee of c er ta in ty what i s the r e c ip r o c a l rela tio n b etw een two s y lla b le s sep a ra ted by a not too sh o r t p a u s e . ^ 10 The follow ing exam p le from S h ak esp eare's Julius C a esa r (III. 2 .7 8 ) illu str a te s how the neu tralization of a s tr e s s m axim u m by an adjoining syntactic break o p e r a te s in p ra ctice. F r ie n d s, R om an s, countrym en, lend m e your e a rs W S W S W S W S W S In th is lin e, the fourth "W" position contain s a potential s tr e s s m a x i m u m , a s tr e s s e d syllab le adjoined by two u n str e sse d on es. H ow ever, the intervening co m m a sep arating the third "S" and the fourth "W" m a rk s the beginning of the m ain cla u se of com m and and sep a ra tes that syntactic unit fr o m the p reced in g noun of a d d ress which fo rm s another syntactic unit. In th is lin e, then, the syntactic break n e u tra lize s the potential s t r e s s m a x im u m and sa v e s the line fro m being d eclared u n m e tr ic a l or excep tion al in this th eory. A potential s tr e s s m axim u m can also be n eu tra lized by an adjoining s t r e s s (sin ce the potential s t r e s s m axim u m could not then adjoin two u n str e sse d sy lla b le s). A s w ill be d em on strated la ter in this study, the way s t r e s s neutralization o c c u r s --w h e th e r b eca u se of an adjoining s tr e s s or b eca u se of an ad joining syntactic b r e a k --p r o v id e s a u sefu l d iscrim in a to r for poetic s ty le . In E n glish S t r e s s , H alle and K ey ser a lso codified th eir sy ste m of scanning and refin ed and sp ecified th eir notion of m e tr ic a l c o m p lexity and the p roced ure for m e a su r in g th is com p lexity. In the g e n e r a liz e d proced ure for scanning and m ea su rin g com p lexity, sy lla b le s are a ssig n ed to p o sitio n s, each altern ative of the C orresp on d en ce Rule 11 is applied to the lin e , and ea ch vio la tio n of ea ch a lte r n a tiv e is u n d e r lin e d or o th e r w ise noted . The n u m ber of v io la tio n s eq u a ls the c o m p lex ity count. M ore s p e c if ic a lly , th eir p ro ced u re is as fo llo w s: The f i r s t step in scan ning a lin e of v e r s e is to e s t a b lis h the s y lla b le -to - p o sitio n a s s ig n m e n ts , n u m b erin g the s y lla b le s and th en ad ju stin g the nu m ber of s y lla b le s to the ten a v a ila b le p o s itio n s, exclu d in g any e x tr a - m e tr ic a l s y lla b le s in v e r s e - f in a l p o sitio n . If th ere a re ten s y lla b le s , 24 it is a s su m e d that e a ch sy lla b le f ills one p osition ; if th ere are l e s s than ten s y lla b le s , the lin e m u st be c h e ck ed for c a ta le x is; if th er e a re m o r e than ten s y lla b le s , the lin e m u st be c h eck ed for e x t r a - m e t r ic a l s y lla b le s in v e r s e fin al p o sitio n and for situ a tio n s in w hich two s y l l a b le s m a y o ccu p y the sa m e p osition in a c co r d a n ce w ith the seco n d a l te r n a tiv e of C o r re sp o n d e n c e R ule (i). When the n e c e s s a r y ad ju stm en ts h a v e b een m a d e , any p o sitio n o ccu p ied by m o r e than one sy lla b le is u n d erlin ed or o th e r w ise n oted , adding one to the c o m p le x ity count fo r , 25 the lin e. The seco n d step in scan ning is to note the lo c a tio n o f the s t r e s s e d and u n s t r e s s e d s y lla b le s and to apply th e se lo c a tio n s in turn to e a ch of the th r e e a lte r n a tiv e s of the C o r re sp o n d e n c e Rule (ii). F o r e x a m p le , a line w ith an u n s t r e s s e d sy lla b le in p o sitio n 2 w ould vio la te the f ir s t a ltern a tiv e of (ii), "fully s t r e s s e d s y lla b le s o c cu r in S p o s i tio n s only and in a ll S p o sitio n s." A lin e w ith a s t r e s s e d sy lla b le in p o sitio n 5 w ould v io la te not only the f ir s t but a lso the seco n d a ltern a tiv e 12 of (ii), "fully s tr e s s e d sy lla b le s occu r in S p osition s only but not in all S p o sitio n s." A lin e with a s t r e s s m axim u m in p osition 5 would violate the fir s t two a ltern a tiv es as w ell as the third, " s tr e s s m a x im a occu r in S p o sitio n s only but not in all S p osition s" and would th erefo re be judged 'u n m etrical.' E ach violation of any of the th ree a ltern a tiv es is u n d er lined and adds one to the com p lexity count for the lin e. The sum of violations to the a ltern a tiv es of (i) and (ii) eq u als the com p lexity count for the lin e. The follow ing lin e s provide ex a m p les of th is sca n sio n p r o c e dure. D onne's line: Y et d early I love you and would be loved fain W S W S W S W S W S contains tw elve sy lla b le s and th erefo re req u ires an adjustm ent of the sy lla b le -to -p o sitio n a ssig n m e n ts. Since th is line d oes not have any e x tr a -m e tr ic a l u n str e ss e d sy lla b le s in v e r s e -fin a l p osition , the a s s ig n m ent m u st be m ade in accord an ce with the secon d altern ative of C o r resp on d en ce Rule (i). A s such, we have underlined the two sonorant seq u en ces incorporatin g two adjoining vow els w hich m u st be e lid e d to 26 produce a m e tr ic a l scan sion . Each of th ese underlined seq u en ces adds one to the lin e 's co m p lex ity count. F u rth er, the third S -p o sitio n contain s an u n str e ss e d (weak) sy lla b le and th erefo re v io la tes the fir s t altern ative of C orresp on d en ce Rule (ii), that "fully s tr e s s e d sy lla b le s occu r in S p o sitio n s only and in all S p ositio n s." T his violation has also 13 been u n d erlin ed and adds one to the lin e 's co m p lex ity count, bringing 27 the total co m p lex ity count to th re e . D onn e's line: B atte r m y h ea rt, th ree - per son'd God, for you W S~~ W S W S W S W S con tain s only ten s y lla b le s , but the f ir s t and fifth "S" p o sitio n s do not contain a s t r e s s e d s y lla b le , th ereb y violatin g the f ir s t condition of C o rresp o n d en ce R ule (ii), w hile the f ir s t and third "W" p o sitio n s c o n tain s t r e s s e d s y lla b le s , th ereb y violating both the f ir s t and seco n d con d ition s of C o rresp o n d en ce Rule (ii). A ppropriate un derlining d e m o n str a te s the c o m p le x ity count for th is lin e to be six. S im ila r ly , the lin e fr o m Julius C a esa r alread y d is c u s s e d has a co m p lex ity count of six . F f i e n d s , R o m a n s, cou n trym en , lend m e your e a r s W S W S W S W S W S The th ird and fourth "S" p o sitio n s contain u n s tr e s s e d s y lla b le s (or ligh tly s t r e s s e d for the th ird "S" position ), th ereb y violatin g the f ir s t a ltern a tiv e to C o rresp o n d en ce Rule (ii). The fir s t and fourth "W" p o sitio n s con tain s t r e s s e d s y lla b le s , th ereb y violatin g both the f ir s t and secon d a lte r n a tiv e s to C o rresp o n d en ce R ule (ii) and bringing the lin e 's c o m p le x ity count to six . T his H a lle -K e y s e r d e scr ip tio n of the iam b ic p en tam eter line v a r ie s fr o m the tra d itio n a l d e scr ip tio n in th ree im portant r e s p e c t s . F ir s t , in the H a lle -K e y s e r d e scr ip tio n , the lin e is view ed a s a sin g le unit of ten p o sitio n s, rath er than a s a s e r ie s of fiv e r e la tiv e ly 14 independent fe e t. (While the line is n orm ally occu p ied by ten sy lla b le s, it i s capable of accom m odating m ore than ten sy lla b les under certa in sp ecified conditions; th is is also true in the traditional prosody. ) Second, w hile H alle and K ey ser do d is c u s s s tr e s s as a r ela tiv e featu re of individual w o rd s, th ey do not refer to s t r e s s in an absolute m e tr ic a l sen se; th ey speak in stea d of a " s tr e s s m axim um " w hich they introduce and define as a syllab le ca rry in g g rea ter s tr e s s than th ose sy lla b les im m ed ia tely adjacent to it, ir r e sp e c tiv e of the absolute s t r e s s it c a r r ie s . Although it is not a princip le of the traditional p rosod y, c e n tr a l to the H a lle -K e y se r theory is th is recogn ition of the relative nature of s tr e s s betw een all adjacent s y lla b le s, not ju st th ose sy lla b le s fallin g w ithin a single foot. The th ird way in w hich the H a lle -K e y ser p rin cip les vary from trad ition al d escrip tio n s of the iam b ic pentam eter line is perhaps the m o st sign ifican t varian ce fr o m a th eo r e tic a l point of view . The t r a ditional d escrip tio n m u st d e scrib e a p oet's actual p ra ctice by append ing a lis t of allow able d eviation s (troch aic, spondaic, and pyrrhic fe e t, etc . ) to the b a sic d escrip tion of "five iam bic feet." On the other hand, the H a lle -K e y se r th eory in clu d es th ese allow able deviations in the origin al form u lation of the th eory. F o r in sta n ce, the th eo ry handles e lis io n under P rin cip le 2 and the in verted foot and the spondee under the definition and r e str ic tio n s of the s t r e s s m axim u m . Only a s t r e s s m a x im u m m ay not occu r in the od d -nu m bered position; a s t r e s s m ay 15 o ccu r in an o d d -n u m b ered p o sitio n , p rodu cin g an in v e r te d or tr o ch a ic foot or spond ee. The H a lle -K e y s e r th eo ry not only in clu d es th e se allow ab le d e via tio n s in the o r ig in a l fo r m u la tio n of the th eo r y , it a lso ex p la in s (w here the tra d itio n a l p ro so d y cannot) why c e r ta in allow ab le d e v ia tio n s su ch as the fo llo w in g can and do o c c u r , w hile o th er s do not: 1. That a tr o c h a ic su b stitu tion often o c c u r s in the f ir s t foot 28 in the lin e . 2. That a m a jo r sy n ta ctic b rea k often f a lls n ext to or within 2 9 in ter n a l tr o c h a ic su b stitu tio n s or sp o n d ees. 3. That th e r e a re no lin e s in the M ilton sa m p le w ith two tr o c h a ic fe e t in a row , although th er e a re fou r w ith two spond aic f e e t in a row , th ree of th e s e w ithout any in ter - 3C ven in g sy n ta ctic b rea k s e ith e r b etw een or w ithin the fe e t. 4. That (with the ex ce p tio n of the fa m o u s " N ev er, n e v e r , n e v e r , n e v e r n e v e r ," fr o m King L e a r ) one freq u en tly fin ds an ia m b ic lin e w ith one tr o c h a ic su b stitu tion , but not two 31 m a row . A ll of the ph en om en a w hich a ctu a lly o c cu r in ia m b ic lin e s (the in itia l tr o c h a ic su b stitu tion , the a s s o c ia tio n of in ter n a l tr o c h a ic su b stitu tion w ith m a jo r sy n ta ctic b r e a k s , the o c c u r r e n c e of two sp o n d ees in a row , and the o c c u r r e n c e of a sin g le tr o c h a ic su b stitu tion ) can o c cu r b e c a u se th ey do n ot prod u ce a s t r e s s m a x im u m in an o d d -n u m b ered p osition . 16 An in itial troch aic substitution cannot cau se an odd-num bered s tr e s s m axim u m b ecau se th ere is no u n str e ss e d syllab le before p osition 1 to crea te the s tr e s s m axim u m in the f ir s t p lace. Internal tro ch a ic su b stitution m ay occu r after a syntactic break, as in "Appeare in p e r son h ere in court. S ilen ce," b ecau se the syntactic break n eu tra lizes the s tr e s s e d syllab le in an odd -num bered p osition (here the si of s ile n c e ) and p reven ts the form ation of an u n m etrical s t r e s s m axim um . In the "N ever, n e v e r , n e v e r, n ev er, n ever," from King L e a r , the syntactic breaks n eu tra lize the potential s tr e s s m a x im a in p osition s 3, 5, 7, and 9. The s e r ie s of spondees can occu r b ecau se the adjacent s t r e s s e s n eu tra lize each other, preventing the form ation of an u n m et rica l s tr e s s m axim u m . Thus by incorporating the allow able d e v ia tio n s in the origin al form u lation of the th eory, H alle and K ey ser have provided, w here the traditional prosody did not, an "explana tion for the fact that only certa in deviations are to lera ted and not ,,32 othe r s . We have alread y d is c u s se d H alle and K e y se r 's argu m en ts that for the follow ing th ree lin e s , m o st r ea d er s of E n g lish v e rse would find the second and third to be m e tr ic a l, the fir s t to be u n m etrica l or excep tion al. 1. Ode to the W est Wind by P e r c y B y ssh e Shelley 2. O w ild W est Wind, thou breath of A utum n's being 3. The cu rfew to lls the knell of parting day 17 T hey a ls o a rg u e that m o s t r e a d e r s w ould judge the s e c o n d lin e to be a m o r e c o m p le x "law ful em b o d im e n t of ia m b ic p e n ta m e ter " than the th ird . T h ese o b s e r v a tio n s on m e t r ic a lit y and c o m p le x ity c o n stitu te fo r H alle and K e y se r a kind of p r o so d ic "fact" fo r w h ich an adequ ate th e o r y of p r o so d y ought to accou n t. F u r th e r , th ey f e e l that an adequate th e o r y of p r o so d y a ls o ought to judge a s m e t r ic a l lin e s w r itte n by s o p h is tic a te d 33 p o ets who c o n s id e r e d th ey w e re w ritin g m e t r ic a l lin e s . U sin g th e s e c r it e r ia , H a lle and K e y s e r 's th eo r y of p r o so d y can o n ly be c o n s id e r e d an adequate d e s c r ip tio n of ia m b ic p e n ta m e te r p o e t r y - - a n d h e r e of the blank v e r s e of M ilton , T h o m so n , Y oung, C o w p er, and W o r d s w o r th --if it ju d g e s a s m e t r ic a l the lin e s th ey w ro te and if it d is tin g u is h e s b e tw e en sim p le and c o m p le x m e t r ic a l lin e s . In fu rth e r d is c u s s io n of the n atu re of m e t r ic a l c o m p le x ity , H alle and K e y s e r point out so m e a d v a n ta g es and o b je c tio n s to th e ir th e o r y . T hey a rg u e that th e ir r e p r e s e n ta tio n of m e t r ic a l c o m p le x ity sh o w s th e o r e tic a l a d v a n ta g e s, n a m e ly , a lo g ic and a s tr u c tu r e , n otab ly la ck in g in the tr a d itio n a l f o o t - s t r e s s s y s te m . In the stan d ard th eo r y it is p o s s ib le to a ttrib u te in c r e a s in g c o m p le x ity to e a c h su c c e e d in g ite m in the l i s t o f a llo w a b le d e v ia tio n s. T his p r o c e d u r e , h o w e v e r , i s quite ad h o c . T h ere i s no in d ep en d en t ju s tific a tio n fo r o r d e r in g the a llo w a b le d e v ia tio n s . . . ; h en ce nothing ca n be d ed u ced fr o m that o r d e r . T h is d o e s not h o ld fo r the o r d e r of the a lte r n a tiv e s in the c o r r e sp o n d e n c e r u le s . . . . H ere the a lte r n a tiv e s are o r d e r e d in in c r e a s in g g e n e r a lity , b egin n in g w ith the l e a s t g e n e r a l and endin g w ith the m o s t g e n e r a l . ^ H o w e v e r , th ey a ls o note an o b jec tio n to th e ir m e th o d o lo g y , n a m e ly , that th ey a s s ig n a c o m p le x ity valu e of one to e a c h and e v e r y v io la tio n 18 of the a ltern a tiv es to the C orresp on d en ce R u les. It is p erfectly con ceivab le that the in c r e a s e in co m p lex ity due to the need to invoke the third rather than the second altern ative of the C orresp on d en ce Rule . . . should be a fraction of that r e s u lt ing fro m the invocation of the second altern a tiv e. Such q u estio n s, h o w ev er, can be a n sw ered only when a m a s s iv e body of v e r s e has been subjected to the type of a n a ly sis p r o p o s e d .^ H alle and K ey ser have m any a d m ir e r s and c r itic s among 36 m e tr is ts . Though som e of th em have su g g ested m inor r e v is io n s to the th eory, no b asic m od ification s to the th eory as outlined above have appeared. Two of th ese c r it ic s , Donald F r e em a n and Dudley L. H a sca ll, have su g g ested m od ification s to the p rin cip les of e lis io n d e scrib ed in C orresp on d en ce Rule (i) of E n glish S t r e s s . Both w ish to exp lain the o c c u r r e n c e , am ong o th er s, of the fo rm s heavenly, o 'e r , 37 and e ' e r . In "On the P r im e s of M etrical Style," Donald F r e em a n sim p ly expands the en viron m en t through w hich e lis io n m a y occu r under Condition 1 "to include at le a s t / v / and I I I (and perhaps / z / . . . )." On the other hand, in "Some C ontributions to the H a lle- K ey ser Theory of P ro so d y ," Dudley H a sca ll w ish e s to reform u late Condition 1 into what he te r m s Phonetic C onvention 1: We postulate that in the p o et's g ra m m a r, th ere is a phonetic convention w hich allow s h im to count a red u ced vow el and a sonorant (in eith er o rd er), as n o n sy lla b ic. The rule is c a lled a convention b eca u se its u se need not have rea l phonetic con seq u en ce; i . e . , it s e e m s doubtful that B ibyll should be pronounced as a m ono s y lla b le -- r a th e r , it sim p ly counts as one s y lla b le .^8 19 F r e em a n 's m odification is co n sisten t with the te r m s of the H alle- K eyser theory; H a sca ll's is not and it d isg u ise s u sefu l d iscrim in ation s that m ay be m ade in a com parative a n a ly sis of different poets' p r a c tic e s of e lisio n . F ortu nately for students of e lisio n in eigh teen th -cen tu ry poetry, the eigh teen th -cen tu ry p ro so d ists quite ex p licitly stipulated the a c ceptable environm ents for elisio n . F or exam p le, in h is Theory of P ro so d y in E ighteenth-C entury England, Paul F u s s e ll su m m a rizes the ru les of syncope (the type of e lisio n within w ords co v ered by Condition 1): w ords of m o re than 2 sy lla b les accented on the antepenult, in which 'r ' o c c u r s betw een two v ow els, m ay be contracted by elim in ating the vow el w hich p reced es the "r" as in "tem p'rance," " p ref'ren ce," "diff ’ren ce," "flatt'rer," "am 'rous," and "vie'try." The sam e rule holds for the e lis io n of a p ost-con son an tal vow el p recedin g "1," "m," "n," and "v" and "c" when pronounced as "s." Thus one a ch iev es such fo rm s as "pris'ner," "m ed'cine," and "cov'nant." These r u le s reco n stru ct the environm ents for e lis io n sp ecified by Halle and K e y se r --liq u id s, _ 1 and r^ , and n a sa ls, _m and n - - a s m odified by Donald F r e em a n to include the sib ilan ts, v and c pronounced as s. Undoubtedly other r ev isio n s w ill be m ade to the H a lle-K ey ser th eory, but even as it stands now, it sp e cifica lly defin es the conditions under which a line m ay be co n sid ered m e tr ic a l and it p rovides a d if feren t and p rom isin g way to analyze v e r s e . The concept of the s tr e s s m axim um allow s a new and m ore flexib le view of s t r e s s placem ent; a s tr e s s can fa ll anywhere in a line without ren derin g the line un m etrical 20 or excep tion al as long as the s t r e s s d o es not constitu te a s tr e s s m a x i m um in an odd -nu m bered (or nW") position. F u rth er, analyzing the s t r e s s m a x im a patterns and th eir fre q u e n c ie s or the w ays in w hich the potential s t r e s s m axim u m is m o s t c h a r a c te r is tic a lly 'neutralized' by a given poet m ay lead to new p rosod ic in sig h ts. And fin ally, m any of the r e s u lt s , such as the num ber of s t r e s s m a x im a per lin e or the n u m ber of s t r e s s m axim a in any given p osition , are rea d ily quantifiable. Such quantification p rovid es a degree of sp e cificity and 'objectivity' for sty listic c o m p a riso n s difficult to attain in p ast prosod ic stu d ies. E xcep t for th ose few such as R obert B rid g es and Josep hine M ile s, m o st p ro so d ic c r itic s have b een defeated by the in term in able labor and tim e req u ired for d etailed tabulation of p rosod ic fe a tu re s by hand. F ortu n ately, a v ersio n of the H a lle -K e y se r th eo ry has been p r o g ram m ed for the com puter by R obert D illigan , a v e rsio n o rig in a lly developed at the U n iv ersity of W isco n sin and la ter m od ified at the U n iv ersity of Southern C aliforn ia. With th ese p r o g r a m s, the com pu ter tab u lates the sta tis tic a l r e su lts a ccu ra tely and quickly and a llow s a c r itic to use a la r g er set of sa m p le s than it would have been p o ssib le to tabulate con veniently by hand. We have then a body of blank v e r s e w hich dem ands a la r g e - sca le p rosod ic a n a ly sis by an accu rate and c o n sisten t th eory, and we have a th eory which h as a lrea d y d em on strated its u se fu ln e ss. With the H a lle -K e y se y theory of p rosod y, so m e new d e scr ip tiv e in sig h ts and 21 d is c r im in a tio n s have b een m ad e b etw een R ob ert B r id g e s and G erard M an ley H opkins by R o b ert D illig a n , b etw een John Donne and W illia m S h a k esp ea re by J o sep h B e a v e r , and am ong C h au cer and the S co ttish 40 C h a u ceria n s by K aren Lynn. With the aid of P r o f e s s o r D illig a n 's co m p u ter p r o g r a m s , th is study p r o p o se s to a n a ly ze s a m p le s of P a r a d ise L o s t , The S e a s o n s , N ight T h o u g h ts, The T a sk , and The P r e lu d e in t e r m s of the H a lle - K e y se r th e o r y , for the e x is t e n c e and ran ge of sig n ifica n t p ro so d ic fe a tu r e s and fo r th eir fr e q u e n c y and d istrib u tio n w ithin e a c h w ork . A g r e a t d eal of s p e c ific in fo rm a tio n is at hand. The co m p u ter p r o g r a m s (m o re fu lly d e s c r ib e d in C hapter II) have b een d e sig n e d to c o m p ile d e ta iled in fo rm a tio n about th o se p ro so d ic fe a tu r e s d is c u s s e d in any p ro so d ic a n a l y s i s - - su ch a s sy lla b le count, s t r e s s p la c e m e n t, e lis io n , a s so n a n c e , and a llit e r a t io n - - a s w e ll a s th o se p r o so d ic fe a tu r e s s p e c i f ic a lly r e le v a n t to the H a lle -K e y s e r t h e o r y - - s u c h as s t r e s s m a x im a , sy n ta ctic b r e a k s, and c o m p le x ity l e v e l s . T his in fo rm a tio n should p rovid e the s p e c ific ity and 'o b jectiv ity ' to support a m o r e r e lia b le d e sc r ip tio n of the fiv e p o e ts' blank v e r s e p r o s o d ie s and to s u g g e st at le a s t so m e w a y s in w h ich e a c h p oet u s e d a unique p r o so d y to a c h ie v e a p a r tic u la r p o etic e ffe c t. H o w ev er, th e r e are so m e lim ita tio n s to th is study w hich m u s t be noted. The study d e a ls w ith on ly a lim ite d am ount of p o e t r y - - 1 0 0 0 -lin e s a m p le s fr o m P a r a d is e L o st, T he S e a s o n s , N ight T houghts, The T a sk , and The P r e lu d e . Since it d oes not attem pt to treat any other poets or even the en tire p oem s with which it d ea ls, the particular co n clu sio n s about the p rosodic c h a r a c te r is tic s of blank v e r se or about any p articu lar poet are n e c e s s a r ily lim ited . The sta tistic a l nature of the data m ay often o b scu re th is fact (num bers are often m o re co n v in c ing than they ought to be), but we m u st bew are of the lim itation s of sta tis tic s as w ell as of th e o r ie s. The s ta tis tic s do not in and of th e m s e lv e s constitu te 'proof1 : s ta tis tic s are m e r e ly raw data which m u st be in terp reted and analyzed in context. Any 'proofs' w hich m ay be deduced from the r e su lts are sim p ly deductions, deductions with a certa in degree of c o n c r e te n e ss, but deductions n o n eth eless. F u rth er, a sligh t lim itation of the co n clu sio n s m ay a r ise from our h isto r ic a l rather than actual knowledge of eig h teen th -cen tu ry pronunciation; h o w ev er, th is is probably a quite m inor lim itation sin ce lin g u ists and ph oneticians a g ree w ell on eig h teen th -cen tu ry phonology. A nother sligh t lim ita tio n a r is e s from the in evitab le e r r o r s one m a k es when coding 8 ,0 0 0 w o rd s, e s p e c ia lly in a sligh tly different d ialect. H ow e v e r , far le s s than one p ercen t of the w ords are m isc o d e d , and th ese should not sign ifican tly affect the r e s u lts. With th ese r e se r v a tio n s in m ind, then, it is tim e that such in sig h ts and d isc rim in a tio n s availab le fro m H alle and K e y se r 's p r o s odic th eory w ere applied to the p ro so d ic p r a c tic e s of M ilton and the eig h teen th -cen tu ry p ra ctitio n ers of blank v e r s e , T hom son, Young, 23 C ow per, and W ord sw orth and, c o n v e r s e ly , that the va lid ity and u s e fu ln e ss of the H a lle -K e y s e r th eo ry w e re fu rth er te s te d a g a in st another body of v e r s e . T his n ew study of 'M ilton and the M ilton ic tradition' a ttem p ts to do ju st that. 24 Note s ^For a d is c u s sio n of ed ition s and co m m e n ta r ie s on M ilton, see: John W alter Good, Studies in the M ilton T radition, U n iv ersity of I l l i nois Studies in Language and L itera tu re, Vol. I, N os. 3 and 4 (Urbana, 1916); R aym ond D exter H avens, The Influence of M ilton on E n glish P oetry (C am bridge, 1922; New Y ork, 1961); Ants O ras, M ilton 's E d itors and C om m en tators fro m P a trick Hume to H enry John Todd (1695-1801) (T artu, E sto n ia , 1931; London, 1931; rev. e d ., New York, 1967); John T. S h a w cro ss, ed. , Milton: The C r itic a l H eritage (London and B oston , 1970); John T. S h a w cro ss, ed. , M ilton 1732- 1801: The C ritica l H eritage (London and B oston, 1972). 2 P o ets p ra isin g M ilton include: (1) J a m e s T hom son in "His [M ilton's] w as the tr e a su r e of Two Thousand Y ears" fro m "Sum m er" in The S eason s (London, 1727) and the follow ing lin es fr o m "W inter," lin es 533-536 in A ppendix B of th is study: "Great H om er too ap p ears, of daring Wing, / P aren t of Song ! and equal by h is Side, / The B ritish M use; join'd Hand in Hand They Walk, / D arkling, full up the m iddle Steep to F am e."; (2) Edw ard Young in lin e 449 of A ppendix C of th is study: "Or M ilton! thee; Ah cou'd I reach your strain!"; (3) W illiam C ow per, who is said to have a lm o st m e m o r iz e d P a r a d ise L o s t. In d is cu ssin g C ow p er's knowledge of M ilton, H aven s, in The Influence of M ilton on E n g lish P o e t r y , p. 161, quotes the statem en t of C ow p er's ed itor, Canon Benham: " 'He appeared to have known M ilton n e a r ly by h eart,' " as w ell as C ow per's own statem en t fro m an O ctober 22, 1791 letter to C lotw orth R ow ley, "Few people have studied M ilton m o r e , or are m o re fa m ilia r with h is p oetry, than m y se lf." 3 F o r a lis t of p oetic r e fe r e n c e s , a llu sio n s to and e ch o es of M ilton, see H aven s, The Influence of M ilton on E n g lish P o e tr y . 4 H aven s, The Influence of M ilton on E n g lish P o e tr y , p. 78. 5 Good, Studies in the M ilton T rad ition ; H avens, The Influence of M ilton on E n g lish P o e tr y ; G eorge Saintsbury, A H isto ry of E n glish P ro so d y fro m the Tw elfth Century to the P r e se n t Day (London, 1906- 1910). ^ M iddleton M urray, quoted by T. S. E lio t in M ilton: Two Stud ie s (London, 1970), p. 28. 7 E lio t, Milton: Two S tu d ies, p. 10. 25 g F . R. L ea v is, Revaluation: Tradition D evelopm ent in E nglish P o etry (New York, 1947), p. 42. In addition to h is p ro tests against what L eavis fe e ls are M ilton's m isu se of language, diction, and syntax, L eavis p ro tests the m onotony of the versification : "In the end we find o u r selv e s protesting --p ro testin g against the routine g estu re, the heavy fa ll, of the v e r s e , flinching from the fo r e se e n thud that c o m e s so inevitably, and, at la st, ir re sistib ly : for reading P arad ise L ost is a m atter of r e s is tin g , of standing up against, the v e r se -m o v e m e n t, of subduing it into s o m e thing to lera b ly like s e n sitiv e n e s s , and in the end our r e sista n c e is worn down; we su rrend er at la st to the in escap ab le m onotony of the ritual." 9 This theory of prosody has been exam in ed in detail by Paul F u s s e ll in T heory of P ro so d y in E ighteenth-C entury England (New London, C onnecticut, 1954). H avens, in The Influence of M ilton on E n glish P o e tr y , argues that the couplet prosody has m o st strongly influenced Thom son (p. 145) and Young (pp. 157-158). H ow ever, not everyon e a g r ee s with this a s s e s s m e n t, e. g. , Ralph Cohen in The A rt of D iscrim in ation (B e r k e ley , 1964), p. 343, argu es for T hom son's origin ality, "The v e r s ific a tion of The S easons is not founded upon any settled system "; and G eorge Saintsbury in A H istory of E n glish P rosod y (Book VIII, Ch. II, 1908, pp. 486-489) argu es that the dram atic blank v e r se soliloquy is the stro n g est influence on Young's prosody. ^ E d w a r d B y ssh e , The A rt of E n glish P o e tr y , 4th ed. (London, 1710), p. 35 [first pagination]. ^ H a v e n s , The Influence of M ilton on E n glish P o e tr y , p. 62. 12 R obert B rid g es, M ilton's P r o so d y , rev. ed. (London, 1921; Oxford, 1966); E rn est Sprott, M ilton’s A rt of P ro so d y (Oxford, 1953); F . T. P rin ce, The Italian E lem en t in M ilton ’s V erse (Oxford, 1954); Ants O ras, Blank V erse and Chronology in M ilton, U n iversity of F lo rid a M onographs, H u m a n ities--N o . 20 (G ain esville, 1966). 13 M o rris Halle and Sam uel Jay K ey ser, E n glish S tress: Its F o rm , Its Growth and Its R ole in V e rse (New Y ork, 1971). 14 M o rris H alle and Sam uel Jay K ey ser, "Chaucer and the Study of P rosod y," C ollege E n g lish , XXVIII (D ecem b er 1966), 187. This article contains an e a r lie r v e rsio n of the theory a r tic u lated in E n glish S tress. 26 15 H alle and K e y se r , "Chaucer and the Study of P rosod y," p. 189. ^ H a lle and K e y se r , "Chaucer and the Study of P ro so d y ," p . 190. 17 H alle and K e y se r , E n g lish S t r e s s , p. 140. 18 H alle and K ey ser p refer the te r m "exceptional line" to the te r m " un m etrical line" b eca u se what one m ea n s by the te r m "an un- m e tr ic a l line" is a lin e which is an excep tion to what one n o rm a lly p e r c e iv e s as " m etrica l lin e s." Since one can only speak of "m etrical" or "unm etrical" lin e s within the context of a m e tr ic a l th eo ry , an "unm et r ic a l line" is sim p ly an excep tion to the m e tr ic a l theory in w hose c o n text the line is judged. 19 H alle and K e y se r , E n g lish S t r e s s , p. 167. ^ H a l l e and K e y se r , "Chaucer and the Study of P rosod y," p. 187. 21 , H alle and K e y se r , E n g lish S t r e s s , p. 169. 22 H alle and K e y se r , "Chaucer and the Study of P rosod y," p. 203. 23 Otto J e s p e r s e n , "N otes on M etre," in The Structure of V erse: M odern E s s a y s on P r o s o d y , ed. by H arvey G ro ss {New York, 1966), pp. 111-130. R eprinted fro m L in g u istica (Copenhagen, 1933); and fro m The S elected W ritings of Otto J e sp e r s e n (London, 1962). 24 The ord erin g of step s in th is part of the sca n sio n sy ste m has ra ise d som e q u estio n s. K aren Lynn in "Com putational P r o so d ie s: The D eca sy lla b ic Line fr o m C haucer to Skelton, " unpub. doctoral d isser ta tio n (U n iv ersity of Southern C aliforn ia, 1973), d isc o v er e d s e v e r a l lin e s containing e le v e n s y lla b le s , a fin al u n str e ss e d sy lla b le, and at le a s t one elid ab le sy lla b le . A ccord in g to the p roced ure outlined, all of th ese lin e s would be co n sid e re d to contain a v e r s e -fin a l e x tr a - m e tr ic a l syllab le even though th is a ssu m p tion produced u n m etrica l lin es fro m m e tr ic a l lin es; in fa ct, the lin e s only req u ired an in ternal e lisio n to be judged m e tr ic a l. F u rth er, the ord erin g of steps in this part of the sca n sio n s y ste m w ould not handle a c a ta le c tic , te n -sy lla b le lin e containing a v e r s e -fin a l e x tr a -m e tr ic a l sy lla b le. The ten sy lla b le s of the lin e w ould be a ssig n e d to p osition s 1 through 10 (rather than to p o sitio n s 2 through 11), producing a line in w hich all of the s t r e s s m a x im a would apparently fa ll in od d -n u m b ered p o sitio n s. This o c ca sio n a l problem w ith the a ssig n m e n t of sy lla b le s to p osition s has been r eso lv e d 27 by R ob ert D illig a n in an a r tic le c o -a u th o r e d by K aren Lynn, " C om p u ters and the H isto r y of P r o so d y ," C o lleg e E n g lis h , XXXIV, No. 8 (May 1973), 1 1 0 3 -1 1 2 0 . 25 B e c a u s e of it s in a d e q u a c ie s, w hich are d is c u s s e d at len gth in the M ilton c h a p ter , the notion of c o m p le x ity as H a lle and K e y se r d e fine it i s not in te g r a l to th is study. 26 The lin e , "Yet d e a r ly I lo v e you and w ould be lo v e d fain," h as tw e lv e s y lla b le s in its u n elid ed v e r s io n and fou r p o s s ib le son oran t se q u e n c e s th rou gh w hich e lis io n m a y o ccu r (ly I , I l o v e , you and, and be lo v e d ). S t r e s s m a x im a fa llin g on d ear in p o sitio n 2, lo v e in p o s i tion 4 , and lo v e d in p o sitio n 8 req u ire one e lis io n fa llin g b etw een p o s i tio n s 2 and 4 and one e lis io n fa llin g b etw een p o sitio n s 4 and 8. In th e sc a n sio n d e s c r ib e d in the te x t, the e lis io n b etw een ly I w a s c h o se n in p r e fe r e n c e to that b etw een I lo v e b e c a u se the e lis io n c h o se n is l e s s o b tr u siv e . It o c c u r s b etw een two u n s t r e s s e d s y lla b le s (rath er than b etw een an u n s t r e s s e d and a s t r e s s e d sy lla b le ), and it o c c u r s b etw een two im m e d ia te ly ad jacen t v o w e ls (rath er than b etw een two vo w els se p a r a te d by a con so n a n t). F o r the sa m e r e a s o n s , the e lis io n b etw een you and w a s c h o s e n in p r e fe r e n c e to that b etw een be lo v ed. 27 H alle and K e y se r p rovid e fu rth er e x a m p le s of lin e s sca n n ed a cco rd in g to th e ir th e o r y in E n g lish S t r e s s , pp. 1 7 8 -1 8 0 , and in " Il lu str a tio n and D e fe n se of a T h eory of the Iam bic P e n ta m e te r ," C o lle g e E n g lis h , XXXIII, No. 2 (N o v em b er 1971), 1 5 6 -1 5 9 . 28 "It is not at a ll c le a r to m e why the tr o c h a ic su b stitu tion in the f i r s t fo o t i s so a c ce p ta b le in the ia m b ic lin e. I'm n e v e r able to m ake up m y m in d w h eth er it i s b e c a u se it ju st hap pened, a s M r. R a n - son, I think s u g g e s t s , so r t of got e sta b lis h e d , or w h eth er th ere is so m e p e c u lia r r ea so n " (quoted fr o m W illiam W im sa tt by H alle and K e y se r in E n g lish S t r e s s , p. 168). 29 In E n g lis h S t r e s s , p. 168, H alle and K e y se r state: "Two of the c a t e g o r ie s on the a llo w a b le deviation l i s t are c o m m o n ly a s s o c ia t e d w ith m a jo r sy n ta c tic b rea k s: in tern a l tr o c h a ic su b stitu tio n , w hich often o c c u r s a fter a m a jo r sy n ta ctic b reak . . . [a s in "A ppeare in p e r so n h e r e in co u rt. S ilen ce" (W in ter's T a le , HI, 1. 10) and " F r ie n d s, R o m a n s, co u n try m en , len d m e your e a r s" (Ju liu s C a e s a r , HI. 2 .7 8 ) ] , and th e h e a v y fo o t, w h ich i s c o m p o se d of two p o sitio n s sep a ra ted by a m a jo r sy n ta ctic break" (as in "As ook , f ir r e , b ir c h , a sp e , a ld er, h o lm , p o p ler," one of the p o s s ib le s c a n sio n s of A K n igh t's T ale, 1.2921)“ 28 The four lin es with two spondaic fe e t in a row are: "To b e(l) no m o r e ; sad c u r e ; for w h o(l) w ould lo o se" (P L II, 146); "The pilot of som e sm a ll night-founder'd skiff" (P L I, 204); "In which they w e r e (l), or the fie r c e pains not f e e l " (P L I, 336); and "T h ir(l) sea ts long after next the sea t of God" (P L I, 383). 31 There a r e , for in sta n ce, in the M ilton sa m p le, m any lin es with a sin gle troch aic su bstitution , but none with two in a row. 32 H alle and K ey ser expand this argum ent in E n glish S t r e s s , pp. 174-175: "It is an in ter e stin g fact that in verted fe e t appear only under the follow ing conditions in an iam b ic p en tam eter line: v e r se - in itia lly , after a fu lly s t r e s s e d syllab le . . . and after a m ajor sy n tactic boundary . . . a c r o s s w hich the s t r e s s subordination ru les of E n glish do not operate. In the standard [or traditional] theory th is is ju st another fa ct, to be noted down, of c o u r se , but not to be endowed with any sp e cia l sig n ifica n ce. In the r e v is e d [H a lle -K e y se r ] th eory, on the other hand, the th ree en viron m en ts are those w here a s tr e s s e d sy lla b le w ill not con stitu te a s t r e s s m axim u m and h ence w here a s tr e s s e d syllab le m ay occupy a W [odd-num bered] position." 33 In "Illustration and D efen se of a Theory of the Iam bic P e n ta m eter," C oll^ge_E nglish, XXXIII, No. 2 (N ovem ber 1971), 154-176, H alle and K ey ser expand on th eir e a r lie r co m m en ts on th is is su e on pp. 159-160: "It w ill have been noted that am ong the lin es that our th eory c la s s if ie s as u n m e tr ic a l- -i. e. , as violating the canons of the iam b ic pen tam eter are lin e s w ritten by the g r e a te st m a ste r of E n glish v e r s e . This c le a r ly c a lls for an explanation sin ce a th eory of m eter m u st above all c h a r a c te r iz e what poets are doing and not le g isla te what lin e s should or should not be judged m e tr ic a l. The situation is analogous to that in which the gra m m a ria n finds h im se lf. H is task is to d e scr ib e what sp ea k ers do, not to le g is la te to them . Yet c le a r ly not e v er y u tteran ce of a fluent E n glish sp eaker is a g ra m m a tica l ut tera n ce of E nglish: even the m o s t fluent sp eaker w ill m ake fa lse sta r tsr get con fu sed and fa il to o b se rv e som e p erfectly ordinary ru le, or v io late c er ta in r u le s of gram m ar to produce sp e cia l em otion al or s t y lis tic e ffe c ts. It would, th e r e fo r e , be totally u n rea listic if a g ra m m a ria n a ccep ted ev ery reco rd ed utteran ce of an E n glish sp eaker as g r a m m a tica l. M o reo v er, it is not alw ays p o ssib le to d eterm in e w hether a given u tteran ce is or is not g ra m m a tica l by in terrogatin g sp ea k ers, for they are often u n reliab le ju d ges about th eir own sp eech . . . . Many of the sam e c o n sid era tio n s hold for the p r o so d ist. He cannot accep t all v e r s e s w ritten by any poet as m e tr ic a lly c o r r e c t. A poet m ay w rite u n m e tr ica l lin e s for a v a riety of r e a s o n s , am ong w hich lack of sk ill 29 or c a re a re ju st two. The p oet m a y a lso w rite u n m e tr ica l lin e s on p u rp o se, to a c h ie v e p a rticu la r e ffe c ts." 34 H alle and K e y se r , E n g lish S t r e s s , p. 176. 35 H alle and K e y se r , E n g lish S t r e s s , pp. 176 -1 7 7 . 36 S ee, for in sta n ce: J o sep h B e a v e r , "A G ram m ar of P r o so d y ," C o lleg e E n g lis h , XXIX, No. 4 (January 1968), 310-321; D onald C. F r e e m a n , "On the P r im e s of M e tr ic a l S tyle," Language and S t y le , I (1968), 6 3 -1 0 1 [rep rin ted in L in g u istic s and L itera ry S ty le , ed. Donald C. F r e e m a n (N ew Y ork , 1970), pp. 448-4 9 1 ]; D udley L. H a s - c a ll, "Som e C ontrib ution s to the H a lle -K e y s e r T heory of P r o so d y ," C o lle g e E n g lis h , XXX, No. 5 (F eb ru a ry 1969), 357-365; K arl M ag- n u son and F ra n k G. R y d er, "The Study of E n g lish P rosod y: A n A lt e r native P r o p o s a l," C o lleg e E n g lis h , XXXI, No. 8 (May 1970), 7 8 9 -8 2 0 ; and W illiam K. W im sa tt, "The R ule and the N orm : H alle and K e y se r on C h a u ce r 's M eter," C o lle g e E n g lish , XXXI, No. 8 (M ay 1970), 7 7 4 -7 8 8 . 37 F r e e m a n , "On the P r im e s of M etric a l S tyle," pp. 6 3 -1 0 1 . 38 H a s c a ll, "Som e C ontrib ution s to the H a lle -K e y s e r T h eo ry of P r o so d y ," pp. 3 5 7 -3 6 5 . 39 F u s s e l , T h eory of P r o so d y in E igh teen th C entury E n g la n d , p. 74. 40 R o b ert D illig a n , " V erse D e sig n in the P o e tr y of the H o p k in s- B r id g e s C ir c le : An E s s a y in C om pu tation al M e tr ic s," unpub. d o cto ra l d is s e r ta tio n (U n iv e r sity of W isc o n sin , 1970); B e a v e r , "A G ram m ar of P r o so d y ," pp. 3 1 0-321; K aren Lynn, "C om putational P r o s o d ie s: The D e c a s y lla b ic Line fr o m C h au cer to Skelton," CHAPTER II METHODOLOGY T his study c o n siste d of an exam ination and a n a ly sis of 5 0 ,0 0 0 m e tr ic a l e v en ts, that i s , of the ten sep arate position s in 5, 000 lin es of poetry. F or ea ch of th ese ev en ts, for each p osition in each lin e, it w as n e c e s s a r y to m ake a large num ber of o b s e r v a tio n s --a t a m in i m um to note which p osition s c a rr ie d a s tr e s s or a s tr e s s m axim u m , which p osition s w ere adjacent to syntactic b rea k s, w hich p osition s contained e lis io n s and of what kind, and which p osition s contained asson atin g or a llitera tin g sy lla b le s. F or each of the 5 ,0 0 0 lin e s , it w as n e c e s s a r y to m ake other o b se r v a tio n s --a t a m in im u m , to note the patterns of s t r e s s m a x im a , the patterns of asso n a n ce and a llit e r a tion, and the lin e 's m e tr ic a lity or n o n -m e tr ic a lity and its m e tr ic a l co m p lex ity . Once all of th ese o b serv a tio n s had b een m ad e, it w as n e c e s s a r y to so rt and group th em and fin ally to tabulate th em , p r o ducing a p rosod ic con cord an ce, a lis t of the p rosod ic c h a r a c te r is tic s o ccu rrin g in a p oet's w ork, along with a tabulation of how often they o ccu rred and in what en viron m en ts. This p rosodic con cord ance fo r m s the b a sis for the p rosod ic d escrip tio n s of the follow in g ch a p ters. 30 31 Its la r g e m e m o r y and sorting c a p a b ilitie s, a s w ell as its sp eed and a c c u r a c y in handling data, m ake the com p u ter a valuab le to o l in p r o c e s s in g m a s s e s of in form ation such as th o se d e sc r ib e d above. T h e r e fo r e , the p ro ced u re u sed in producing the p rosod ic con cord an ce w a s d esig n ed to take advantage of the c o m p u te r's c a p a b ilitie s. T h ere w ere tw o m ain ste p s in th is proced u re: 1. producing a ph onem ic v e r s io n of the te x ts by phonem - ic a lly encoding ea ch word by hand, and 2. exam ining the te x ts with the com p u ter for the v a rio u s p ro so d ic fe a tu re s. It m ay at f ir s t s e e m in ap p rop riate to d eleg a te such s e n sitiv e and c o m p le x op eration s a s scanning and p r o so d ic a lly an alyzin g lin e s of p oetry to the co m p u ter, w hich has in the p ast p erfo rm ed such m ec h a n ic a l lite r a r y ta s k s as producing b ib lio g ra p h ies and c o n c o r d an ces. H o w ev er, a s th is study should d e m o n stra te, m any ste p s in p ro so d ic a n a ly s is - - such as noting and r e m e m b e r in g s t r e s s p attern s, e lis io n s , and p attern s of a sso n a n c e and a llit e r a tio n -- can be p e r fo r m ed by a com p u ter with a speed and a c c u r a c y su r p a ssin g th o se of ev en the m o st se n sitiv e hum an a n alyst. F u rth er, the com p u ter is m o re ob jective in view ing lin e s than m o st hum an rea d ers; it is not p r e d is p osed to find one pattern of s t r e s s o v er another or to view so m e lin e s m o re c r it ic a lly or m o re c a r e fu lly than oth ers. The c r it ic s who object to th is apparent m ech a n iza tio n of lit e r a r y stu d ies should note the follow ing: w h ile the co m p u ter, in 32 such a study a s th is, can c o lle c t data, it cannot in terp ret th em . It is the hum an c r itic who m ust organ ize in a m eaningful fash ion the data the com pu ter c o lle c ts and who m ust in terp ret and m ake se n se of them . The com pu ter can provide only a sta tistic a l norm or ov erv iew of a p o et's p rosod ic p r e feren ces; it can note only, for exam p le, that ap p ro x im a tely 5 p ercen t of Y oung's lin e s have no s tr e s s m axim um . The human c r itic , on the other hand, m ust su g g est what such lin e s have in com m on or how one line functions in r efer en ce to the sta tistic a l norm . The m o re se n sitiv e and co m p lex ta sk s, then, are r e s e r v e d a s the c ritic m ight hope for the c r itic h im self. T he sa m p le s for th is study w ere drawn fr o m the standard ed ition s or con ven ien tly a v a ila b le, good editions of five im portant and w ell-k n ow n e a rly ex a m p les of n on -dram atic blank v e r se : 1. B ooks I and II of John M ilton 's P a ra d ise L o st (1667) in The W orks of John M ilton edited by F rank A llen P a tte rso n (New York; C olum bia U n iv ersity P r e s s , 1931) 2. W inter (1726) of J a m es T h o m so n 's The S ea so n s in W inter (London: 1726) 3. The fir s t editions of "Night the F irst" (1742) and "Night the Ninth" (1746) of Edward Y oung's N ight-T hough ts in [fo r "Night the F ir st" ] The Com plaint: Or, N ight-T hough ts on L ife, Death, and Im m ortality (London: R. D o d sley , 1742) and [fo r 'Night the Ninth"] in The C on solation (London: G eorge H aw kins, 1746) 4. B ooks IV and I of W illiam C ow p er's The T a sk (1783) in [fo r Book IV] E ighteenth C entury E n glish L itera tu re edited by G eoffrey T illo tso n , Paul F u s s e ll, Jr. , and M a rsh a ll W aingrow (New York; H arcourt B ra ce & W orld, 1969), pp. 1317- 1326 and in [for Book I] The P o e tic a l 33 Works of W illiam Cowper edited by Humphrey S. Mitford, Oxford Standard Authors (4th ed. ; London: Oxford U niver sity P r e s s , 1934). 5. Books I and II of W illiam W ordsworth's The Prelude: Or, The Growth of a P o et's Mind (1805) edited by E. De Selincourt and H elen D arbishire (2nd. edition; Oxford: Oxford U niversity P r e s s , 1959). The punctuation of the sam p les followed that of the source texts. The sam p les co n sisted of 1,000 consecutive lin es drawn from each of the works. The particular p a ssa g es w ere not selected either to m axim ize or m in im ize the apparent Miltonic influences; they w ere selected sim ply as being among the best-know n fro m each author. The sam ple size was selected as being large enough to provide statistica lly sig nificant resu lts. For the sam pling technique, con secutive lin es w ere selected in preferen ce to isolated lin es or sm all p a ssa g es throughout the texts. In the an alysis, each 1 ,0 0 0 -lin e sam ple was analyzed individually. The fir st step in the a n a ly sis was to prepare editions of the tex ts which the com puter could scan, that is, to produce a text that rep resen ted the sounds and s tr e s s e s of words, rather than just their orthography. To th is end, all the lin es w ere keypunched on IBM com puter card s exactly as they appeared in th eir so u rce-tex t, with certain featu res noted by prem arking as d escrib ed later. (Each line c a rried a unique number identifying its author, the poem and section fro m which it came, and its line number. ) F r o m th ese keypunched c a r d s , the com p u ter produced a con cord an ce to the p o e m s and k ey punched each d ifferen t w ord fo r m in the con cord an ce on a sep a ra te card. Then the sounds and s t r e s s of ea ch word w e re rep re sen ted by a s p e c ia l code and keypunched on the ca rd containing the o rig in a l co n co rd a n ce w ord. The c o lle c tio n of c a r d s containing the v a rio u s w o rd s and r e p re sen ta tio n s of th eir pronu nciation con stitu ted a pronouncing d ictio n a ry for the w ords in the sa m p le te x ts. With th is d ictio n a ry and a sp e c ia l tr a n sc rip tio n p ro g ra m , the com p u ter looked up each w ord of the o rig in a l text in the d ictio n a ry , noted the coded r ep re sen ta tio n of the w o rd 's sound and s t r e s s and then printed a v e r s io n of the o rigin al tex t in w hich the o rig in a l v e r s io n of each line is fo llo w ed by its tr a n scr ib e d v e rsio n . In the rem ain in g sta g e s of a n a ly sis, the co m p u ter d ealt only with the tr a n sc r ib e d v e r s io n of the tex ts. T h ese tr a n sc r ib e d v e r s io n s of the te x ts w ere a ctu a lly phone m ic r ep r e se n ta tio n s of the te x ts. In a phonem ic rep re sen ta tio n , the sounds of the w o rd s (rath er than th e ir sp ellin g s) a re rep re sen ted , taking advantage of the fa ct that a sp ea k er of E n g lish p e r c e iv e s a range of rela ted sounds a s the sa m e sound. F or in sta n ce, when a native sp ea k er of E n g lish h e a r s the vow el sound in th e w ord s law or d og, he m ay actu a lly h ear two slig h tly differen t sounds. T ech n ica lly , th e se v arian t sounds are /j?/ and / 3 / , and a str ic t phonetic r e p r e s e n tation of th e s e w ord s would d isc r im in a te b etw een th e ir vo w el sounds. H o w ev er, a sp ea k er of E n g lish would not d isc r im in a te b etw een th e se 35 sounds he would p e rceiv e both of th em as the single sound / o / * and the corresponding phonemic rep resen tation s reflect th is perception. The words are ph onem ically rep resen ted as / l a / and /d a g /. The sy ste m used here for phonemic encoding follow s that pre- 2 sented in D aniel Jones' An Outline of E nglish P h o n e tic s. A s such, the encoding sch em e rep resen ts twenty vow el sounds (twelve vow els and eight diphthongs), tw enty-four consonant sounds, and word str e s s. B eca u se of the lim itation s of the standard typ ew riter keyboard, som e substitutions had to be made for the standard phonem ic sym b ols in the encoding sch em e. The virgu le follow ing a vow el ind icates phone m ic length, a star or an equal sign follow ing a vow el m arks diph thongs, and a plus sign following a vow el m arks syllabic s tr e s s . In a word such as to w a rd s, which may be pronounced as either a m ono syllab le or a d isyllab le, the letter C m arks the vow el of the optional syllab le. A sum m ary of the sym bols u sed to indicate vow els and diphthongs follow s. P h onem ic Sym bol Encoding Sym bol E xam ple / i :/ 1/ be / I / I fit Izl E head Iasi < at / V @/ bird / s / > sofa 36 / a / >/ son / U :/ u / shoe / u / U book / o / o though /=>/ 1 all / a / A father / e i / E * ape / ou/ o * ro ll t s.il A* eye / au/ A= h ou se 1 oil o= oil / i s / 1= A eg ea n / e a / E= a ir / u a/ U= b o o r ish A su m m a r y of the sy m b o ls u sed to ind icate con son an ts fo llo w s. The ending IX m a rk s the -in g p a rticip ia l ending w h ose eigh teen th - cen tu ry pronu nciation v a r ie s b etw een /I N / and /Irj/. P h o n em ic Sym bol E ncoding Sym bol E xam p le / b / B boy / d/ D d_og / f / F _find / g / G .ga^ / h / H hat / j / Y ^ e t / k / K c^all / ! / L _look / m / M m an / n / N not / p / P £ a n / r / R £ u n / s / S jsee It/ T _top / v / Y v ita l / w / W win / z / Z d am s / a / # rin g / s / $ shush / z / Q le is u r e / c l T$ ch u rch /}/ J judge / ©/ ) thin / « / ( then S p e c ia l m a r k e r s in the te x ts include: 1. The plu s sig n to m a r k s t r e s s e d v o w e ls in th e tr a n s c r ib e d te x t and to m a r k the begin n in g of v e r s e p a ra g ra p h s. 2. The p e r ce n t sig n to m a r k the e x cla m a tio n point in the 38 tr a n sc rib ed text (the printed copy of the o rig in a l tex t d oes not contain ex cla m a tio n points sin ce the co m p u ter's line p rin ter d o es not have that sym bol). 3. The A rabic n u m era ls 1 and 2 to note the pronunciation d if fe r e n c e betw een orth ograp h ically id en tical w ords such as the noun in cen se (tra n scrib ed I+NSENS) and the verb in c en se (tran scrib ed INSE+NS); b etw een the noun te a r s (tra n scrib ed TI+RZ) and the verb te a r s (tra n scrib ed TE=+RZ); betw een the s tr e s s e d noun w ill (tra n scrib ed WI-fL) and the u n str e sse d a u x ilia ry verb w ill (tra n scrib ed WIL). 4. The A rabic n u m eral 3 to m ark the le ft p a ren th esis in the tr a n sc rib ed text. 5. The A rabic n u m eral 4 to m ark the right p a ren th esis in the tra n scrib ed text. 6. The A rabic n u m eral 5 to note the p r e se n c e of verb al p a r tic le s , the ad verb ial fo r m s in verb al p h ra ses such as look up and b u rst forth. 7. The A rabic n u m eral 8 to note the p osition in those w ords fr o m w hich the author had ind icated orth ograp h ically in the o rig in a l text that he had dropped the e of the past ten se ending; for in sta n ce , dropp'd is r ep resen ted in the o rigin al text as dropp8d and tr a n sc rib ed as D R |+P 8T and ador'd is r e p r e se n te d as ador8d and tra n scrib ed >D|+R8D. This phenom enon has been la b eled orthographic e lisio n . 8. The A rabic n u m era l 9 to note the p osition in a w ord fro m w hich the author has ind icated orth ograp h ically in the origin al tex t that he had dropped a n o rm a lly pronounced sy lla b le or sound (excep t the e of the p ast te n se ending w hich w as m ark ed with an 8); for in sta n ce, tow 'ring is rep re sen ted in the o rig in a l text as tow 9ring and t r a n s crib ed as TA=+9RIX. This phenom enon has been la b eled orth ograp h ic-p h on etic e lisio n . S tr e ss w as coded accord in g to the follow ing p r in c ip les. F or p olysyllab ic w o rd s, only the prin cip al s t r e s s w as m ark ed as su g g e ste d by H alle and K ey ser in E n g lish S tr e ss and in "Chaucer and the 39 Study of P rosod y. " F o r m on osyllab ic w ords, word s tr e s s was m arked according to the p rin cip les for str e ssin g w ords in B ritish E n glish sen ten ces outlined by D aniel Jones in An Outline of E nglish 3 P h onentics and by H alle and K eyser in E nglish S t r e s s . W ords u su ally s tr e s se d include: 1. au xiliary v erb s introducing a question; 2. fo r m s of the verb to be occu rring at the end of a sen tence and not p reced ed by a subject; 3. fo r m s of the verb to do in affirm ative sentences; 4. in terro g a tiv e pronouns; 5. conjunctions introducing initial dependent cla u ses; 6. verb al p a r tic le s, the adverbial fo r m s in verb p h ra ses such a s look up and bring forth ; 7. m o re and m o s t; 8. m on osyllab ic nouns, v erb s, a d jectiv es, and adverbs. W ords u su ally u n stre sse d include: 1. au x ilia ry verb s u n less they (a) introduce a question, or (b) are a fo rm of the verb to be occurring at the end of a sen ten ce and not p reced ed by a subject, or (c) are a fo rm of the verb to do in an affirm ative sentence; 2. p repositions; 3. all pronouns except in terrogative pronouns. The text w as p rem arked w here n e c e s s a r y to reflect th ese p rin cip les. F or in stan ce, verb al p a r tic le s w ere m arked in the text with an A rabic nu m eral 5 a s in the follow ing line fro m Milton: 40 "M aim 'd h is brute im a g e , head and hands lopt off(5 )M (P L I, 459) Other p rem a rk in g a lso noted the r e la tiv e ly in freq u en t, stron g r h e to r i c a l s t r e s s on n o r m a lly u n s t r e s s e d pronouns (m o st often o ccu rrin g in 4 M ilton). T his w as m a rk ed w ith an A rab ic n u m era l 1 or 2, a s in the follow in g lin e fr o m Milton: "With t h e s e ( l) c a m e th e y ( l), who fr o m the b ord 9rin g flood" Through such p rem a rk in g of the tex t, th is in v e stig a to r tr ie d to iso la te c e r ta in p ro so d ic fe a tu r e s , such as the u se and lo ca tio n of p a r tic le s , w hich m igh t d isc r im in a te or m o r e c le a r ly define an a u th o r’s sty le . Such p rem a rk in g d o es, h o w e v e r, p r e se n t a c e r ta in b ia se d view of the text; another r ea d er of M ilton , for in sta n ce , m igh t not s t r e s s th ese and they in the line: "With t h e s e ( l) ca m e th e y (l), who fr o m the b ord rin g flood" (P a r a d ise L o st, I, 417). W hile it is w ise to note th is b ia s through p rem a rk in g , it d o es not sig n ifica n tly a ffect the r e s u lts . V ery few lin e s req u ired such prem ark in g; m o s t c a s e s (e s p e c ia lly not o c cu rr in g in M ilton) w e re quite c le a r - c u t in req u irin g unusual s t r e s s ing of n o r m a lly u n s t r e s s e d w o r d s, and w h atever b ia s is p r e se n t fr o m the p rem a rk in g w ill o ccu r c o n siste n tly throughout a ll of the te x ts and th e r e fo r e should have a m in im a l e ffe c t on c o m p a r iso n s b etw een au th ors. The follow in g p a ssa g e fr o m N ight Thoughts (lin e s 5 4 -5 8 of "Night the F irst" ) e x e m p lifie s the r e s u lt of the tr a n sc r ip tio n ph ase of the scan n in g p r o ced u re. The o r ig in a l v e r sio n of each lin e of the text 41 is follow ed by its tra n scrib ed v e rsio n , a v e rsio n rep resen tin g the sounds and s t r e s s e s in the original lin es (rather than the orthography) as w e ll as the original punctuation. The succeed in g steps of the scanning proced ure d eal only with the tran scrib ed or phonem ic v e r sion of the lin e s. THE BELL STRIKES ONE. WE TAKE NO NOTE OF TIME (> BE+L STRA*+KS W>/+N. W l/ TE*+K N 0 *+ NO*+T > V TA*+M BUT FROM ITS LOSS. TO GIVE IT THEN A TONGUE B>T FR>M ITS Ll+S. TU / Gl+V IT (EN > T > /+ # IS WISE IN MAN. AS IF AN ANGEL SPOKE, IZ WA*+Z IN M<+N. < Z IF <N E*+NJ>L SPO*+K, I FEEL THE SOLEMN SOUND. IF HEARD ARIGHT, A *IF /+L (> SI+L>M SA=+ND. IF HE+RD >R A *+T, IT IS THE KNELL OF MY DEPARTED HOURS; IT IZ (> NE+L > V MA* DIPA+RTID A=+@/RZ; N ext, the com puter scanned the ph onem icized texts using two com puter p rogram s developed by R obert D illigan. The fir st program , called PRSKAN, noted the o ccu rren ce of certain m e tr ic a l phenom ena, record ed th ese notations on a m agn etic com puter tape and then p a ssed th ese notations along to the second p rogram , called SKAN, w hich 5 sorted and tabulated them . PRSKAN1 s m ain task w as to a ssig n sy lla b les to p osition s within the lin e. To this end, PRSKAN num bered the sy lla b les in a lin e fro m left to right. If th ere w e re ten sy lla b le s, a o n e-to -o n e occupancy of sy lla b le s to positions w as a ssu m ed . If th ere w e re few er than ten sy lla b le s, PRSKAN listed the line and its identifying num ber along w ith a m e s s a g e that this lin e "will be checked for c a ta le x is. " 42 If th ere w e r e m o r e than ten s y lla b le s in a lin e, PRSKAN c o n sid e r e d and lis te d a ll p o s s ib le e lis io n s or co m b in a tio n s of e lis io n s w hich would prod u ce a t e n - s y lla b le lin e. F o r ex a m p le, the follow in g lin e fr o m T h o m so n 's W inter co n ta in s e le v e n s y lla b le s and tw o elid a b le s y lla b le se q u e n c e s. PRSK AN f ir s t lis te d the o r ig in a l v e r s io n of the lin e and then the tr a n s c r ib e d v e r sio n ; the X 's under the tr a n s c r ib e d v e r s io n in d ica te the tw o p o s s ib le e lid a b le sy lla b le seq u en ces. PRSK AN then lis te d tw o p o s s ib le a s sig n m e n ts of s y lla b le s to p o sitio n s: ea ch a ssig n m e n t c o n s id e r e d one of the p o ssib le e lis io n s , each e lis io n u n d e r sc o r e d by an X. THEN SW E P T O'ER A U TU M N WITH THE SHADOWY GALE; (EN SW E +P T I9R l+T>M WI) (> $<+DO*I GE++L; X X X X X XXX (EN SW E +PT I9R l+T M WI) (> $<DO*I GE*+L; X (EN SW E +PT I9R I +T>M WI) (> $<+D *1 GE*+L; X The sp e c ific p r o c e d u r e w hich a s sig n e d s y lla b le s to p o sitio n s and w h ich judged m e t r ic a lit y in the H a lle - K e y s e r s y s te m w a s: 1. N u m b er the s y lla b le s in the lin e fr o m le ft to right. 2. If the n u m b er of s y lla b le s e x c e e d s the p erm itted n u m b er, c h e c k fo r e x t r a - m e t r ic a l s y lla b le s in v e r s e - f in a l p o sitio n . 3. If a fter the e lim in a tio n of any e x t r a - m e t r ic a l s y lla b le s in v e r s e - f in a l p o sitio n , the nu m ber of s y lla b le s s t ill e x c e e d s ten , id en tify a ll p o s s ib le a s s ig n m e n ts of s y lla b le s to p o s i tio n s that y ie ld the p e r m itte d nu m ber. 4. If the n u m b er of s y lla b le s eq u a ls the p e r m itted nu m b er 43 and the la s t syllab le is u n stre sse d , co n sid er the p o s s ib il ity that p osition one is vacant. 5. If the num ber of sy lla b le s is one le s s than the p erm itted num ber, co n sid er the p o ssib ility that p osition one is vacant. 6. A line is u n m etrica l if it is im p o ssib le to adjust the sy lla b le s to y ield the p erm itted num ber of p osition s. 7. E valuate all p o s s ib ilitie s for m e trica lity . 8. E valuate all m e tr ic a l p o s s ib ilitie s fo r com plexity. 9. A line is m e tr ic a l if at le a s t one p o ssib le a ssig n m en t is m e tr ic a l. In the even t that m o re than one p o ssib ility is m e tr ic a l, the le a st co m p lex p o ssib ility is chosen. The m a ter ia l c o lle cte d by PRSKAN w as next p a ssed on to SKAN for tabulation. SKAN evaluated for m e tr ic a lity and com p lexity w ithin the H a lle -K e y s e r s y ste m a ll of the phoneraicized lin e s of the tex t as w e ll as each of the p o ssib le v e r sio n s PRSKAN had produced of the lin e s requiring e lisio n . Of the p o ssib le m e tr ic a l v e r s io n s of such lin e s , SKAN se le c te d for a n a ly sis that v e r s io n of each lin e with the lo w e st co m p lex ity count. If two or m ore v e r s io n s of a lin e contained the sam e lo w e st c o m p le x ity count, SKAN liste d th ese lin e s and s e le c t ed one for a n a ly sis. F o r each sam ple, SKAN a lso lis te d the origin al v e r s io n of each lin e of the text follow ed by the phonem ic or tr a n sc rib ed v e r s io n it u sed for a n a ly sis. T h ese listin g s of the te x ts are in cluded in the appendixes to th is study,^ a s are ta b les containing in fo r m ation c o lle c te d by SCAN about the p r e se n c e and lo ca tio n of s tr e s s e d 44 s y lla b le s , s t r e s s m a x im a , e lis io n , punctuation, and a sso n a n c e and a lliter a tio n . The co m p u ter a ls o p rin ted nine s m a ll grap h s su m m a r iz in g and sp e cify in g so m e of the in fo rm a tio n p r e se n te d in the la r g e ta b le. One of th e s e , the lin e s t r e s s graph, p lo ts the d istrib u tio n of s t r e s s e s w ithin the lin e s in the sa m p le . F o r e x a m p le , the fo llo w in g graph p lo ts the lin e s t r e s s in B ook III of C o w p er's The T a s k . The f ir s t co lu m n , la b e le d POS fo r PO SITIO N , lis t s the v a r io u s sy lla b le p o s i tio n s f r o m 1 to 1 1 --b eg in n in g the n u m b erin g fr o m the le ft sid e of the lin e and inclu ding (in p o sitio n 11) the p o s s ib ility of an e x t r a - m e t r ic a l sy lla b le . The sec o n d colu m n , la b e le d V A L U E , l i s t s the n u m ber of tim e s in the sa m p le a s t r e s s o c c u r r e d in the f ir s t p o sitio n of the lin e (218), the n u m ber of t im e s a s t r e s s o c c u r r e d in the seco n d p o sitio n (6 2 7 ), etc . The th ird colu m n , la b e le d P E R C E N T , l i s t s the p er ce n ta g e of s t r e s s e s that f e ll in the f ir s t p o sitio n in the lin e (5. 7552), etc. The la s t co lu m n p lo ts the p er ce n ta g e of s t r e s s e s fa llin g in each p o sitio n on a o n e -to -o n e s c a le , one X fo r ea ch p e r ce n ta g e point. In th is c a s e m o s t of the s t r e s s e s f e ll in e v en -n u m b e r ed p o sitio n s, with p ro p o rtio n a te ly slig h tly m o r e in the tenth p o sitio n , slig h tly l e s s in the eighth p o sitio n . The f ir s t p o sitio n co n ta in s sig n ific a n tly m o r e s t r e s s e s than the oth er o d d -n u m b ered p o sitio n s. 45 LINE STRESS 7 THE TASK: BOOK IH MAXIMUM VALUE: 828 SCALE 1:1 GRAPH IN PERCENTAGE OF TOTAL TOTAL 377 6 POS VALUE PERCENT 1 218 5. 7552 x x x x x 2 627 16. 5528 x x x x x x x x x x x x x x x x 3 70 1. 8480 X 4 673 17.7672 x x x x x x x x x x x x x x x x x 5 66 1. 7424 X 6 607 16.0248 x x x x x x x x x x x x x x x x 7 62 1. 6368 X 8 572 15.1008 x x x x x x x x x x x x x x x 9 51 1. 3464 X 10 828 21. 8592 x x x x x x x x x x x x x x x x x x x x x 11 2 0. 0528 SKAN printed sim ila r graphs for the occu rren ce and position within the sam ple of the following: 1. S tr e ss m axim a 2. A sson atin g sy lla b les 3. A lliteratin g sy lla b les 4. The coincidence of asson ating and alliteratin g sy lla b les 5. Punctuation (occurrin g after the sp ecified position) 6. Orthographic a lly -im ita ted e lisio n (elisio n indicated for p ast p a rticip les, a s in drop't) 7. O rthographic-phonetic e lisio n (m edial e lisio n indicated as in to w 1 ring) 8. V erbal p a rticles. 7 A ll of th ese graphs a re located in the resp ectiv e appendixes. T his inform ation is u sefu l for studying sp ecific prosodic fea tu res, for identifying, for instan ce, the particular p rosodic and 46 th em a tic en viron m en t in w hich a p a rticu la r poet u s e s a p a rticu la r p ro so d ic fea tu re. The g r ea t advantage of having a ll of the above in fo r m a tio n sto red on a com p u ter tape i s that th is in form ation can be r e so rted or rea rra n g ed quick ly and e a sily . Som e r e a r r a n g e m e n ts a l read y have b een m ad e. The ap p en dixes con tain ta b le s of the s t r e s s m a x im a p a ttern s, a sso n a n c e p attern s, and a llitera tio n p a ttern s for a ll of the lin e s in each sa m p le, ea ch tab le listin g the identifyin g num b e r s of a ll the lin e s w hich share a p a rticu la r p ro so d ic fea tu re. F o r in sta n ce , one tab le l i s t s the 75 lin e s in the Young sa m p le w hich co n tain a s t r e s s m a x im u m only in p o sitio n 8. Such a l is t is v e r y helpful in tra cin g the p ro so d ic and th em a tic en v iro n m en ts in w hich Young u t iliz e s such lin e s . In th is and other such lis t s , the identifyin g num b er fo r each lin e ap p ea rs f ir s t , fo llow ed by the s t r e s s m a x im a pat tern . The li s t in clu d es: 40015 8 40091 8 40109 8 40131 8 40132 8 In th is c a s e , the f ir s t p art of the lin e co d e, the 4, id e n tifie s the author and se c tio n of the poem ; Young is p oet num ber 3, the lin e c o m e s fr o m s e c t i o n l , "Night the F ir s t , " and to g e th er , 3 p lu s 1, the code for p oet and se c tio n is 4. The code fo r the other p o ets and 47 sec tio n s ap p ears in the appendix. The secon d p art of the lin e code id en tifies the lin e num ber w ithin the section . T h erefo re, the lin e s above a r e , r e sp e c tiv e ly , lin e s 15, 91, 109, 131, and 132 fr o m the tex t p resen ted in the appendix of "Night the F irst" of N ight T houghts. A ll of the lin e n u m b ers in th is study r efer to the ed ition s of the tex ts contained in the appendix to th is study. Other ta b le s in the appendix u sefu l for tra cin g the p rosod ic and them atic en viron m en ts in which a poet u s e s a p articu lar p rosod ic featu re include th ose ta b les which lis t the lin e s sharing p articu lar p attern s of a sso n a n ce and allitera tio n . F o r in stan ce, the table of a llitera tio n p attern s r e v e a ls that the follow ing lin e s, lin e 54 of "Night the F irst" and lin e 219 of "Night the Ninth" of Y oung’s N ight Thoughts share the a lliter a tio n patter 112332: 1 1 2 3 3 2 The b e ll str ik e s one: w e lake no note of tim e, 1 1 2 3 3 2 W h ere(l), w h e r e (l), for sh e lte r, shall the guilty fly, The n u m b ers in the a lliter a tio n (or asson an ce) pattern s refer to the fir s t, second , and third allitera tin g (or asson atin g) sound. The ta b les in the appendixes a lso rank the v a rio u s p attern s of s t r e s s m a x im a , a llitera tio n , and a sso n a n ce accord in g to th eir f r e quency of o ccu rr e n c e, a s , for in sta n ce, in the follow ing rank ord er lis t of the ten m o st frequent s t r e s s m a x im a p attern s in th e Young sam ple: 48 88 Z 4 8 79 6 75 8 73 2 6 73 4 8 65 6 8 59 2 6 8 59 4 6 56 2 4 6 54 N U L L In such ta b le s , the f i r s t co lu m n l i s t s the nu m ber of lin e s in w hich a p a r tic u la r p attern a p p e a r s, the sec o n d co lu m n l i s t s the p a rticu la r pattern , h e r e the s t r e s s m a x im a p a ttern s in the Young sa m p le . An ex a m in a tio n of th is p a ttern r e v e a ls that Young freq u en tly w ro te lin e s with tw o or fe w e r s t r e s s m a x im a . A s w ill be d is c u s s e d at g r e a te r length in the Young c h a p ter, Y o u n g 's p a r tic u la r p r e fe r e n c e fo r s t r e s s m a x im a p a ttern s is d is tin c tiv e and it h e lp s to d ifferen tia te h is p r o sodic sty le fr o m th o se of th e other p o ets. L et u s then s e e m o r e s p e c if ic a lly how the p ro so d ic c o n c o r d a n ce s g e n era ted by the co m p u te r and p r e se n te d in the ap p en d ix es to th is study h elp id en tify p r o so d ic c h a r a c t e r is t ic s of ea ch a u th o r 's sty le a s w e ll a s the p a r tic u la r p r o so d ic and th em a tic en v ir o n m e n ts in w hich th e s e c h a r a c t e r is t ic s app ear. 49 N otes ^Robert A. P e t e r s , A L ingu istic H istory of E n glish (B oston, 1968), p. 112. 2 D aniel J o n es, Outline of E n glish P h on etics (9th ed. ; C a m b rid ge, I960). 3 H alle and K e y se r , "Chaucer and the Study of P ro so d y ," p. 188; H alle and K e y se r , E n glish S t r e s s , pp. 145, 164; and J o n es, Outline of E n glish P h o n e tic s . 4 The p rem arking of th ese tex ts does not violate the gen eral intent of the s tr e s s in g ru les outlined above. The ru les outline the n orm al s t r e s s in E n glish sen ten ces with neutral e m p h a sis . The p r e - m arking in this text only noted in sta n ces of strong rh eto rica l s t r e s s , in sta n ces not d escrib ed by the te r m "neutral em p h a sis." 5 S p ecifica lly , PRSKAN c o lle cte d the follow ing inform ation for the tra n scrib ed (or ph onem icized) texts; (1) the o ccu rren ce and location of ea ch vowel; (2) the o ccu rren ce and location of each in itial consonant or consonant clu ster; (3) the num ber of sy lla b le s in each line; (4) the s t r e s s pattern of each line; (5) the o ccu rren ce and location of all punctuation; (6) for each line of m o re than ten sy lla b le s, all of the p o ssib le a ssig n m e n ts of sy lla b le s to the ten p osition s u tilizin g all p o ssib le e l i sion s betw een vo w els and over the sonorant con son an ts, 1, r, m , n, and h; (7) the num ber of w ords per line; (8) the num ber of o n e -, tw o -, th r e e -, etc. , syllab le w ords per line. At the end of each sectio n within the sam ple (such as at the end of Book I of P a r a d ise L o s t, or at the end of "Night the F ir s t" of Night Thoughts) and at the end of each sa m p le, PRSKAN listed : (1) the title and author of the sam ple; (2) the num ber of sy lla b le s in the sam ple; (3) the num ber of w ords in the sam ple; (4) the num ber of sen ten ces in the sam ple; (5) the average sen ten ce length in sy lla b les; (6) the a v era g e sen ten ce length in w ords; (7) the a v era g e word length in sy lla b les; (8) the num ber of o n e -, tw o -, th r e e -, etc. , syllab le w ords in the sam ple; 50 (9) the nu m ber of o n e - , tw o -, t h r e e - , e tc . , sy lla b le s e n te n c e s in the sam p le; (10) the n u m ber of o n e - , tw o -, t h r e e - , e tc . , w ord se n te n c e s in the sa m p le . At the end of the e n tir e sa m p le , PRSK AN a lso liste d : (1) the id en tifyin g n u m b ers of the lin e s fo r w hich it could not find a s a tis fa c to r y a ssig n m e n t of s y lla b le s to p o sitio n s; (2) the nu m ber of lin e s for w hich it found z e r o , o n e, tw o, e tc . , p o s s ib le a ssig n m e n ts of s y lla b le s to p o sitio n s; (3) the id en tifyin g n u m b ers of the lin e s for w hich it found the g r e a t e s t n u m b er of p o s s ib le e lis io n s . 6 F o r e a ch se c tio n of a sa m p le and for ea ch to ta l sa m p le , SKAN a lso tab u lated and lis te d the follow ing: (1) fo r the co m p le te sa m p le , the nu m ber of s e c tio n s w ithin the sam p le; (2) the nu m ber of s y lla b le s in the sam p le; (3) the n u m ber of s t r e s s m a x im a in the sam p le; (4) the p ercen ta g e of the s y lla b le s that w e re s t r e s s m axim a; (5) the n u m ber of lin e s in the sam p le; (6) the p ercen ta g e of lin e s that con tain ed s t r e s s m axim a; (7) the n u m ber of lin e s w ithout s t r e s s m axim a; (8) the n u m ber of tr o c h a ic lin e s , if any; (9) the p ercen ta g e of tr o c h a ic lin e s , if any; (10) the n u m ber of am b igu ou s lin e s (lin e s havin g th ree or m o r e s t r e s s e d s y lla b le s in a row w ithout an in terv en in g sy n ta ctic break); (11) the p ercen ta g e of am b igu ou s lin es; (12) the n u m ber of a sso n a tin g s y lla b le s in the sa m p le; (13) the p ercen ta g e of a sso n a tin g sy lla b le s; (14) the nu m ber of lin e s con tain in g a sso n a tin g sy lla b le s; (15) the p ercen ta g e of lin e s con tain in g a sso n a tin g sy lla b le s; (16) the nu m b er of a sso n a tin g p attern s; (17) the n u m ber of a llite r a tin g sy lla b le s; (18) the p ercen ta g e of a llite r a tin g sy lla b le s; (19) the nu m ber of lin e s con tain in g a lliter a tin g sy lla b le s; (20) the p ercen ta g e of lin e s con tain in g a llite r a tin g sy lla b le s ; (21) the nu m b er of a llite r a tin g p attern s; (22) the n u m ber of lin e s w ith c o in cid en t a sso n a n c e and a llitera tio n ; (23) the p ercen ta g e of lin e s w ith co in cid en t a sso n a n c e and a llitera tio n ; (24) the n u m ber of s y lla b le s w ith co in c id e n t a sso n a n c e and a llitera tio n ; 51 (25) the p ercen ta g e of sy lla b le s with coin cid en t a sso n a n c e and alliteration ; (26) the nu m ber of lin e s ex ceed in g the sp e c ifie d H a lle -K e y s e r co m p lex ity count of four; (27) the p ercen ta g e of lin e s e x ceed in g the sp e cified H a lle - Key se r co m p lex ity count of four; (28) the a v era g e H a lle -K e y s e r co m p lex ity of lin e s w ithin the sam ple; (29) the num ber of a m e tr ic a l lin e s or 'excep tion al' lin e s; (30) the p ercen ta g e of a m e tr ic a l or 'excep tion al' lin es; (31) the num ber of lin e s to be elided; (32) the num ber of lin e s sh o rter than the sp e c ifie d ten sy lla b les; (33) the a v era g e num ber of w ord s per line; (34) the nu m ber of p o ssib le a ssig n m e n ts of sy lla b le s to p o s i tion s in the sam ple; (35) the n u m ber of elid ab le ad ju stm en ts in the sam p le (the num ber of p o ssib le a s s ig n m e n ts , req u irin g e lis io n , of s y lla b le s to position s); (36) the nu m ber of c a ta le c tic ad justm ents (num ber of lin e s that w ere ca ta lectic); (37) the nu m ber of optional E 's (m ore pertinent to the a n a ly sis of m e d ie v a l v e r s e than to m o d ern v erse); (38) the num ber of optional E 's after elisio n ; (39) the p ercen ta g e of optional E 's; (40) the num ber of orth o g ra p h ica lly im ita ted e lis io n s (past p a rticip ia l endings in d icated with jt or 'd as in d rop 't); (41) the nu m ber of o rth ograp h ic-p h on etic e lis io n s (m ed ial e lis io n s in d icated o rth o g ra p h ica lly in the o rig in a l tex t as in to w 'r in g ); (42) the n u m ber of v erb a l p a r tic le s (the ad verb ial fo r m in such verb fo r m s a s b u rst fo rth ); (43) the nu m ber of lin e s with one s t r e s s m axim u m ; (44) the nu m ber of lin e s with two s t r e s s m axim a; (45) the n u m ber of lin e s with th ree s t r e s s m axim a; (46) the n u m ber of lin e s w ith four s t r e s s m axim a; (47) the n u m ber of lin e s with fiv e s t r e s s m a x im a . The ta b les contain ing th is in form ation for each author are in clu d ed in the ap p en d ixes. 7 SKAN a lso listed : (1) the id en tifyin g n u m b ers of all the iam b ic lin e s in the sam ple; (2) the id en tifyin g n u m b ers of the lin e s w ith no s t r e s s m axim a; (3) the id entifyin g n u m b ers of the lin e s with one s t r e s s m axim um ; 52 (4) the id en tifyin g n u m b ers of the lin e s w ith two s t r e s s m axim a; (5) the id en tifyin g n u m b ers of the lin e s w ith th r e e s t r e s s m a x im a ; (6) the id en tifyin g n u m b ers of the lin e s w ith fou r s t r e s s m axim a; (7) the lin e s w ith w eak or fem in in e endings; (8) the a m e tr ic a l lin es; (9) the id en tifyin g n u m b ers of the lin e s req u irin g e lis io n ; (10) the c a ta le c tic lin es; (11) the lin e s e x c e e d in g the sp e c ifie d co m p lex ity ; (12) the lin e s w ith m o r e than one p o s s ib le m e t r ic a l sca n sio n ; (13) the lin e s w ith th re e or m o r e s u c c e s s iv e s t r e s s e s ; (14) the id en tifyin g n u m b ers of the lin e s havin g c o in c id e n t a sso n a n c e and a llitera tio n ; (15) the lin e s w ith m o r e than one a s s o n a tin g /a llite r a tin g sy lla b le; (16) the lin e s w ith tr o c h a ic a s s o n a tin g /a llite r a t in g sy lla b le s ; (17) the lin e s w ith ia m b ic a s s o n a tin g /a llite r a tin g s y lla b le s . A ll of the in fo rm a tio n d e s c r ib e d above is p r e se n te d fo r e a c h author in the a p p en d ix es. CHAPTER III A DESCRIPTION OF M ILTON'S PROSODY This chapter d e sc r ib e s M ilton 's prosody. The chapter fir s t b riefly c o n sid e r s the adequacy of H alle and K e y se r 's s tr e s sin g co n v en tion s. It then d is c u s s e s M ilton's handling of s t r e s s and s tr e s s m axim a p attern s, e s p e c ia lly h is d ifferent treatm en t of the q u ieter p a ssa g e s in P a r a d ise L ost as opposed to the c lim a c tic p a ssa g e s and h is u n d er sco rin g of th em atic points by the m e tr ic a l fra m ew o rk in which th ose points are m ad e. The chapter also d is c u s s e s other fe a tu re s of M il ton 's handling of s t r e s s , including h is o c ca sio n a l u se of lin e s having a s t r e s s m axim u m in p osition 10, h is d isa sso c ia tio n of h is s tr e s s m a x im a p attern s fro m p articular pattern s of s t r e s s p lacem en t or sy n tactic p attern s, h is handling of s tr e s s to highlight h is m o d ifie r s, and h is handling of s e r ie s of s tr e s s e d sy lla b le s in a row. F u rth er, this chapter argu es that the H a lle -K e y se r th eory of co m p lex ity d oes not adequately d e sc r ib e the se n se d com p lexity of M ilton 's lin e s , and in support, it d is c u s s e s th is com p lexity as w ell as M ilton 's p ra ctice of e lis io n , h is u se of p o ly sy lla b ic w ord s, and h is u se of asso n a n ce and a llitera tio n . 53 54 The M ilton sa m p le w a s c h o s e n fr o m the f i r s t 1026 lin e s of P a r a d ise L o st, the 798 lin e s of B ook I and the f ir s t 228 lin e s of Book II. The tex t w a s p r e m a r k e d as d e s c r ib e d in the la s t ch a p ter to in d i ca te u n usual s t r e s s on n o r m a lly u n s t r e s s e d verb fo r m s su ch as In w hich th ey w e r e ( l) , or the f ie r c e p a in s not f e e l (I, 336) or on n o r m a lly u n s t r e s s e d pronou ns such a s With th ese( 1) c a m e t h e y ( l), who fr o m the b ord rin g flood (I, 417). In its s c a n sio n , the co m p u te r d e c la r e d two lin e s u n m e tr ic a l w hich point out a p ro b lem w ith the H a lle -K e y s e r m eth o d o lo g y a lrea d y noted by K aren Lynn in her tr e a tm e n t of fa ls e w eak en d in gs in C hau cer and the S co ttish C h a u c e r ia n s . ^ T his p ro b lem c e n te r s on H alle and K e y s e r 's p r a c tic e of m a rk in g a s s t r e s s e d on ly the sy lla b le c a r r y in g p r im a r y s t r e s s in a p o ly s y lla b ic word; any sy lla b le c a r r y in g seco n d a ry s t r e s s i s c o n s id e r e d u n s t r e s s e d . "We sh a ll take the c o n s e r v a tiv e (and no doubt a r tific ia l) p o sitio n that sim p le w o rd s a re su pp lied w ith only a 2 sin g le s t r e s s e d s y lla b le ." In the a n a ly s is of M ilto n 's p ro so d y un d ertak en in th is study, a c o n sid e r a tio n o f sec o n d a ry s t r e s s in w ord s as su g g e ste d above w ould have b een h elp fu l in tw o lin e s d e c la r e d u n m e tr ic a l in the co m p u ter sc a n sio n s w ith in the H a lle -K e y s e r th eo ry . In th o se lin e s , w hich f o l low , both a rch a n g el and o m n ip o ten t have b e e n m a rk ed in a c co r d a n ce w ith H a lle and K e y s e r 's co n v en tio n " sim p le w o rd s are su p p lied with 3 only a sin g le s t r e s s e d sy lla b le ." 55 L e s s than arch an gel ruind, and th' e x c e s s (I, 593) W hich but th' om nipotent none could have foyld, (1,273) In the f ir s t of th ese lin e s , arch an gel n orm ally c a r r ie s a double s t r e s s , a rch a n g el; s tr e s s in g only one syllab le v iolates n orm al lin g u istic str e ss, and fu rth er, s tr e s s in g only the f ir s t syllab le (the m o st probable r h e to r ic a l s t r e s s in th is lin e) c r e a te s a s t r e s s m axim u m in p osition 3. The lin e could be ren d ered m e tr ic a l by s tr e s sin g only the secon d s y l lable (in accord an ce with H alle and K e y se r 's s tr e s sin g convention) to place a s tr e s s m a x im u m on the fourth position , but th is v io la tes the rh eto rica l s t r e s s in the line: Satan's fo rm has not y et appeared " less than a rch an gel ruind," arch an gel in co m p a riso n to the other ranks of angels above whom he at that m om en t to w e r s, arch an gel still p o s s e s s ing so m e of h is "original b righ tn ess" and " e x ce ss of glory." The b est solution to the prob lem posed by th is line s e e m s to be to c o n sid er s e c ondary s t r e s s , to s t r e s s both of the norm ally s tr e s s e d sy lla b le s in a rch a n g el. The adjacent s t r e s s e s would then n eu tralize ea ch to oth er, the potential u n m e tr ica l s t r e s s m axim um is avoided, the line is r e n dered m e tr ic a l, and the word c a r r ie s its norm al lin g u istic s t r e s s . A s o r ig in a lly scanned with only the p rim ary s t r e s s m ark ed on om nipotent, the secon d line c a r r ie d a s tr e s s m axim um on none in position 7. The lin e could e a s ily be ren d ered m e tr ic a l w ithin the H a lle -K e y ser th eo ry , h o w ev er, by noting that the la st sy lla b le of om nipotent c a r r ie s a secon d ary s t r e s s which could n eu tra lize the 56 ad jacent p r im a r y s t r e s s on n o n e , thus avoiding the r e su ltin g s t r e s s m a x im u m on none in p o sitio n 7. H o w ev er, fo r such lin e s as th is , H alle and K e y se r have p rovid ed another a ltern a tiv e in the r e v is io n of th e ir th eo r y in E n g lish S t r e s s . A s m en tion ed e a r lie r , h e r e th ey r e defin ed the s t r e s s m a x im u m to be a s t r e s s e d sy lla b le o c c u r r in g only "betw een two u n s t r e s s e d s y lla b le s in the sa m e sy n ta ctic co n stitu en t 4 [ita lic s m in e]." Invoking th is la te r d efin ition of the s t r e s s m a x im u m a llo w s one to argue that the s t r e s s on none in p o sitio n 7 fa lls ad jacen t to an u n s t r e s s e d sy lla b le in another sy n ta ctic c o n stitu en t. T h e r e fo r e none cannot be a s t r e s s m a x im u m and the lin e i s p e r fe c tly m e t r ic a l w ithin the H a lle -K e y s e r th eo ry . F o llo w in g oth er s t r e s s in g co n v en tio n s c r e e a te d oth er p r o b le m s . In "C haucer and the Study of P r o so d y ," H alle and K e y se r announce that th ey " a ssu m e s t r e s s su b ord in ation in com p ou n d s but le v e l s t r e s s in 5 noun p h r a s e s and the lik e ." On th is a ssu m p tio n , s e a - b e a s t and lo v e - ta le w e re en co d ed w ith a sin g le s t r e s s fa llin g on the f ir s t noun of the com pou nd. T h is c r e a te d the fo llo w in g u n m e tr ic a l lin e s con tain in g s t r e s s m a x im a in p o sitio n 9: By a n cien t T a r s u s h e ld , or that s e a - b e a s t (1,200) Of T h am m u s y e a r ly wounded: the lo v e - t a le (I, 452) The only w ay to c o n s id e r th e se lin e s a s m e t r ic a l w ithin the th eo ry w ould be to a llo w the seco n d noun in e a c h of the com p ou n d s to c a r r y s t r e s s and th e r e fo r e to n e u tr a liz e the s t r e s s m a x im a on the f i r s t noun. 57 In Outline of E n g lish P h o n e tic s , D aniel Jon es reco m m en d s ju st such a treatm ent: "F oreign le a r n e r s should note p a rticu la rly the c a se of one w ord qualifying another. Both the w ords have as a rule strong .,6 s t r e s s . By follow ing th is su g g estio n , th ere a re no u n m etrica l lin e s in the M ilton sam ple and the H a lle -K e y ser th eory se e m s to d escrib e a d e quately all of the lin es in the sam ple fro m P a ra d ise L o s t. There is , h o w ev er, an even stro n g er verification of the H a lle -K e y se r d escrip tio n of M ilton 's d eca sy lla b ic lin e. H alle and K ey ser v isu a lize the iam bic p entam eter line as a s e r ie s of ten p o sitio n s or sy lla b le s in which som e or all of the ev en -n u m b ered p osition s contain s t r e s s m axim a. If such a th eory w ere co n firm ed in p ra c tic e, a graph plotting the num ber of s tr e s s m a x im a in each of the ten p o sitio n s should look quite like the follow ing graph plotting s t r e s s m axim a in the sam ple fro m P a ra d ise L ost. The colum n la b eled "Position" r e fe r s to the p osition s within the lin e, that lab eled "Value" r e fe r s to the num ber of s t r e s s m axim a o c cu rrin g in a given p osition in the total sa m p le, that lab eled " P e r centage" r e fe r s to the p ercen tage of s t r e s s m a x im a w hich occu r in any given position. The s e r ie s of X's r e p r e se n ts the percentage of s t r e s s m a x im a found in a given p osition , one X for each p ercen tage point. 58 L o ca tio n of S tr e s s M axim a in the C o m p lete M ilton Sam ple P o s itio n Value ______________________ P e r ce n ta g e 1 0 0.0000 2 525 2 3 .9 4 0 0 XXXXXXXXXXXXXXXXXXXXXXX 3 8 0. 3648 4 571 26. 0376 XXXXXXXXXXXXXXXXXXXXXXXXXX 5 2 0 .0 9 1 2 6 439 2 0 .0 1 8 4 XXXXXXXXXXXXXXXXXXXX 7 6 0 .2 7 3 6 8 597 2 7 .2 2 3 2 X XXXXXXXXXXXXXXXXXXXXXXXXXX 9 6 0 .2 7 3 6 10 36 1 .6 4 1 6 X E r r o r s in cod in g and the a ssu m p tio n s about s t r e s s d is c u s s e d above p rod u ced th e 22 s t r e s s m a x im a o c cu rr in g in o d d -n u m b ered p o sitio n s on th is graph; a ll of th o se s t r e s s m a x im a a ctu a lly fe ll in e v e n -n u m b e r e d p o s itio n s . T h e r e fo r e , a ll of the s t r e s s m a x im a on the graph a c tu a lly fa ll in e v e n -n u m b e r e d p o sitio n s and the graph im p r e s s iv e ly c o n fir m s H a lle and K e y s e r 's a s s e r tio n that " s tr e s s m a x im a 7 o ccu r in S p o sitio n s only" (only in ev en -n u m b e r ed p o sitio n s). The graph a ls o c o n fir m s the o th er p art of th e ir a s s e r tio n co n cern in g s t r e s s m a x im a , that " s t r e s s m a x im a o c c u r in S p o sitio n s only but not in all g S p o sitio n s" (ita lic s m in e ). M ilton o b v io u sly did not f ill all of the a v a ilab le e v e n -n u m b e r e d p o sitio n s w ith s t r e s s m a x im a ; p o sitio n 2 con tain s only 525 s t r e s s m a x im a and p o s itio n 8, w ith the la r g e s t nu m ber of s t r e s s m a x im a , co n ta in s on ly 597. M o re s p e c if ic a lly , a ch art listin g the m o s t f r e quently o c cu rr in g s t r e s s m a x im a p attern s in th is sam p le r e v e a ls that in only 54 lin e s did M ilton fill all four of the a v a ilab le s t r e s s m a x im a p o sitio n s. On the co n tra ry , he c h a r a c te r is tic a lly w rote lin e s having only th r e e , tw o, or e v e n one s t r e s s m a x im a per lin e. S t r e s s M axim a P a tte rn s O ccu rrin g M ore Than T hirty T im e s in the M ilton Sam ple N um ber of O c cu rr e n c es P atte rn Rank in the Sam ple 2 4 8 1 110 4 8 2 96 2 8 3 68 4 4 63 2 6 8 5 62 8 6 61 6 8 (6) 61 4 6 8 8 59 4 6 9 57 2 4 10 56 2 4 6 8 11 54 null 12 50 2 (12) 50 2 4 6 14 48 2 6 15 44 6 16 32 Such a l i s t of M ilton 's m o s t freq u en t s t r e s s m a x im a pattern s (in conjunction w ith the co m p lete l i s t s of the lin e s actu a lizin g e a ch p a t te r n found in the appendix) can h elp one le a r n m u ch about M ilto n 's handling of s t r e s s and about th o se q u a litie s in h is p ro so d y m o s t a ffected by s t r e s s m a x im a p a ttern s. F o r in sta n c e , the follow in g lin e s without s t r e s s m a x im a are a ll quite slow and heavy: 60 Say fir s t, for heav'n hid es nothing from thy view Nor the deep tra ct of h ell, say f ir s t what cau se (I, 27-28) In which they w e r e (l), or the fie r c e pains not feel; (I, 336) Sem blance of worth, not su b stan ce, gently ra ised Thir fanting cou rage, (I, 529-530) M aim 'd his brute im a g e, head and hands lopt off(5) In h is own tem p le, (I, 459-460) Warr th erefo re, open or co n ceal'd , alike My voice d issw ad es; (II, 487-488) If we procure not to o u r se lv e s m o re woe. (II, 225) A ll of th ese lin es are c lim a ctic points in m o re heightened p a ssa g es: the fir s t exam ple p resen ts the c lim a x of the invocation, the second and third c lim a x e s of d escrip tio n s of the suffering and deception of the fa llen an gels, the fourth Dagon and h is d isfigu rem en t, the fifth and sixth c lim a x e s in B e lia l's "false and hollow" co u n sel to the fallen h o st's war council in Book II. A s all of th ese lin es above illu stra te, those elem en ts that p reven t the form ation of s tr e s s m axim a, syntactic break s and adjacent s t r e s s , slow down and w eight the lin e. In p a r ticu la r, the p resen ce of adjacent s t r e s s e s in the lin es above w eight the lin e s and act to retard the rhythm rather than to push it on. A s shall be dem onstrated at g rea ter length la te r , th is is c h a r a cter istic of M ilton's handling of s tr e s s in c lim a c tic lin es. T h erefo re, the source of the forw ard -d rivin g rhythm often noted in M ilton m u st be sought in other kinds of lin es and in other e f f e c t s - - perhaps partly in the unfolding syntax of long sen ten ces spread over 61 s e v e r a l lin e s , p erh ap s p a rtly in the d e v ic e s of r ep etitio n w h ich c r it ic s such as A n ts O ra s and D onald M a r sh a ll find binding to g e th er la r g e r un its of thought, and p erh a p s p artly in M ilto n 's v e r y d ifferen t and m o r e co n v en tio n a l handling of s t r e s s in q u ieter and u su a lly m o r e d e sc r ip tiv e p a s s a g e s . F o r in sta n c e , in the fo llo w in g p a ssa g e d e sc r ib in g the m in or fig u r e , R im m o n , only lin e 473 has one s t r e s s m axim u m ; lin e s 469 and 472 h ave tw o, and all the r e s t have th ree or fou r. The p o s itio n s c o n tain in g s t r e s s m a x im a have b een u n d erlin ed . H im fo llo w e d R im m o n , w h ose d eligh tful sea t W as fa ir D am a s c u s , on the f e r tile banks Of A bbana and P h a r p h a r , lu c id s tr e a m s . He a lso ag a in st the h o u se of God w a s bold: (470) A le p e r on ce he lo s t and gain ed a king, A haz h is s o ttis h c o n q u ero r, w hom he d rew G od's a ltar to d is p a r age and d isp la c e (473) F o r one of S y r ian m o d e , w h e r e on to burn H is od iou s o ffe r in g s , and a dore the gods W hom he had vanqu ish t. (I, 4 6 7 -4 7 6 ) The lin e s in th is p a s s a g e , in c o n tr a st to th o se a b o v e, ex h ib it that fo r w a r d -d r iv in g quality often a s s o c ia te d w ith M ilton. One cannot attrib ute th is q u ality p red o m in a n tly to the en ja m b m en t, fo r m o s t of the slo w e r and h e a v ie r lin e s above w e re a lso en jam b ed . A m o r e prob ab le so u r ce fo r the s e n s e of fo r w a r d -d r iv in g rhythm h e r e r e s id e s in M ilto n 's handling of s t r e s s . The m o s t n o t ic e able c h a r a c t e r is t ic of th is p a s s a g e , e s p e c ia lly in c o m p a r is o n to the lin e s a b o v e, is that only lin e 473 (in G od's a lt a r ) co n ta in s a p oten tial s t r e s s m a x im u m n e u tr a liz e d by an ad jacen t s t r e s s . In a ll of the r e s t 62 of the lin e s , M ilton's p la cem en t of s t r e s s is quite co n sisten t. M ost of the ev en -n u m b ered p osition s ca rry s t r e s s e d sy lla b le s , and only two of th ose potential s tr e s s m a x im a in the ten lin e s are n eu tra lized by sy n tactic b rea k s, lucid in line 469 and m ode in lin e 474. In other w ords, in th is p a ssa g e M ilton tends to allow h is s t r e s s e d sy lla b le s to becom e s tr e s s m a x im a . This tend en cy is c h a r a c te r is tic of h is handling of s t r e s s in th ose lin e s from q u ieter and u su ally d escrip tiv e p a ssa g e s, in those lig h ter and fa ste r lin e s with the forw a rd -d riv in g rhythm . A nother c h a r a c te r istic of M ilton 's v e r s e apparent fro m the listin g of s t r e s s m axim a p attern s p r esen ted e a r lie r is that M ilton tended to avoid w riting lin es with no s t r e s s m a x im a e a r ly in the lin e, that is , in p osition s 2 or 4. Its frequency in h is w ork su g g e sts that M ilton regard ed the m e tr ic a l phenom enon rep re sen ted by our concept "early s tr e s s m axim um " as a kind of p ro so d ic touchstone to which he c o n sisten tly refer re d . This is e s p e c ia lly evident in th ose p a s s a g e s full of lin e s containing no, or only o n e, s tr e s s m axim u m per line. Such p a s s a g e s contain an unusually la r g e am ount of m e tr ic a l variation or m e tr ic a l d isorien tation , and the m e tr ic a l fra m ew o rk of the p a ssa g es is co rresp on d in gly m o re d ifficu lt to apprehend. In fa ct, Seym our Chatm an has su g g ested that if it w ere not for the context surrounding such lin e s and p a s s a g e s , a rea d er m igh t n ev e r p e r ce iv e th em as iam b ic at a ll, that they are p e r c e iv e d as iam b ic only b ecau se the s u r rounding context fix e s the iam b ic pattern in the r e a d e r 's c o n s c io u s 63 9 n e s s . T hus, he a r g u e s, th e se lin e s a r e " m e te r -fix e d " (they have th eir m e te r fix e d by the su rrou n d in g co n text), and th ose lin e s p roviding the iam b ic c o n te x t a r e " m e te r -fix in g ." T h e r e fo r e , th o se d e v ic e s w hich h elp o r ien t or fix the r ea d er in su ch p a s s a g e s , w hich h e lp h im p e r c e iv e the m e tr ic a l fr a m e w o r k , a re u n u su ally im p ortan t. The im p o rta n ce of e a r ly s t r e s s m a x im u m in su ch lin e s as a r e o r ie n tin g or m e te r - fix in g d e v ic e , and M ilto n 's u se of it as su ch , are w e ll- illu s t r a t e d in the fo llo w in g p a s s a g e fr o m B ook I of P a r a d is e L o st in trod u cin g B e lia l in the c a ta lo g u e of fa lle n a n g e ls. The w o rd m a rk ed w ith an a r a b ic n u m e ra l 1 c a r r ie s s t r e s s ; th e u n d erlin ed s y lla b le s are s t r e s s m a x im a . 1 2 3 4 5 6 7 8 9 10 B e lia l c a m e la s t , than w hom a s p irit m o r e lew d F e ll not fr o m h e a ven, o r m o r e g r o s s to lo v e V ice fo r it self: to h im no te m p le stood Or altar sm oak 'd ; y e t w h o (l) m o r e oft then H ee In te m p le s . . . . (I, 4 9 0 -4 9 5 ) The f ir s t and th ir d lin e s con tain no s t r e s s m a x im a , the sec o n d lin e co n ta in s one s t r e s s m a x im u m in p o sitio n 4, and the fou rth one s t r e s s m a x im u m in p o sitio n 2. (In the f ir s t lin e , s p ir it m u st be r e a d a s a m o n o sy lla b le , p rovid in g a s e r i e s of th ree s u c c e s s iv e s t r e s s e s at the end of the lin e .) ^ One sh ou ld f i r s t note that a ll of the lin e s in th is p a s s a g e are c o m p a r a tiv e ly d ifficu lt lin e s in w h ich to p e r c e iv e the m e t r ic a l f r a m e w ork without the gu id an ce of the su rrou n d in g co n tex t. H o w e v e r , the 64 second and fourth lin e s , the two lin es with th e early s t r e s s m axim a, with the m o re e a sily apprehended sign al of m e tr ic a l fram ew ork , appear after the m ore m e tr ic a lly d iso rien tin g (m eter-fix ed ) lin e s , those w ith no s tr e s s m a x im a . The m e tr ic a l com p lication and d is o r i entation o f the fir st and th ird lin es in th is p a ssa g e are im portant th em a tica lly as w ell as n oticeab le m e tr ic a lly ; th ese two lin es d escrib e B e lia l's m o s t m o ra lly d iso rien ted t r a it s - - t h a t he was the "m ost lew d spirit" and that he loved "vice for it self." Since the m e tr ic a l d is o r i entation of the lin es and the p a ssa g e in g e n e ra l help to u n d ersco re th is th em atic point, the d iso rien ta tio n is d e s ir a b le , if not n e c e s s a r y . H ow e v e r , som ethin g m u st r e s to r e the te m p o r a r ily confused m e tr ic a l fra m ew o rk . In the secon d and fourth lin e s , the early s t r e s s m a x im a do just th is; they provide the e a sily p e r cep tib le m e tr ic a l touchstone against w hich the fir s t and th ird lin e s can be juxtaposed. B y con trast, the follow in g p a ssa g e fu rth er illu str a te s the sta b ilizin g effect of the e a r ly s tr e s s m a x im u m . The p a ssa g e in tro duces M o lo ch 's sp eech to the war co u n cil of the fallen an gels e a r ly in Book II of P a ra d ise H ost. The underlined sy lla b le s are s tr e s s 11 m axim a. . . . to be deem 'd Equal in strength, and ra th er than be le s s C ar'd not to b e(l) at all; w ith that c a r e lo s t Went a ll h is fear: of God, of H ell, or w o r se He reck 'd not, and th e s e ( l) w ords th e r e a fte r spake. M y(l) sen tence is for open warr: of w ile s , 65 M ore u n exp ert, I b o a st not: th e m (l) le t th o s e ( l) Con triv e who n eed , o r when( 1) th ey n eed , not now. (II, 4 6 -5 3 ) Like the p a ssa g e ju st e x a m in e d , th is p a ssa g e co n ta in s only lin e s having no or one s t r e s s m a x im u m p er lin e (e x c ep t for the la s t lin e ), but u n like the o th er , th is p a ssa g e co n ta in s no lin e w ith an e a r ly s t r e s s m a x i m u m e x c e p t the la s t lin e. The r e s u ltin g se n se of m e tr ic a l d is o r ie n ta tion is n o ticea b le e v en in c o m p a r is o n w ith the p a s s a g e c ite d above in trod ucing B e lia l. The la s t lin e , w ith its e a r ly s t r e s s m a x im u m , fir m ly r e s t o r e s in th is p a s s a g e the m e t r ic a l fr a m e w o r k and again s u g g e s t s the im p o rta n ce of the e a r ly s t r e s s m a x im u m a s an o rien tin g de v ic e. A s in the p a s s a g e d e sc r ib in g B e lia l, the m e tr ic a l d is o r ie n ta tion of th is p a s s a g e u n d e r s c o r e s an im p ortan t th em a tic point; in th is p a ssa g e M ilton p r e se n ts M o lo ch 's n ih ilis m and in tro d u c es h is r esu ltin g r e c k le s s n e s s and v io le n c e . T h ese two p a s s a g e s e x e m p lify an im p o r tant g e n e r a liz a tio n about M ilto n 's p ro so d y su g g e ste d e a r lie r . M ilton freq u en tly u n d e r s c o r e s c lim a c tic p oin ts in the n a r r a tiv e of the fa lle n a n g e l's r e b e llio n a g a in st God and the c h a o s th is in tro d u c es into the u n iv er se by p h ra sin g su ch c lim a c tic p oin ts in a v e ry d iso r ie n te d m e t r i cal fr a m e w o r k , in lin e s w ith a low n u m b er of s t r e s s m a x im a per lin e . It is a s if M ilton c h a r a c t e r is t ic a lly , and v e r y s p e c if ic a lly , m a rk ed e s p e c ia lly sig n ifica n t lin e s of p a s s a g e s w ith s p e c ia l m e tr ic a l e f f e c t s , as if he fr a m e d the m o s t d e s p e r a te p a rts of the n a r r a tiv e in the p r o - 66 sodic stru ctu res m o st sp e c ific a lly reflectin g such d esp eration. This handling of s tr e s s is c h a r a c te r istic of M ilton 's c lim a c tic lin es and p a s s a g e s . In p a rticu la r, in such lin e s he tends to u se the p r e se n c e of adjacent s t r e s s e s to slow and w eight the lin e s and to neu tralize potential s t r e s s m a x im a . In addition to the ex a m p le s cited above introducing B elia l in the catalogue of fa llen a n g els and M oloch 's sp eech to the w ar cou n cil, th is handling of s t r e s s is evid en t in such lin e s as the follow in g. A sin gle u n d ersco re m a rk s a s tr e s s e d syllab le n eu tralized by or n eu tra lizin g a potential s t r e s s m axim um ; a double u n d ersco re m a r k s a potential s t r e s s m axim u m n eu tra lized by a sy n tactic break. Say f ir s t , fo r heav'n h id es nothing fro m thy view Nor the deep tra ct of h e ll, say f ir s t what ca u se (I, 27-28) Of unblest f e e t . Him ( 1) follow ed h is next m ate (I, 238) A bject and lo s t lay th e s e ( 1), ^ o v e r in g the flood (I, 312) In which th ey w e r e ( l) , or the fie r c e pains not f e e l ; (I, 336) M aim 'd h is brute im age; head and hands lopt off(5) (I, 459) Space m ay p roduce new w o r ld s ; w h ereof so rife (I, 65) And trust th e m s e lv e s to fea r no s e c ond fate: M ee though ju st r ig h t, and the fix t law s of heav'n Did fir st c r e a te your le a d e r , n ext free c h o ic e , (II, 17-19) The fir st five e x a m p le s have no s t r e s s m a x im a , the sixth has one, and in the la st, the f ir s t and third lin es contain two s t r e s s m a x im a , the m iddle line has none. In co n tra st to h is handling of s t r e s s in the 67 quieter p a s s a g e s , w here, as we have seen , he tends to allow his s tr e s s e d sy lla b le s to b ecom e s tr e s s m axim a, th ese lin es and m any oth ers su g g est that in clim a ctic p a ssa g es and lin es M ilton tends not to allow h is s t r e s s e s to becom e s tr e s s m axim a. A s we have alread y noted, a potential s t r e s s m axim um can be n eu tralized eith er by an adjacent s tr e s s e d syllab le or by an adjacent syntactic break. Karen Lynn, in her study of C h au cer's prosody through the H a lle -K e y ser th eory, developed m e a su r e s which she called the N eu tralization P oten tial (Adjacent Syntactic Break) and the N eu tra l ization P oten tial (Adjacent S tre ss). The fir s t of th ese is the num ber of syntactic breaks given a s a percentage of the total o c c u r r e n c e s of that position. E x p r essed another way, it shows to what degree the environm ent of the p articu lar S -p osition [e v e n - num bered position] is d esign ed to n eu tralize a s tr e s s e d syllable occu rrin g in that position. . . . In the sa m e way, the second . . . show s a percentage v e rsio n of the s tr e s s e d sy lla b le s surrounding each even -n u m b ered position. 12 A co m p a riso n of th ese N eutralization P oten tials for M ilton su ggests the degree to which he is m ore lik ely to n eu tralize h is s tr e s s m axim a by adjacent s t r e s s . N eutralization P o ten tia ls for M ilton N eutralization P oten tial N eu tralization P otential P o sitio n (Adjacent Syntactic Break) (Adjacent S tress) 2 3% 39% 4 19% 18% 6 25% 20% 8 20% 19% 68 In p o sitio n s 4 , 6, and 8, the " en vironm en t of the p a rticu la r S -p o sitio n is" a lm o s t eq u ally " d esigned to n eu tra lize a s t r e s s e d sy lla b le occu rin g in that position " by an adjacent syn tactic b reak as by an adjacent s t r e s s (though in p o sitio n 6 s t r e s s n e u tra liza tio n is slig h tly m o re lik e ly to o ccu r by the p r e se n c e of an adjacent sy n ta ctic break). H ow e v e r , a p oten tial s t r e s s m a x im u m o c cu rr in g in p o sitio n 2 is so m uch m o re lik e ly to be n e u tra lized by an adjacent s t r e s s that the o v e r a ll tend en cy for s t r e s s n eu tra liza tio n in M ilton i s slig h tly stro n g er for 13 n e u tra liza tio n by adjacent s t r e s s . T his s ta tis tic a l ten d en cy is c o n c r e te ly illu str a te d by the un derlining in the ten lin es fr o m P a r a d ise L o st p r e se n te d above. In th o se lin e s , 45 p oten tial s t r e s s m a x im a are n e u tra lize d by an adjacent s t r e s s (those s y lla b le s w ith a sin gle u n d e r sc o r e ) but only th ree p oten tia l s t r e s s m a x im a a re n e u tra lize d by an adjacent sy n ta ctic b reak (those s y lla b le s with a double u n d e r sc o r e ). A d m itted ly , so m e of the s y lla b le s are n e u tra lize d by both an ad jacent s t r e s s and an adjacent syn tactic b reak , but of the s ix s y lla b le s so a ffected , four of th ese have a lrea d y b een n eu tra lize d by a p r e ce d in g s t r e s s b efo re th ey can be a ffected by the follow in g sy n ta ctic b reak . T h ese s y lla b le s include f ir s t (I, 27), fe e t (I, 238), t h e s e ( l) (I, 312), and righ t (II, 17). A ll of th is s e e m s to su g g e st that in the M ilton sa m p le , ad jacent s t r e s s is the m o r e potent and co m m o n m e tr ic a l c o m p lic a to r . F o r fu rther r e fe r e n c e , l is t s of all th o se lin e s with no, or on ly one s t r e s s m a x im u m appear 69 in Appendix A. In addition to helping us tr a c e the sou rce of h is fo rw a rd -d riv in g rhythm and h is u se of lin e s w ith few or no s t r e s s m axim a in c lim a c tic p a s s a g e s , the lis t s of s t r e s s m a x im a patterns p r esen ted in the M ilton appendix help iso la te two other c h a r a c te r is tic s of M ilton's prosody. F ir s t, w hile one does not n o rm a lly ex p ect to find lin es with a s t r e s s m axim um on p osition 10, o c c a sio n a lly M ilton w rote such lin e s . Of the 34 such in sta n ce s in th is sa m p le, 26 in sta n ce s w ere ca u sed by the p r esen ce in p o sitio n 10 of long diphthongs which could p oten tially be split into two sy lla b le s , crea tin g a line with a s t r e s s m axim u m in p o s i tion 10 and an e x tr a -m e tr ic a l sy lla b le . Of th e s e , 22 in sta n ces in volved long diphthongs ending in an R -c o lo r e d schw a, a s in the 13 in sta n ces 14 of line te r m in a l f i r e ( s ) . Sm ote on h im sore b e s id e s , vaulted with fire; (I, 298) That underneath had v ein s of liquid fir e (I, 701) M ilton see m e d to r e s e r v e fir e and f ir e s for th is tenth position; th irteen of the n in eteen in sta n ces of th e se w ords in this sam ple o c cu rr e d in position 10. Other R -c o lo r e d schw a w o rd s u se d only once in th is way include ir e , d ir e , e x p ir e , a s p i r e s , o u r s , and h o u r , as w e ll as the 15 norm ally d isy lla b ic pow er (two in sta n ce s) and flo w er (one in stan ce). The other extendible dipththongs u sed in p o sitio n 10 involve four of the five in sta n ces of guile o ccu rrin g in the sam p le.* As with f ir e ( s ) , M ilton se e m e d to r e s e r v e th is w ord fo r the p o ssib le ex ten sio n it could 70 giv e to the lin e end. The other eig h t in sta n ce s of s t r e s s m a x im a in p osition 10 in volved one in sta n ce e a c h of m e r it, p r e fe rr in g , e v il, 17 thunder, h e a v e n , e x p o s e s , s p ir it, and b ein g . In all of th ese w ords but thunder and e x p o s e s , the final sy lla b le m ay eith er occu py the tenth p osition with the p enu ltim ate sy lla b le under the H a lle -K e y s e r C o r r e spondence R u le s, or it m a y con stitu te an ex tra m e tr ic a l sy lla b le , allow in g a s t r e s s m a x im u m on the tenth p osition . A gain, then, M ilton h a s p rovided th o se c h a r a c te r is tic lin e endings w hich allo w the p o s s i b ility of a s t r e s s m a x im u m in the tenth p osition . A nother c h a r a c te r is tic of M ilton 's p ro so d y r e v e a le d by a study of the lis t s of s t r e s s m a x im a pattern s p resen ted in the appendix is th at M ilton d oes not tend to a s so c ia te p articu lar p attern s of s t r e s s m a x im a w ith p articu lar p attern s of s t r e s s p la c e m e n t or with p a rticu la r syn tactic p a ttern s. F o r in sta n ce , the 31 lin es sh arin g the s t r e s s m a x im u m pattern 6 a ctu a lize the pattern through 11 d ifferen t p attern s of 18 in itia l s t r e s s p la cem en t and 30 d ifferen t sy n ta ctic p a ttern s. Only tw o lin e s sh a re the in itia l s t r e s s p attern - - " and the in itia l syn tactic pattern m o n o sy lla b ic p rep o sitio n plu s p o s s e s s iv e pronoun plus m o n o - sy lla b ic a d jectiv e plus d isy lla b ic noun: Of thir g r e a t sultan w aving to d ir e c t (I, 348) To w h ose b righ t im age nigh tly by the m oon (I, 440) Two other lin e s sh a re the in itial s t r e s s pattern " - - and the in itia l sy n ta c tic p attern m o n o sy lla b ic verb plu s d isy lla b ic adverb (a ccen ted on the 71 fir st syllable) plus m onosyllabic adverbial e lem en t: Pour'd n ever from h e r frozen loyn s, to p ass (I, 352) Came singly where h e stood on the b are strand (I, 379) It should be noted, h ow ever, that the two adverbial elem en ts introduce quite different syntactic and rhythm ic units: the fir s t introduces a preopositional phrase that extends only to position 8, the second a dependent cla u se that extends to the lin e 's end. Of the rem aining 27 lin es having only a s tr e s s m axim um in position 6, so m e lines sh are patterns of initial s t r e s s placem ent, though none of these patterns o c cu rs in a significan tly large number of the lin es. F u rther, of th ese rem aining 27 lin es, none sh ares an in i tial syntactic pattern w ith any oth er. The follow ing list of these rem aining 27 lin e s illu stra tes the range and variety of s tr e s s and syntactic patterns M ilton used to actu alize a given s tr e s s m axim a p a t tern; a sim ilar lis t could be constructed fo r any other s tr e s s m axim a pattern. The lin es are arranged accord in g to the pattern of initial str e s s placem ent. 1. Initial s tr e s s pattern " ' K J \ Thick sw arm 'd, both on the ground and in the air, (I, 767) 2. Initial s tr e s s pattern '"Jl: New rub'd with baum , expatiate and confer (I, 774) Thus sittin g , thus con su ltin g, thus in arm s? (I, 164) Initial s t r e s s p attern T h e s e (l) fe m in in e . F o r sp ir its when they p le a se (I. 423) G od's altar to d isp a ra g e and d isp la ce (I, 473) Sits a r b itr e s s , and n e e r e r to the earth (I, 785) Initial s t r e s s p attern Got th em new n a m e s , till w andring ore(2) the earth , (I. 365) U nder yon b oylin g o cea n , w rapt in chains; (II, 183) Initial s t r e s s p attern ' ou'; Not in d e sp a ir , to have found th e m s e lv e s not lo s t (I, 525) Stood like a tow r; h is fo r m had y e t(l) not lo st (I. 591) P r e c e d e n c e , n o n e, w hose portion is so sm a ll (II. 33) Equal in stren g th , and rather then be l e s s (II, 47) Initial s t r e s s p attern W hat(l) can it th en a vail though y et we fe e l (I, 153) G lory of him th at m ade th em , to tra n sfo rm (I, 370) M a tc h le ss, but w ith th' alm igh ty, and that strife (I, 623) R o se lik e an ex h alation , with the sound (I, 711) Initial s t r e s s p attern u ' " : So stretch t out(5) huge in length the a r c h -fie n d la y (I. 209) 73 Beyond thus high, insatiate to pursue (II, 8) 8. Initial s tr e s s pattern v : Of m an's fir st disobedience, and the fruit (I, 1) 9. Initial s tr e s s pattern He spake: and to confirm h is w ords, out-flew (I, 663) 10. Initial s tr e s s pattern " : Let us not slip th' occasion , whether scorn (I, 178) In this unhappy m ansion: or once m ore (I, 268) And with th ir(l) darkness durst affront h is (l) light. (I. 391) Then to dw ell h ere, driv'n out(5) from b lis s , condem n'd (II, 86) 11. Initial s tr e s s p a tte r n 1 '^''': We shall be free: th 1 alm ight hath not built (I, 259) F o r h is revolt, yet faithful how they stood, (I, 611) And what b e sid e s, in counsel or in fight, (II, 20) In addition to highlighting or m arking certain im portant lin es, M ilton's handling of s tr e s s often tends to highlight his m o d ifiers. Many things contribute to the vivid sen se of M ilton's m o d ifiers, including the stran gen ess fro m in v ersio n s, as in Abject and lo st lay th e s e (l), covering the flood (I, 312) In which they w e r e (l), or the fierce pains not fe e l (I, 336) or from the o ccasion al e lip s is which tran sform s an adverb into an 74 a d jectiv e as when ju stly or ju stifia b ly right b e c o m e s ju st right in M ee though ju st right, and the fix t law s of h eav'n (II, 18) H o w ev er, in addition to su ch q u a litie s, M ilton 's handling of s t r e s s ten d s to bring h is m o d ifie r s into g r ea ter r e lie f. He con tin u ally butts a s t r e s s e d m o n o sy lla b ic m o d ifier a g a in st a s t r e s s e d sy lla b le in the c o n stitu en t it m o d ifie s. The e ffe ct of th is , again, is to w eigh t the lin e and to produ ce a m e tr ic a lly m o r e c o m p le x lin e , but often it is the m o d ifier w hich is the so u rce of the m e tr ic a l co m p lica tio n . T his i s e s p e c ia lly true w hen the m o d ifier fa lls in an od d -n u m b ered p o sitio n . F or in sta n c e , in Satan's exh ortation to the a n gels to take co u ra g e and to plan rev en g e a g a in st God, the follow in g lin e ap p ears: Space m ay produce new w orld s; w h ereo f so rife (I, 650) C ontextu ally, the r e a lm of new w orld s is im p ortan t to Satan for a n ew w orld with new and "favored" b ein g s p ro v id es h im w ith a sa fer and m o r e e ffe c tiv e ta r g e t of rev en g e. M e tr ic a lly , the w ord n ew sta n d s, an im p ortan t s t r e s s e d s y lla b le , in an o d d -n u m b ered p o sitio n w h ere its p r e s e n c e is e v en m o r e n o tice a b le, an im p ortan t s t r e s s e d sy lla b le i m pinging on s t r e s s e d en v iro n m en ts on eith er sid e. T his s a m e kind of situ ation ap p ears in Satan's opening sp eech in Book II a s s e r tin g h is le a d e r s h ip and p ro g ra m of action: And tr u st th e m s e lv e s to fe a r no secon d fate: M ee though ju st right, and the fix t law s of h ea v 'n Did f i r s t c r e a te your le a d e r , n ext fr e e c h o ic e , (II, 17-19) 75 In the two seq u en ces, fear no second and next free c h o ic e , the strongly- highlighted m o d ifiers no_ and free fa ll in odd-nu m bered p osition s and are the source of m etrica l com plication. A gain, th is situation brings them into strong relief. This highlighting of the m od ifier is even m o re evident when the m od ifier is the fir st str e s se d word in a s e r ie s after a s e r ie s of un s tr e s s e d sy lla b le s. F or in stan ce, two of the lin es alread y cited p ro vide ex a m p les of such highlighted m o d ifiers in next and fierce: Of unblest feet. H im (l) follow ed his next m ate (I, 238) In which they w e r e (l), or the fie r c e pains not fe e l (I, 336) In the second of th ese lin e s, the a lliteration betw een fie r c e and feel highlights the m od ifier fie r c e even further. M ilton also highlights h is m o d ifiers by frequently placing two of th em in a s e r ie s of th ree or m o re s tr e s s e d sy lla b le s. This has already been illu stra ted by sev e r a l of the ex a m p les ju st d isc u sse d , including fie r c e and not in fie r c e pains not f e e l , no and second in fea r no sec ond, and next and free in next free c h o ic e . This c h a r a c te r istic appears in both parts of the sam ple. Of the 56 in sta n ces of th ree or m o re s tr e s s e d sy lla b les in a row in Book I, 26 in sta n ces contained two m od i f ie r s , tw elve of th ese containing two ad jectives m odifying the same noun, as in: A s one g reat furnace flam 'd , y e t(l) fro m th ose fla m e s (I, 62) The pilot of som e sm a ll night-founder'd skiff (I, 204) 76 Of the 29 in s ta n c e s of th ree or m o r e s t r e s s e d s y lla b le s in a row in B ook II, 14 in sta n c e s con tain ed two m o d ifie r s , s e v e n of th e s e two a d - (II, 52) (II, 62) (II, 8 2 -8 3 ) (II, 174) T h ree oth er c h a r a c t e r is t ic s of M ilto n 's handling of s t r e s s e d s y lla b le s should be n oted . F i r s t , h is s e r i e s of th re e or m o r e s t r e s s e d s y lla b le s in a row a r e a lm o s t a lw a y s grouped in c lim a c tic p a s s a g e s and, w hen th ey o c c u r , a lm o s t a lw a y s o c cu r as a stron gly d iso r ie n tin g fa cto r in lin e s having no or only one s t r e s s m a x im u m . T h is groupin g of the s e r i e s of s t r e s s e d s y lla b le s and th eir d iso rien tin g e ffe c t a r e i l lu s tr a te d in the fo llo w in g two p a s s a g e s . Both o c c u r in a c lim a c tic s c e n e - - t h e f i r s t during Satan's sp e ec h to the w ar cou n cil of r e b e llio u s a n g e ls e a r ly in B ook II and the sec o n d during B e lia l's s p e e c h to the sa m e group. The s e r i e s of th r e e or m o r e s t r e s s e d s y lla b le s are u n d erlin ed . I giv e not h e a v 'n fo r lo s t. F r o m th is d e s c e n t C e le s tia l v ir tu e s r is in g , w ill appear M ore g lo r io u s and m o r e d r e a d then fr o m no fa ll And tr u s t t h e m s e lv e s to fe a r no s e c ond fate: M ee though ju st rig h t, and the fix t la w s of h ea v 'n D id f i r s t c r e a te you r le a d e r , n ex t f r e e c h o ic e , W ith w hat (1) b e s id e s , in c o u n s e l or in fight, j e c t iv e s m o d ify in g the sa m e noun or pronoun, a s in: M ore u n ex p ert, I b o a st not: th e m (l) le t t h o s e ( l) O 're h e a v 'n 's h igh to w r s to fo r c e r e s i s t l e s s w ay, . . . should we a gain provoke Our str o n g e r , s o m e w o r se w ay h is w rath m ay find H is red righ t hand to plague u s ? W hat(l) if all 77 Hath bin achievd of m e r it, yet th is lo s s Thus fa r r at le a s t reco v er'd , hath m uch m o re E sta b lish t in a safe unenvied throne . . . (II, 14-23) . . . we m u st ex a sp era te Th' alm ighty victor to spend all h is rage, And th a t(l) m u st end u s , that(l) m u st b e(l) our cu re, To be( 1) no m o r e ; sad cure; for w ho(l) would lo o s e , Though full of pain, th is in tellectu al being. . . . (II, 143-147) A seconjd c h a r a cter istic of M ilton's handling of s t r e s s e d s y lla b le s is that although the s e r ie s of th ree or m o re s t r e s s e d sy lla b le s m o s t often fall in m id -lin e , th ese s e r ie s so m e tim e s fa ll at the line end, su g g estin g the influence of the spondaic ending of c la s s ic a l prosody on M ilton 's prosody. In the c la s s ic a l ep ics (including Iliad, O d y ssey , and A eneid), e sp e c ia lly im portant lin es often ended with the heavy spondaic ending co n sistin g of spon d ee-sp on d ee (a s e r ie s of four s t r e s s e d sy lla b le s) rather than the m ore n o rm a l dactylic ending. E x a m p les in the M ilton sam ple of a sim ila r spondaic ending include: A dungeon h orrib le on a ll sid es round (I, 61) Vain w a rr with heav'n, and by s u c c e s s untaught (II. 9) Did f ir s t crea te your le a d e r , next free c h o ic e, (II. 19) Of e n d le ss pain? W here there is then(l) no good (H, 30) Thir noxious vapor, or enur'd not fe e l, (I, 216) F or happy though but ill, for ill not w o rst, If we p rocu re not to o u r se lv e s m o re w oe. (II, 224 The third c h a r a cter istic of M ilton 's handling of s t r e s s e d s y lla b le s is that although the sm a ll num ber of v erb a l p a r tic le s o ccu rrin g 78 in the M ilton sa m p le lim its the w eigh t of any c o n c lu sio n drawn about th e ir d istrib u tion , the data su g g e st that M ilton ten d s to u se v e rb a l p a r t i c l e s , the s t r e s s e d a d v erb ia l fo r m m a r k e d by a 5 in the fo llo w in g lin e s , in ev en -n u m b e r ed p o sitio n s. F a v o r 'd of h ea v 'n so h ig h ly , to fa ll off(5) F r o m thir c r e a to r . . . . (I, 3 0-3 1 ) Stird up{5) w ith envy and r e v e n g e , d e c e iv ’d (I, 35) Had c a st him out(5) fr o m h eav'n , w ith all h is h o st (I, 37) 19 T h ese p a r tic le s appear m o s t freq u en tly in p o sitio n s 2, 8, and 10. M ilton 's handling of s t r e s s , th en , h a s s e v e r a l c h a r a c t e r is t ic s . F i r s t , he s e e m s to regard the m e t r ic a l phen om enon r e p r e se n te d by our p h ra se " ea rly s t r e s s m a x im u m " a s a kind of p r o so d ic to u ch ston e to w hich he c o n s iste n tly r e f e r s and w h ich he u t iliz e s a s a r eo r ie n tin g d e v ic e after h igh ly c o m p lica te d lin e s . S econ d , in q u ie te r and u su a lly d e s c r ip tiv e p a s s a g e s con tain in g lig h te r and fa s te r lin e s with fo r w a rd - d riv in g rhythm , M ilton ten d s to allo w h is s t r e s s e d s y lla b le s to b eco m e s t r e s s m a x im a . T hird, he fr eq u en tly u n d e r s c o r e s h is c lim a c tic points in the n a rra tiv e by m e tr ic a lly h ig h lig h tin g th em , by p r e se n tin g th em in a v e ry d iso r ie n tin g m e tr ic a l fr a m e w o r k , a fr a m e w o r k in w hich he tend s to p rev en t the fo rm a tio n of s t r e s s m a x im a , often by adjoining n e u tr a l iz in g s t r e s s e d s y lla b le s to th e p o ten tia l s t r e s s m a x im a . F ou rth , h is han dlin g of s t r e s s often ten d s to h ig h lig h t h is m o d ifie r s . F ifth , h is s e r i e s of th ree or m o re s t r e s s e d s y lla b le s a r e a lm o s t a lw a y s grouped 79 in c lim a c tic p a ssa g e s and so m e tim e s fa ll at the end of the lin e, su g gestin g the influence of the c la s s ic a l spondaic ending on M ilton 's p r o s ody. And sixth, M ilton 's v erb al p a r tic le s tend to fall on p o sitio n s 2, 8, and 10. So far, th is d is c u s sio n of M ilton 's habits has u sed the p r e se n c e or ab sence of s t r e s s m a x im a to iso la te certa in m e tr ic a l c h a r a c t e r is tic s in M ilton's p rosod y. In the d isc u ssio n of th ese c h a r a c te r is tic s , r e fe r e n c e s have b een m ade to the co m p lex ity of lin es as a c o r o lla r y to the p r e se n c e or a b sen ce of s t r e s s m a x im a . This m e a su r e of c o m plexity is based sim p ly on the location of s tr e s s e d sy lla b le s and sy n tactic b reak s within the lin e as w ell as the p r e se n c e of e lis io n s . H ow e v e r , a c lo s e r exam in ation su g g e sts that th is conception of co m p lex ity d oes not adequately d e sc r ib e the sen se d co m p lex ity of M ilton 's lin e s , eith er the qualitative d ifferen ce betw een lin e s of d ifferen t H a lle - K ey ser com p lexity n u m b ers o r , m o re im p ortan tly, the s im ila r itie s and d ifferen ces b etw een lin e s with the sam e co m p lex ity num ber. F o r in sta n ce, the follow ing lin e s sh are a co m p lex ity count # * 20 of two: His u tm ost pow er with a d v erse pow er opp os'd (I, 103) In dubious battel on. the plains of h eav'n, {I, 104) In a rm s not w o r s e , in fo r e sig h t m uch a d van c’t, (I, 119) The low co m p lex ity num ber of th ese lin e s su g g e sts that they are q u a li ta tiv ely d ifferent fr o m a lin e such a s the follow in g with a co m p lex ity count of eight: M ee though ju st rig h t, and the fix t law s of h eav'n (II, 18) My in tu itiv e r e s p o n s e to the above lin e s is that the f i r s t th re e are " sim p ler " in s o m e way than the fou rth. H o w ev er, th e fou rth lin e d o e s not s e e m four t im e s a s c o m p le x a s the f ir s t th r e e , although its c o m p lex ity count i s fou r t im e s h ig h er. F u r th e r , the f i r s t th ree lin e s do not s e e m eq u a lly co m p lex ; the a b se n c e of a s t r e s s in an e v e n -n u m b e r e d p o sitio n or the p r e s e n c e of two s y lla b le s in one p o sitio n (as in the f i r s t two lin e s ) s e e m s le s s co m p lica tin g than the p r e s e n c e of a s t r e s s in an o d d -n u m b e r ed p o sitio n as in the th ird lin e , e s p e c ia lly when that s t r e s s fa lls b e tw een tw o oth er s t r e s s e d s y lla b le s . H alle and K e y se r do c o n sid e r the g r e a t e r co m p lica tin g fa c to r of the p r e s e n c e of a s t r e s s e d sy lla b le in an o d d -n u m b e r ed p o sitio n by a llow in g tw o v io la tio n s to the C o r r e sp o n d e n c e R u les fo r e a ch in sta n ce of it. S im ila r ly , the fo llo w in g two lin e s do not s e e m eq u a lly c o m p le x to m e , although they both h ave a c o m p le x ity count of th ree: That w ith th e m ig h tie s t r a is 'd m e to contend (I, 990) O M y r ia d s o f im m o r ta l s p ir its , O p o w ers (I, 622) The f i r s t s e e m s l e s s c o m p le x than the o th er, p erh a p s b e c a u s e the p r e s e n c e of u n s t r e s s e d s y lla b le s in e v e n -n u m b e r e d p o sitio n s s e e m s l e s s c o m p lic a tin g than th e p r e s e n c e of e lis io n s or double o ccu p a n cy of one p o sitio n by tw o s y lla b le s . The seco n d ex a m p le i s m e t r ic a lly d if fe r e n t fr o m th e f ir s t b e c a u s e the m a in so u r c e of its c o m p le x ity is n ot the p la cem en t of s tr e s s e d and u n str e sse d s y lla b le s , but the p resen ce and variable location of e lis io n s , of the double occu pancy of one p o s i tion by two sy lla b le s. In th is lin e, sp ir its m u st be rea d as m o n o sy lla b ic , with both sy lla b le s falling in p osition 8; im m o rta l c a r r ie s a s t r e s s m axim u m in p osition 6 and th e s t r e s s e d syllab le of p ow ers m u st fall on p osition 10. The only p o sitio n le f t for sp ir its is p osition 8. P o w e r s can be read as d isy lla b ic, placin g an u n str e ss e d e x tr a - m e tr ic a l sy lla b le on the lin e, or it ca n be rea d as m o n o sy lla b ic, as pow 'r. The p r e se n c e of sp ir its and p ow ers w ith their ex tra sy lla b le s so n ear the end of the line certain ly g iv e s th is part of the lin e a sen se of co m p lica tio n resu ltin g fro m sy lla b ic fu lln e ss . In addition, there is another req u ired e lis io n or double occu pancy of one p o sitio n at the b e ginning of the lin e which not only m u st o ccu r, but w hich m ay occu r though s e v e r a l different s e ts of doubled s y lla b le s as in d ica ted by the follow in g underlined com binations.^* O m y r iads of im m o rta l sp ir its , O pow ers O m y riads of im m o rta l s p ir it s , O pow ers O m y ria d s of im m o r ta l s p ir it s , O pow ers O m y r iads of im m o rta l s p ir it s , O pow ers O m y riad s of im m o rta l s p ir it s , O pow ers O m y ria d s of im m o r ta l s p ir it s , O pow ers The co m p lex ity of th is lin e , then, r e s u lt s fr o m the two n e c e s s a r y double o ccu p a n cies (or e lisio n s) on m y r ia d s (o r of im m o rta l) and on 82 s p ir its a s w ell a s the one p o s s ib le e lis io n in p o w e r s , but p erh a p s m o r e im p o rta n tly fr o m the s ix p o s s ib le m e tr ic a l ren d itio n s of the line through w hich th e s e double o c c u p a n c ie s m a y o c c u r . T his i s a v ery d ifferen t s o r t of c o m p le x ity than that r e s u ltin g fr o m the p la c e m e n t of s t r e s s e d and u n s t r e s s e d s y lla b le s , a v e ry d iffe re n t sort of c o m p le x ity that the H a lle -K e y s e r th eo ry of c o m p le x ity d o e s not d istin g u ish . T h ere is a ls o a n o th er, and in M ilton an ev en m ore im p o rta n t, so r t of c o m p le x ity that the H a lle -K e y s e r th e o r y of c o m p le x ity d o es not c o n s id e r , the c o m p le x ity r e su ltin g fr o m su ch syn tactic c o n s id e r a tio n s 22 as o c cu r in the fo llo w in g p a s s a g e fr o m B ook II of P a r a d ise L o s t . M ee though ju st righ t, and the fix t la w s of h ea v 'n 18 E id f i r s t c r e a te our le a d e r , next fr e e c h o ic e , With w h a t(l) b e s id e s , in c o u n se l or in fig h t, 20 Hath b in ach ievd of m e r it , y e t th is l o s s Thus fa r r at l e a s t r e c o v e r 'd , hath m u ch m o r e 22 E sta b lis h t in a sa fe u n en vied th ron e Y ield ed with fu ll c o n se n t. The happie r sta te 24 In h e a v 'n , w hich fo llo w s dign ity, m ig h t draw E nvy fr o m e a ch in fe r i o r ; but w ho(1) h e r e 26 W ill en v y w hom the h ig h e s t p la ce e x p o s e s F o r e m o s t to stand a g a in st the thund e r e r s a im 28 Your" bu lw ark, and co n d em n ed to g r e a t e s t sh a r e Of e n d le s s p ain ? (II, 18-3 0 ) W hile the p e r c e iv e d o r s e n s e d c o m p le x ity in th is p a ssa g e d o e s r e s u lt p a rtly fr o m the p la c e m e n t of s t r e s s e d and u n s t r e s s e d s y lla b le s and e lis io n s , it m o re p e r c e p tib ly r e s u lt s fr o m sy n ta c tic fa cto rs: 1. F r o m the sy n ta c tic in v e r s io n s a s in M ee though ju st righ t (1. 18). 2. F r o m the in terru p tio n of p a r e n th e tic a l e x p r e s s io n s as 83 in co u n cil or in figh t (1. 20) or Thus farr at le a s t r ec o v e r'd (1. 22). 3. F ro m the shortened form of just fr o m ju stly (1. 18). 4. F ro m the e lip se s as w ill envy / the being / whom the h ig h est place e x p o se s (1 .2 7 ). 5. F rom the tem p orary am biguity of sy n ta ctica l function as e x em p lified by m o r e (1. 22), which at f ir s t appears to function as a noun, the d ir e ct object of lo s s . . . hath . . . e stablisht. To a ccu ra tely d iscrim in a te am ong the typ es of co m p lex ity M ilton u s e s , H alle and K e y se r 's m ea su re of com p lexity would fir s t have to con sid er th ese syntactic fa c to r s as w e ll as the p o ssib ility of alternate sca n sio n s in a line and, secon d , have so m e way of m ea su rin g the contribution of such fa c to r s to the o v era ll com p lexity. Setting up such a m e a su r e of com p lexity m ight prove a fruitful area for further r e se a r c h . H ow ever, without ev en co n sid erin g syn tactic fa c to r s at any g rea ter length, a num ber of things can be said about the m e tr ic a l c o m plexity in M ilton's lin e s . F ir s t , M ilton u se s a va riety o f m e tr ic a l d e v ic e s for creatin g lin e s with m ultiple s c a n sio n s, an im portant sou rce of m e tr ic a l co m p lex ity . M ost frequently, he u s e s elid ab le w ords in m e tr ic a lly am biguous en viron m en ts, elid ab le w ord s su ch as pow er and flo w e r s. In the M ilton sam p le, the accented sy lla b le of pow er(s) and 23 flo w ers o c cu rs predom inantly in the tenth p osition , as in the lin es: With vain attem pt. H im (l) the alm ighty pow er (I, 44) With suppliant kn ee, and d eifie his power (I, 112) 84 O m yriad s of im m ortal s p ir its, O pow ers (I, 622) In clu ste rs; they among fr e sh dews and flo w ers (I, 771) If pow er(s) and flow ers are read a s d isy lla b ic, all of th ese lin es have an e x tr a -m e tr ic a l unaccented eleven th sy lla b le. H ow ever, pow er(s) and flo w ers could also be read a s the m on osyllab ic pow'r and flo w 'rs, in which case th ese lin e s have no e x tr a -m e tr ic a l syllab le. The p r e s ence of these two p o ssib le m e tr ic a l sca n sio n s g iv e s a certa in sen se of 24 com p lexity to the lin es. In addition to the p o ssib le e lis io n of p ow er, the third line above contains another e lisio n , a n e c e s s a r y one, on 25 sp irits and illu stra tes a c h a ra cteristic prosodic trait in M ilton's treatm ent of the two w ords pow er(s) and sp ir it(s ). While the accented syllable of pow er(s) fa lls predom inantly on the tenth position , the accented syllable of sp irit(s) fa lls predom inantly on the fourth, sixth, 26 and eighth p osition s. M ilton treats w ords with lengthy diphthongs ending in an R -c o lo r ed schw a, such as fir e ( s ) , d ir e , and ire in a m anner r e m in is cent of h is treatm ent of the true d isy lla b le p o w er(s). When this study began, it seem ed to m e that th ese R -c o lo r e d schw a w ord s, including our(s) (the m o st frequently occu rrin g of th ese w ords), defin itely c o n tributed to the sen se of com p lexity in M ilton 's lin e s , e sp e c ia lly that com plexity resu ltin g fr o m e lisio n s or the fillin g of a sin gle position with m ore than a sim ple pure v o w el. F o r in stan ce, th ere was s o m e thing about the use and position of our in the follow ing lin es to su g g est 85 that M ilton m ight h ave u sed the long diphthong in our to add a sp e c ia l co m p lex ity to the lin e s r ela ted to sy lla b le nu m ber without actu ally adding ex tra s y lla b le s w ithin the lin e . Or sa tia te fury y ie ld it fr o m our fo e . (I, 179) And r e a s s e m b lin g our a fflicted p o w e r s, (I, 186) Which tem p ted our attem p t, and wrought our fa ll. (I, 642) To trace the p o ssib le o c c u r r e n c e and extent of such an effect, the w ord s containing diphthongs ending in an R -c o lo r e d schwa su ch as fir e and our w ere en co d ed a s s p e c ia lly m a rk ed d isy lla b le s, an e x a g geration of the e ffe c t I se n se d , and th en tr a c e d through the sa m p le. T his study r e v e a le d two m a jo r e ffe c ts of such w ord s. F ir s t , the s t r e s s e d sound ir e - - in su ch w o rd s as f i r e , d ir e , i r e , in s p ir e , a d m ir e , in t ir e , and ex p ire - -f a lls p red om in an tly in the tenth p o sitio n w here the lengthy diphthong could e a s il y sp lit in a p erfo rm a n ce of the lin e to fo r m an e x t r a - m e t r ic a l s y lla b le . T h is o c c u r s in 22 of the 29 in sta n ce s of th ese w o rd s and in 14 of the 16 o c c u r r e n c e s of f i r e ( s ), su ch as: H ere( 1) in the h e a r t of h e ll to w o rk in fir e , (I, 151) With so lid , as the lake w ith liq uid fire; (I, 229) Of h e ll should spout her c a ta r a c ts of fir e (II, 176) A ll of th e se lin es con tain ten s y lla b le s if fir e is rea d as m o n o sy lla b ic , although ea ch could contain an e x t r a - m e t r ic a l sy lla b le if fir e i s read a s d isy lla b ic , a p e r fe c tly p o ssib le a ltern a te m e tr ic a l sca n sio n of the 86 27 lin es. The placem ent of th ese ire -w ord s on the la s t position is a d istin ctive ch a ra cteristic of M ilton's prosody, although com paratively triv ia l in effect since it rea lly con cern s only the la st position of the line. H ow ever, the other m ajor R -c o lo r e d schwa dipththong, that of our(s) contributes the slightly m ore noticeable second m ajor effect of the R -c o lo r e d schwa w ords. Our(s) o c cu rs predom inantly within the 28 line on odd-num bered position s and m o st in stan ces of our(s) produce two p o ssib le m e tr ic a l scan sion s of the lin e s in w hich they ap p ea r--o n e with a m on osyllab ic v ersio n of our and one with a disyllab ic version in which both sylla b les of the split diphthong occupy the sam e position, . 29 as m: Strongly to suffer and to support our pains (I, 147) Our labor m u st b e (l) to p erv ert that end, (I, 164) H ow ever, in a few in sta n ces, our(s) can a lso be read as d isyllab ic and as contributing to a genuine alternate m e tr ic a l sca n sio n of a lin e. This o c cu rs, for in stan ce, in the follow ing four lin es. Or satiate fury y ield it fro m our foe. (I, 179) And r ea ssem b lin g our afflicted p o w e r s , (I, 186) Which tem pted our attem pt, and wrought our fa ll. (I, 164) Our en em y, our own lo s s how rep air (I, 188) In the f ir s t lin e, if we con sid er our as d isy lla b ic, the fir st syllable can eith er occupy p osition 9 with the second sy lla b le, or it can occupy 87 p o sitio n 8 w ith fr o m sin ce /m / is one of the con son an ts o v er w h ich such sh arin g of p o sitio n s m ay o c c u r in the H a lle -K e y se r C o rre sp o n d e n c e R ule s . Or sa tia te fu ry y ie ld it fr o m our foe. Or sa tia te fu ry y ie ld it fr o m o u r foe. The d ifferen ce b etw een the two sca n sio n s a p p ea rs in two ex a g g er a te d rea d in g s of the lin e - - t h e f ir s t with a n eu tra l, u n accen ted our and the sec o n d with a stro n g ly a ccen ted our which in p erfo rm a n ce w ould tend to sp lit the diphthong. Both a re p o ssib le p erform an ce s of th is lin e and both can be r eg a r d e d as p e r fe c tly m e tr ic a l. In the secon d and th ird lin e s , s im ila r sp littin g of the diphthong can o ccu r as r e p r e s e n te d a gain by two e x a g g er a te d read in gs: one with a n eu tra l, u n a ccen ted , m o n o sy lla b ic o u r: And r e a s s e m b lin g our a fflicted p o w e r s, W hich tem p ted our attem p t, and w rought our fa ll, and the oth er with a stro n g ly a c cen ted o u r , in which the te r m in a l r ten d s to e lid e with the in itia l a of the follow in g w ord in ea ch line: And r e a s s e m b lin g o ur afflic te d p o w e r s, W hich tem p ted o ur attem p t, and w rought our fa ll. In te r m s of the H a lle -K e y s e r th eo ry , in the two p o s s ib le r ea d in g s of e a c h lin e , the sec o n d sy lla b le of the split diphthong ca n sh are the p o s i tio n o ccu p ied by the f ir s t sy lla b le of the o r ig in a l diphthong a s in d icated by the un derlining of the f i r s t set of read in gs or it can sh are th e p o s i 88 tion occu p ied by the in itia l syllab le of the follow ing w ord, the af of afflicted or the at of attem pt, as in d icated by the secon d set of under - lin in g s. The fourth exam p le lis te d above, Our e n em y , our own lo s s how rep air (I, 188) contain s two of th ese co m p licatin g R -c o lo r e d schw a diphthongs in the two in sta n ce s of o u r. A gain, th ere are m u ltiple se ts of shared p o s i tio n s - -th o s e p o ssib le betw een our en em y and our o w n , as w ell as the m o n o sy lla b ic v e r sio n s o f our and the d isy lla b ic v e r sio n s in w hich our o ccu p ies one position. This line is the m o s t co m p lex of the lin e s ju st studied, sin ce each of th e p o ssib le m e tr ic a l v e r sio n s of one in stan ce of our m ay o ccu r with e a ch of the p o ssib le m e tr ic a l v e r s io n s of the other in stan ce of ou r. T hese four lin es lis t e d above in w hich the word our has m ade p o ssib le a m ultiple sca n sio n of a sin gle line a r e, of c o u r se , e x tr e m e ex a m p les of the potential e ffe ct a lengthy diphthong can have within a line. H ow ever, such lin e s do o ccu r and m a rk one way in w hich M ilton's lin e s are m e tr ic a lly com p lex. O ther e ffe c ts contribute to the m e tr ic a l co m p lex ity of M ilton 's lin e s . F o r in sta n ce, a few lin es m ay be lin e s view ed as eith er n in e- sy lla b le c a ta le c tic lin e s or as te n -sy lla b le n orm al lin e s . Such lin e s in volve cer ta in syllab ic d o u b lets--th e m o n o sy lla b ic and d isy lla b ic v e r sio n s of a r m e d , c r u e l, tow ard, w in ged , and sm oothed: H ad{l) to im p ose: h e ( l) through the a rm ed file s (I, 567) W aiting revenge: c r u e l his e y e , but c a s t (I, 604) 89 H urling d e fia n ce tow ard th e vault of h e a v 'n (I, 669) M ean w h ile the w inged h e r a ld s by co m m a n d (I, 752) F lie to and fr o , o r on th e sm ooth ed p lan k, (I, 772) A ll of th ese lin e s m a y be r e g a r d e d as m e t r ic a l nine - sy lla b le c a ta le c tic lin e s w ithin the H a lle - K e y s e r th eory. If th e u n d erlin ed sy lla b ic doub le t s a re r e a d a s m o n o s y lla b ic , crea tin g o n ly nine s y lla b le s in ea ch lin e , the f i r s t s y lla b le in e a c h lin e would f a l l in p o sitio n 2 and all of the p oten tial s t r e s s m a x im a w ould be n e u tr a liz e d e ith e r by ad jacen t sy n ta ctic b r e a k s o r by a d ja cen t s t r e s s e s , so no s t r e s s m a x im u m w ould fa ll in an o d d -n u m b e r ed (u n m e tr ic a l) p o sitio n . F o r in s ta n c e , in the f i r s t lin e, if a r m e d is rea d a s m o n o sy lla b ic , the p o ten tia l s t r e s s m a x im u m on the f i r s t sy lla b le o f the d isy lla b ic v e r s io n o f a rm ed is n e u t r a liz e d by th e r esu ltin g a d ja cen t s tr e s s on f i l e s ; th e poten tial s t r e s s m a x im a on h e ( 1) and on the seco n d sy lla b le o f im p o se are n e u tr a liz e d by the sy n ta ctic b re a k fo llo w in g im p o s e . One lin e in the M ilto n sa m p le c o m b in e s the c o m p lic a tin g e ffe c t of a sy lla b ic d ou b let, th ro n ed , and the u se o f pow er in the ten th p o s i tio n d is c u s s e d ab ove. O P r in c e , O C hief of m a n y throned p o w e r s (I, 128) In th is lin e , e ith e r th ron ed o r p o w ers m ay be read a s d is y lla b ic , the o th er as m o n o s y lla b ic . If th ro n ed is read a s d is y lla b ic , the lin e h a s a s t r e s s m a x im u m in p o sitio n 8 and m ay or m a y not h a v e one in p o sitio n 10, depending on w h eth er p o w e r is read a s m o n o sy lla b ic or d is y lla b ic . 90 H ow ever, if throned is read as m o n o sy lla b ic, power m u st be rea d as d isy lla b ic to give the line te n sy lla b les; the resu ltin g potential s tr e s s m axim u m on p ow ers on p osition 9 i s then n e u tra lize d by the adjacent s t r e s s on thron'd in p osition 8. T his line cannot be rea d as ca ta lectic (both throned and pow ers read as m o n o sy lla b ic), b eca u se shifting the f ir s t sy lla b le of the resu ltin g n in e-sy lla b le lin e into p osition 2 would shift the s tr e s s m axim u m on many fro m p osition 6 to the unallow ed position 7. M ilton a lso contribu tes to the sen se of co m p lex ity of h is lin es by w riting e lev en -sy lla b le lin e s w hich may be red u ced to ten -sy lla b le lin e s in m o r e than one w ay, e le v e n -sy lla b le lin e s in w hich m o r e than one m e tr ic a l sca n sio n can be made by the e lis io n of m o r e than one in tern al sy lla b le o r , in the H a lle -K e y ser term in o lo g y , e le v e n -sy lla b le lin e s in w hich two different sets of adjacent s y lla b le s m ay occu py one p osition . This o c c u r s in th ree lin es in the sam ple: A ll is not lost; the unconquerable w ill(l), (I, 106) Both gloryin g to have scap 't the Stygian flood (I, 239) Nor wanting pow er to m itigate and swage (I, 556) The fir s t of th ese lin es contains e le v e n sy lla b le s. The line can be r e duced to a m e tr ic a l te n -sy lla b le lin e by two d ifferen t s e ts of e l i s i o n s - - t h 1 unconque rable and the unconqu'r able - -or by the occu p an cy of two different p o sitio n s by adjacent sets of sy lla b les as in the underlined p ortion s of: 91 A ll i s not lo st; the u n conq uerab le w ill( l) , A ll i s not lo st; the u n conq u erab le w ill( l) , The ad jacen t s t r e s s e s on u n 'co n 'g u era b le n e u tr a liz e the s t r e s s m a x i m u m w h ich w ould n o r m a lly inhibit such a shifting of s y lla b le s and p o s i tio n s. In the se c o n d e le v e n - s y lla b le lin e above (Stygian is d isy lla b ic ), the fin a l two s y lla b le s of glo ry in g can both occu p y the sa m e p o sitio n , a s can th e two u n s t r e s s e d s y lla b le s to h a v e . The two m e t r ic a l v e r s io n s of th is lin e are: Both g lo r yin g to h ave scap 't th e Stygian flood Both g lo ry in g to have scap 't th e Stygian flood The fin a l e le v e n - s y lla b le line above a lso h a s two p o s s ib le s e t s of s y lla b le s th at m a y sh a re one p o sitio n . T h ese are: Not w anting p ow er to m itig a te and sw age Not w anting p ow er to m itig a te and sw age Other e x a m p le s of th is sa m e ph en om en on inclu de the two m e t r ic a l v e r sio n s of the fo llo w in g e le v e n - s y lla b le lin e s : Can p erish : fo r the m in d and sp ir it r e m a in s Can p erish : for the m in d and sp ir it r e m a in s Lay flo a tin g m an y a rood, in bulk as huge L ay flo a tin g m an y a r o o d , in bulk as huge F o r that c e l e s t ia l l i g h t ? B e ( l) it so , sin c e he F o r that c e le s t ia l lig h t? Be( 1) it so , sin c e he A lthough so m e of M ilto n 's e lis io n s p rod u ce lin e s w ith tw o or th ree p o s s ib le m e tr ic a l v e r s io n s a s in the above e x a m p le s , m o s t of his (I. 139) (I, 196) (I. 245) e lis io n s are m u ch sim p ler in e ffe ct and v ery un obtrusive. Halle and K e y se r d e scr ib e the en viron m en ts for e lisio n a s "a sonorant sequence incorporating at m o st two vo w els (im m ed ia tely adjoining or sep arated 30 by a sonorant consonant) - - in other w ord s, a s betw een naked vow els or ov er / r / , / l / , / m / , / n / , or / h / . T his v ery adequately d e sc r ib e s the e lis io n s in the M ilton sa m p le, which included e lis io n s betw een naked vow els and over I x l , / n / , / l l , and / h / . Those e lis io n s betw een vow els o c cu rr e d only betw een c lo s e ly rela ted unaccented v ow els. The m o st frequently occu rrin g w ere betw een the two /l/- s o u n d s in such w ords as m ig h tie st (I, 99), being (I, 161), glorying (I, 239), and l i v e lie s t (I, 274). O thers w ere betw een the back v o w els, / o / and / u : /, and the schwa / a / , as in a ls o a gain st (I, 470) and to adore (I, 323), or the c lo s e ly rela ted e lisio n , s o r r ow and (I, 558). The e lis io n s o v e r sonorant consonants w ere even m ore unob tr u siv e , often involving sim p ly a m on osyllab ic fo rm of a d isy lla b ic w ord or an alternate d isy lla b ic fo rm of a tr isy lla b ic w ord. There w ere th ree in sta n ces of e lis io n over III producing d isy lla b ic fo r m s of popu lous (I, 351 and 770) and tem p le of (I, 402) and the nine in sta n ce s of e lis io n over fnf producing m on osyllab ic fo r m s of words such a s heaven (I, 212), r ea so n (I, 248), graven (I, 716), prison (I, 71), even (I, 416), and in the (I, 276). E lisio n o v er / n / a lso produced d isyllab ic fo r m s of om inous (II, 123), seven fold (II, 171), and o rig in a l (I, 592). H ow ever, by far m o st of the e lis io n s over a sonorant consonant o ccu rred o v er / r / (34 in s ta n c e s ) to p rod u ce d isy lla b ic fo r m s of such w o rd s as g l i m m e r in g (I, 182), h o v e r in g (I, 345), or g litter in g (I, 535). In addition, the w ord s p ir it is often m o n o sy lla b ic . A ll of th e se e lis io n s h ave b een p r e v io u sly n oted and d is c u s s e d at som e length by R ob ert B r id g e s in h is 31 se m in a l study o f M ilto n 's p ro so d y . In add ition to th e s e e lis io n s that a r ea d er m u st m ak e a s the p oem is r ea d , oth er e lis io n s have a lrea d y b een in d ica ted by M ilto n in the tex t. Such e lis io n s w e r e stud ied in two g ro u p s. One group c o n s is te d of the n o n -s y lla b ic ending of the p ast p a r tic ip le , in d ica ted in the te x t by M ilton a s _|d . or ^t a s in flow 'd (I, 11), m o v 'd (I, 29), sed u c 'd (I, 33), o p p o s'd (I, 41 ), and ad van e't (I, 119)- T his group w as m a rk ed in the tex t by r e p la c in g the apostroph e with an 8 as in flow 8d , m o v 8 d , sed uc 8d , o p p o s8 d , and ad vane 8t and w as la b e le d in the appendix a s "Ortho grap h ic a lly Im ita ted E lisio n : 8 Count." In th e M ilton s a m p le , a lm o s t th r e e -fo u r th s of su ch e lis io n s f e ll in e v e n -n u m b e r e d p o sitio n s; o n e-th ird of the to ta l e lis io n s f e ll in the tenth p o sitio n , a s in the lin e: In a r m s n ot w o r s e , in fo r e s ig h t m u ch ad v a n e't (I, 119) O ther e x a m p le s of th e se 8 -co u n t e lis io n s include: D elig h t th ee m o r e , and S ilo a 's brook that flo w 'd (I, 11) M ov'd our gran d p a r e n ts in that happy state (I, 29) Who f i r s t s e duc 'd th em to that foul r e v o lt? (I, 33) If he op p os'd ; and w ith a m b itio u s a im (I, 31) 94 The follo w in g ch art lis t s the ex a ct distrib u tion of th is 8 -cou n t in 31 M ilton. O rth ograp h ically Im itated E lisio n (8-C ount) in the M ilton Sam ple P o s i- tion Value P ercen ta g e 1 22 9. 9088 XXXXXXXXX 2 29 1 3 .0 6 1 6 XXXXXXXXXXXXX 3 8 3. 6032 XXX 4 17 7. 6568 XXXXXXX 5 13 5. 8552 XXXXX 6 28 1 2 .6 1 1 2 XXXXXXXXXXXX 7 10 4. 5040 XXXX 8 15 6. 7560 XXXXXX 9 6 2. 7024 XX 10 74 33. 3296 XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX 11 0 0 .0 0 0 0 The p r e s e n c e of such 8 -cou n t e lis io n s p reclu d es the p o s s ib ility of sy lla b ic d ou b lets and the r esu ltin g m e tr ic a l c o m p le x ity such doublets as the m o n o sy lla b ic and d isy lla b ic v e r s io n s of a rm ed and w inged can give to the fo llo w in g lin es: H ad (l) to im p o se: h e (l) through the a rm ed f ile s (I, 567) M ean w h ile the w inged h e r a ld s by com m an d (I, 752) T h ese lin e s have a lrea d y b een d is c u s s e d a s being e ith e r n in e -sy lla b le c a ta le c tic lin e s or t e n - s y lla b le n orm al lin e s , depending on the sy lla b ic 33 value of a r m e d and w inged. 95 The second group of e lis io n s alread y indicated in the text by M ilton c o n siste d of all other internal e lis io n s , including those of heav'nly (I, 6), heav'ns (I, 9), adventrous (I, 13), know 'st (I, 19). and m a d 'st (I, 22). Such e lisio n s w ere indicated by m arking the dropped syllab le by a 9. as in h eav9n ly, h e a v 9 n s, ad ven t9rou s, know 9st, and m ad9st; th ese e lis io n s w ere lab eled "Orthographic - Phonetic E lision: 9-Count" in the appendix. This second group of e l i sion s fe ll very predom inantly in even -n u m b ered p osition s and was r e la tiv e ly even ly distributed throughout the lin e. A lm o st half of th ese e lis io n s (56 of the 127) involved fo rm s of h ea v 'n , h e a v 'n 's, h ea v 'n ly , and h eav'n s as in: Sing heav'nly m u se , that on the s e c r e t top (I, 6) In the beginning how the heav'ns and earth (I, 9) The follow ing chart lis t s the exact distribution of this 9 -count. O rthographic-P honetic E lisio n (9 -Count) P o sitio n Value P ercen tage_________________ 1 10 7.8740 XXXXXXX 2 20 15.7480 XXXXXXXXXXXXXXX 3 1 0.7874 4 23 18. 1102 XXXXXXXXXXXXXXXXXX 5 5 3.9370 XXX 6 25 19. 6850 XXXXXXXXXXXXXXXXXXX 7 3 2.3622 XX 8 18 14.1732 x x x x x x x x x x x x x x 9 4 3.1496 XXX 10 18 14.1732 x x x x x x x x x x x x x x 11 0 0.0000 96 A gain, the p r e s e n c e of su ch e lis io n s p reclu d es the p o ssib ility of syllab ic dou blets and the poten tial m e tr ic a l c o m p lex ity r esu ltin g fr o m such dou blets. A nother c h a r a c te r is tic of M ilto n 's p rosod y noted in this study but only in d ir e c tly related to the H alle and K ey ser c o n cern s with s t r e s s m a x im a and e lis io n s is M ilto n 's co m p a ra tiv ely lim ite d but p rom in en t u se of p o ly sy lla b ic w ords. It should f ir s t be noted that M ilton u sed m o re m o n o - and d isy lla b ic w ord s and few er h e a v ily p o ly sy lla b ic w ords (defined h e r e as f o u r - , f iv e - , or s ix -s y lla b le w ords) than did the other p oets studied. A c o m p a r iso n of the num ber of o n e - , tw o -, t h r e e - , e tc . , sy lla b le w ords u sed by M ilton, T hom son, and W o rd s w orth w ill illu str a te this p oin t. N um ber of O n e-, T w o -, T h r e e -, E tc. , Syllable Words U s e d in the M ilton, T hom son, and W ord sw orth Sam ples N um ber of S y lla b le s M ilton T hom son W ordsw orth 1 5, 515 5, 212 5, 382 2 1,625 1, 728 1, 488 3 450 424 462 4 73 100 125 5 14 6 10 6 1 0 2 M ilton has m o r e m o n o - and d isy lla b ic w ords than do eith er T hom son or W o r d sw o r th --7 , 140 for M ilton a s opp osed to 6, 940 for T hom son and 6, 870 fo r W ordsw orth. In c o n tr a st, M ilton h as sign ifican tly fe w er 97 f o u r - , f i v e - , and s ix - s y lla b le w o r d s th an do e ith e r T h o m so n a n d /o r W o r d s w o r th --8 8 for M ilton a s o p p o sed to 106 for T h o m so n and 127 f o r W ord sw orth . A s t h e s e s t a t is t ic s m a y r e f le c t, at tim e s M ilton w r o te whole p a s s a g e s w ith fe w if any p o ly s y lla b ic w o r d s (w ord s of t h r e e , four, fiv e , o r six s y lla b le s ) , such a s the fo llo w in g p a s s a g e w h ich con tain s no th r e e - s y lla b le w o rd s and o n ly one fo u r - s y lla b le w ord, r e c o lle c t in g of lin e 528. A ll t h e s e ( l) a n d m o r e c a m e flo ck in g ; but with lo o k s Dow n(5) c a s t and d a m p , y e t su ch w h e r e in a p p ear'd O b sc u r e s o m e g lim p se of jo y , to h ave found th ir chief N ot in d e s p a ir , to h a v e found t h e m s e lv e s not lo s t In l o s s it s e lf; w hich on h is co u n t'n a n ce c a st L ik e doubtful hue: but he h is w onted p rid e Soon r e c o lle c t in g , w ith h igh w o r d s, that bore S em b la n ce o f w orth , not s u b s ta n c e , g en tly r a is 'd T hir fan tin g c o u r a g e , and d is p e l'd th ir f e a r s . (I, 5 2 2 -5 3 0 ) A n o th er p a s s a g e illu s t r a t e s a g a in M ilto n 's te n d en cy to w r ite p a s s a g e s w ith fe w if any p o ly s y lla b ic w o r d s co m b in ed w ith h is ten d en cy to c o n c e n tr a te w h a te v e r w o r d s of th r e e or m o r e s y lla b le s he d o e s u se , m a k ing su c h p o ly s y lla b ic w o r d s (w h ich h a v e b een u n d erlin ed in th is and th e fo llo w in g p a s s a g e ) v e r y o b v io u s. In a d d itio n , M ilto n s o m e tim e s m a k e s h is p o ly s y lla b ic w o rd s o b v io u s by p la cin g th em in c o n s p ic u o u s p h on etic e n v ir o n m e n ts and , in fr e q u e n tly , in c o n sp ic u o u s sy n ta ctic e n v ir o n m e n t s . The m in d i s its own p la c e , and in it s e lf C an m ake a h e a v 'n of h e ll, a h e ll of h ea v 'n . W hat m a tte r w h e r e , if I be s t i l l the s a m e , A nd what I should b e , all but l e s s than he 98 Whom thunder hath m ade g r e a te r ? H ere at le a s t We sh all be fr e e: th' alm ighty hath not built H ere for his en vy, w ill not drive us hence: H e r e (l) we m a y reign se c u r e , and in m y choyce To reig n is w orth am bition though in hell: B etter to reign in h e ll, than s e r v e in heav'n. But w h erefore le t we th en (l) our faithful fr ie n d s, Th1 a s s o c ia te s and co p a rtn ers of our lo s s Lye thus asto n ish t on t h 1 ob liviou s pool, And c a ll th em not to share with us th eir part. . . . (I, 254-267) F ir s t, th is p a ssa g e contain s only two tr isy lla b ic w ords in the f ir s t ten lin es. H ow ever, in lin e s 265 and 266 at the end of the p a ssa g e, M il ton suddenly co n cen tra tes four tr isy lla b ic w ord s in two lin e s, a c o n cen tration e s p e c ia lly n oticeab le in co m p a riso n w ith the sca r c ity of p olysyllab ic w ords in the p reviou s ten lin e s. In addition to c o n c e n trating th em , M ilton also p la c e s th ree of the six p olysyllab ic w ord s in th is p a ssa g e in co n sp icu o u s phonetic en viron m en ts: Alm ighty (I, 259) a s s o c ia te s (I, 265), and ob liviou s (I, 266) all co m m en ce with the r e la tiv e ly unusual e lis io n with the (indicated in the tex t as t h 1 ) , and a s s o - c ia te s and o b liviou s are both four - syllable w ord s elid ed in con text to th ree sy lla b le s. T his c h a r a c te r istic trea tm en t of p o ly sy lla b ic w ords is i l l u s trated again in another p a ssa g e fr o m Book I of P a r a d ise L ost: N a th less he so endur'd, till on the beach Of that inflam ed sea , he stood and c a ll'd (300) His le g io n s, an gel fo r m s , who la y in tran s't Thick as autum nal le a v e s that strow the brooks In V a llo m b ro sa , w h ere th' E trurian shades High o v e r a r c h 't im bowr; or sca tterd sed ge A float, when w ith fie r c e winds Orion arm 'd (305) Hath vex t the R e d -S e a c o a st, w hose w a v es o reth rew 99 B u s ir is and h is M em phian c h iv a lr y , W hile with p erfid iou s hatred they pursu'd The so jo u rn ers of G oshen, who beheld F r o m the safe shore thir floating c a r k a s e s (310) And broken ch ariot w h e e ls, so thick b estrow n A b ject and lo s t lay t h e s e ( l) , co v erin g the flood , U nder a m a zem en t of thir hideous change. (1 ,2 9 9 -3 1 3 ) E ven in th is p a ssa g e , w hich has a c o m p a ra tiv ely high co n cen tra tio n of 34 p o ly sy lla b ic w o rd s, th ese w ords tend to be grouped or con cen trated . Two of the lin e s (lin es 303 and 313) contain two p o ly sy lla b ic w o rd s, and lin e 307 h as th ree. S ev era l of the p o ly sy lla b ic w ords are p laced in co n sp icu o u s phonetic en vironm ents: 1. E trurian (1. 303) is elid ed with t h 1 in flam ed (1. 300) is expanded to the o ld er tr is y lla b ic fo rm fo r m with the sy lla b ic iz e d p a st p a r ticip ia l ending 3. S e v e ra l of the w ords are elided: E tru rian (1 .3 0 3 ) M em phian (1. 307) p erfid iou s (1. 308) ch ariot (1. 311) c o v erin g (1 .3 1 2 ) hid eou s (1. 313) F in a lly , two of the p o ly sy lla b ic w ords are p laced in c o n sp icu o u s s y n tactic en viron m en ts: 1. O rion (1. 305) is sep a ra ted fro m its n o rm a l p o sitio n d ir e ctly b etw een the introd uctory adverb when and the verb hath vext by a p rep o sitio n a l p h rase with f ie r c e winds and the ad jective a r m 'd . 2. co v er in g (1 .3 1 2 ) in tro d u ces a p a ren th etica l e x p r e s s io n sep aratin g an adverb of m an n er, under a m a zem en t of thir h id eou s ch an ge, fro m its verb lay. 100 So f a r , th is study of M ilto n 's p r o so d y h a s d e a lt w ith the sound p a tte rn s fo r m e d by M ilto n 's s t r e s s i n g a s w e ll a s w ith s o m e o th er c h a r a c t e r is t ic s of h is v e r s e r e la te d to th e s e sound p a tte r n s and to h is tr e a tm e n t of e lis io n . H o w e v e r , w h ile th e s e a re the m o s t im p o rta n t and fr e q u e n tly d is c u s s e d p a tte r n s, th ey a r e not the o n ly o n e s . A p o et m a y u se oth er sound p a t t e r n s - - s u c h a s the p a ttern s of a s so n a n c e and a llit - e r a t io n - - t o r e in fo r c e co u n terp o in t, o r to lin k h is s t r e s s p a tte r n s. M ilton u s e s a s so n a n c e and a llite r a tio n in a ll of t h e s e w a y s. The a p pen d ix fo r M ilton co n ta in s c h a r ts lis t in g the v a r io u s a s so n a n c e and a l lite r a tio n p a ttern s and the fr e q u e n c y w ith w hich e a c h o c c u r s in the s a m p le . The p a ttern s a r e in d ica ted by n u m b e r s, e a c h n u m b er r e f e r rin g to an a s so n a tin g (or an a llite r a tin g ) sound. F o r in sta n c e the lin e 1 2 1 3 3 1 2 W ill(l) h e , so w is e , le t lo o s e at o n ce h is ir e , (II, 155) h a s th r e e a llite r a tin g s o u n d s - - / w / (in d ica ted by an A r a b ic n u m e r a l 1), / h / (in d ica ted by a 2), and 111 (in d ica ted by a 3); the a llite r a tin g p a t te r n i s 1213312. The ra n g e of both the a s so n a n c e and a llite r a tio n p a tte rn s v a r ie s w id ely ; w h ile the sim p le r e p e titio n of a sin g le sound ( a l l pattern ) i s by fa r the m o s t c o m m o n of the a s so n a n c e or a llite r a tio n p a tte r n s, so m e of the lin e s h ave quite c o m p le x p a tte r n s. A s we s h a ll s e e m o r e f o r c e fu lly by la te r c o m p a r is o n s w ith the o th er a u th o r s, th is ra n g e of p a t t e r n s p r o v id e s one in d ex to the te c h n ic a l s o p h is tic a tio n of a p oet and one 101 ju stification for our intuitive r e sp o n se , "Milton is a g rea t poet." The c r ite r ia for such a resp o n se w ill vary, of c o u r se , but M ilton has su rely d em on strated h is tech n ica l m a ste r y of form in such s o p h isti cated patterns as: 1 2 1 3 3 1 2 W ill(l) he, so w is e , let lo o se at once h is ir e , (II, 155) 1 2 3 1 3 3 2 By fo r c e , hath o v e rc o m e but half his foe. (I, 649) A s th ese lin es illu str a te , the a sso n a n ce and a llitera tio n p a t tern s do not u su a lly u n d ersco re sp ecific sem an tic p a r a lle ls; in the second exam p le above, the re petition of / h / i n hath, h a lf, and h is typ i- fie s th is sem a n tica lly random a llitera tio n , although the allitera tio n of fo rce and foe (as w ell as the asso n a n ce on o v e rc o m e and fo e ) does su rely help bring th ese two key w ords into stron ger fo cu s. This fo cu sin g of key w ords is even m o re significan t in p a s s a g e s spanning s e v e r a l lin e s . F or in sta n ce, the second line above o c c u r s as Satan p r e se n ts the c o u r se of action left to him (fraud and guile) after God has by fo rce tr ie d to subdue him . . . . our better part rem a in s To work in c lo se d esig n , by fraud or guile What fo r c e effected not: that he no le s s At length fr o m us m ay find, who o v e r c o m e s By fo r c e , hath o v e rc o m e but half h is f o e . (I, 645-649) In addition to th is o c ca sio n a l focu sin g of key w ords and the concom itan t binding togeth er of h is p erio d s, M ilton 's a sso n a n ce and a llitera tio n have another stru ctu ral function. They tend to u n d ersco re 102 the predom inant s tr e s s m axim a pattern in the lin e. This is e sp ec ia lly true for those lin es having com bined asson ance and alliteration; as the following chart d em on strates, th is feature o ccu rs predom inantly on even -n u m b ered sy lla b les. The colum n labeled "Position" refers to the position s within the lin e, that lab eled "Value" r e fe r s to the number of asso n a tin g -a llitera tin g sy lla b les occu rrin g in a given position in the total sam ple, and that labeled "Percentage" refer s to the percentage of asso n a tin g -a llitera tin g sy lla b les which occu r in any given position. The s e r ie s of X s rep resen ts the percentage of a sso n a tin g -a llitera tin g sy lla b les found in a given position, one X for each percentage point. L ocation of Combined A sson an ce and A lliteration in the M ilton Sample Po sition Value P ercen tage 1 59 13.0213 X X X X X X X X X X X X X 2 55 12.1385 X X X X X X X X X X X X 3 22 4. 8554 x x x x 4 57 12.5799 X X X X X X X X X X X X 5 16 3.5312 X X X 6 52 11. 4764 X X X X X X X X X X X 7 29 6.4003 x x x x x x 8 66 14.5662 x x x x x x x x x x x x x x 9 31 6.8417 x x x x x x 10 65 14.3455 x x x x x x x x x x x x x x 11 1 0.2207 103 The follo w in g e x a m p le s illu str a te how the sy lla b le s with c o m bined a sso n a n ce and a lliter a tio n of m ajor w ords u n d ersco re the s t r e s s m a x im a p attern s fa llin g in e v en -n u m b e r ed p o sitio n s. The asson atin g and allitera tin g sounds have been u n d ersco red ; th o se asson atin g and a llitera tin g sounds fa llin g in ev en -n u m b e r ed p o sitio n s have b een u n d er sc o r e d tw ic e . To m o rta l m en , h e (l) w ith h is h o rrid c r e w (I. 51) A s one g r e a t fu rn ace fla m 'd , y e t(l) fr o m th ose fla m es (I, 62) H is u tm o st pow er with a d v e r se pow er opp os'd (I, 103) With sten ch and sm oak: such r e stin g found the sole (I, 237) Can m ake a heav'n of h e ll, a h e ll of heav'n. (I, 255) H is tem p le right again st the te m p le of God, (I, 402) With d read of death to flig h t or fou l r e tr e a t, (I, 555) With so lem n to u ch es, trou b l'd th oughts, and c h a se . (I, 557) B elch 'd fir e and row ling sm oak; the r e s t en tire (I, 671) In addition to the u n d erlin ed sounds o c c u r r in g in m ajor w o rd s, som e of the lin es a lso contain a sso n a n c e and a lliter a tio n on m in or w ords such as the a. and of in Can m ake a heav'n of h e ll, a h e ll of h eav'n . (I, 255) or as the a sso n a tin g i-so u n d in with and r e tre a t in With d read of death to flig h t or fou l r e tr e a t. (I, 555) In both of th e s e c a s e s , and m an y o th e r s, the a lliter a tio n or a sso n a n ce on the m inor w ord s i s quite subordinate to that of the m ajor a sso n a n ce 104 and alliteration , such as that on heav'n and h ell in line 255 above or between dread and d eath, or flight and fo u l, in line 555. Even in such lin e s, then, the predom inant effect of the com bined asson ance and alliteration is to rein force the s tr e s s m axim a patterns falling in the even -nu m bered p osition s. Although com bined asson an ce and a lliteration tend to underscore the predom inant s tr e s s m axim a pattern, in m any c a se s alliteration alone plays an equally im portant rein forcin g role. For in stan ce, in the follow ing lin e s , the alliteration rein fo r ce s the s tr e s s pattern ob scu red by the s e r ie s of s tr e s se d syllables: Of unblest_feet. Him( 1) _f olio wed his next m ate (I, 238) B elial cam e JLast, than whom a sp irit m o re lewd (I, 490) And tru st th e m se lv e s to_fear no second Jate (II, 17) H ow ever, alliteration also plays an im portant counter pointing role, e sp ec ia lly in alread y com p lex lin es. In m any c a se s , it helps to create the com p licated m e tr ic a l fram ew ork which tends to u n derscore the them atic c lim a x e s. This is illu strated in m any of the lin e s already exam ined, such as: Say fir s t, for heav'n hides nothing from thy view (I, 27) A bject and lo s t lay th e s e (l), coverin g the flood (I, 312) In which they w e r e (l), or the fie r c e pains not fe e l (I, 336) Did fir s t crea te your lea d er, next free ch oice (II, 19) 105 The f ir s t p o sitio n of the p reced in g "Combined A sso n a n ce and A llitera tio n Chart" has an u n u su ally large num ber of a sso n a tin g - a llitera tin g s y lla b le s . The r ep etitio n of the f ir s t w ord of the lin e accou n ts for o n e -th ir d (19 of 59) of the o c c u r r e n c e s of th e se s y lla b le s , including the rep etitio n of m a jo r w ord s (as in the f ir s t two of the f o l low ing e x a m p le s) and of m in o r w ord s (as in the la s t two e x a m p le s). Joynd with m e o n ce, now m is e r y hath joynd (I, 90) Not in d e sp a ir , to have found th e m se lv e s not lo s t (I, 52 5) To b o tto m le ss p erd ition , th er e to dw ell (I, 47) To noon he f e ll, fr o m noon to dew y ev e, (I, 743) H o w ev er, in addition to rep ea tin g the number of rep eated w o rd s, the 59 a sso n a tin g -a llite r a tin g s y lla b le s on p osition 1 s e e m to r e fle c t a m o re g e n e ra l trea tm en t of the f ir s t p o sitio n --th a t is , it is trea ted m o r e like an e v en -n u m b ered p o sitio n than any oth er od d -n u m b ered p osition . P o sitio n 1 c a r r ie s m o r e of th ese fe a tu r e s u su a lly a s s o c ia te d w ith ev en -n u m b e r ed p o sitio n s, su ch as the p r e se n c e of a sso n a tin g - 35 a llitera tin g and of s t r e s s e d s y lla b le s , than do any of the other odd- n u m b ered p o sitio n s. It c a r r ie s tw o to three t im e s m o re a sso n a tin g - a lliter a tin g s y lla b le s and, e v e n m o r e im p ortan tly, roughly th ree tim e s as m an y s t r e s s e d sy lla b le s a s any other od d -n u m b ered position ; in c o n tr a st to the 306 s t r e s s e s fa llin g in the fir s t p o sitio n , on ly 89 fa ll 36 in p o sitio n 3, 96 in p o sitio n 5, 108 in position 7, and 87 in p o sitio n 9 . The la r g e r o c c u r r e n c e of both a sso n a tin g -a llite r a tin g and s t r e s s e d 106 sy lla b le s in p o sitio n 1 s u g g e s ts that som eh ow th is p o sitio n in M ilton is l e s s s e n s itiv e to m e t r ic a l va ria tio n , o r at le a s t m o r e to le r a n t of it, than a re the o th er o d d -n u m b ered p o sitio n s, perhaps b e c a u se such a co m p lica tin g fa c to r a s a s t r e s s or an a s so n a tin g -a llite r a tin g sy lla b le in p o sitio n 1 a ffe c ts on ly o n e -h a lf as m any poten tial s t r e s s m a x im a as w ould a s im ila r co m p lica tin g fa c to r in any other o d d -n u m b ered p o s i tion. C o m p lica tin g fa c to r s in p ostion 1 affect only p o sitio n 2, w hile th o se in p o sitio n 3 a ffec t both p o sitio n s 2 and 4 , and th o se in p o sitio n 5 37 a ffect both p o sitio n s 4 and 6, e tc . The r o le of a sso n a n c e and a llitera tio n , th en, is v a ried in M il ton 's p ro so d y , and the range and so p h istica tio n of p a ttern s h e lp s d e m o n stra te M ilto n 's te c h n ic a l so p h istic a tio n as a poet. W hile m u ch of the a sso n a n c e and a llite r a tio n is se m a n tic a lly random , so m e of it s p e c ific a lly h e lp s to fo c u s key w o r d s, e s p e c ia lly in p a s s a g e s spanning s e v e r a l lin e s . The c o in c id e n c e of a sso n a n ce and a llite r a tio n ten d s to u n d e r sc o r e the p red om in an t s t r e s s m a x im a p attern , a s do so m e in s ta n c e s of a llite r a tio n a lo n e, though often a lliter a tio n p la y s a c o u n te r - pointing and c o m p lic a tin g r o le . T racin g the in sta n c e s of co in cid en t a s s o n a n c e -a llite r a t io n h e lp s d em o n stra te the sp e c ia l c h a r a c te r of the fir s t p o sitio n , the ex ten t to w h ich it is trea ted m o r e lik e an e v e n - n u m b ered p o sitio n than are the oth er o d d -n u m b ered p o sitio n s. 107 In su m m a ry , a num ber of con clu sio n s m ay be drawn fro m this s tu d y --fir s t, about the u se fu ln ess and app licability of H alle and K ey- s e r 's d escrip tio n of iam b ic p entam eter v e r s e as M ilton w rote it and, second , about M ilton 's prosod ic p r a c tic e s in this v e r s e as r ep resen ted by Books I and IX of P a r a d ise L o st. 1. The H a lle -K e y se r th eory is in som e w ays adequate, in other w ays inad eq uate. a. H alle and K e y se r 's theory adequately d e sc r ib e s the m e tr ic a l fra m ew o rk of M ilton 's lin es: all of M ilton's lin es m ay be r e garded as m e tr ic a l within the th eory, although in four i n sta n ces in th is sa m p le, M ilton 's lin es can only be judged m e t r ic a l w ithin the th eory if H alle and K e y se r 's assu m p tion of 38 " s tr e s s subordination in com pounds" (in com pound nouns such as s e a - b e a s t and lo v e -ta le ) g iv e s w ay to D an iel Jon es' a ssu m p tion of le v e l s tr e s s in such w ord s, to Jon es' a ssu m p tion that in such w ords both e lem en ts m u st c a rr y strong s t r e s s . b. H alle and K e y se r 's m e a su r e of co m p lex ity is inadequate to d e scr ib e the co m p lex ity of M ilton 's lin e s , to d e scr ib e the qualitative d ifferen ce b etw een so m e lin e s with the sam e c o m p lexity nu m ber, the relation betw een lin es with d ifferen t co m p lex ity n u m b ers, or the effect of such co n sid era tio n s as syntax on the p u rely m e tr ic a l m e a su r e of co m p lex ity . M ilto n 's handling of s t r e s s m a x im a has s e v e r a l c h a r a c te r is tic s: a. He c h a r a c te r is tic a lly w rote lin e s having th r e e , tw o, or only one s t r e s s m a x im a per lin e. H is th ree m o s t freq u en tly o c cu rrin g s t r e s s m a x im a p attern s are 2, 4, 8; 4 , 8; and 2, 8. b. In h is q u ieter and m o re d e sc r ip tiv e p a s s a g e s , M ilton ten d s to p lace h is s t r e s s e d sy lla b le s r eg u la rly in ev en -n u m b e r ed p o s i tion s and to allow th ese s t r e s s e d s y lla b le s to be a ctu a lized as s t r e s s m a x im a . T his handling of s t r e s s and s t r e s s m a x im a is a probable so u rce of the fo r w a rd -d r iv in g rhythm often noted in M ilton. c. M ilton freq u en tly u n d e r s c o r e s c lim a c tic points in the n a rra tiv e of the fa llen a n g e ls ’ r e b e llio n a g a in st God and the ch a o s th is in tro d u ces into the u n iv e r se by p h rasin g such c lim a c tic points in a v e ry d iso rien tin g m e tr ic a l fra m ew o rk , in lin e s w ith no or only one s t r e s s m a x im u m per lin e. It is as if M ilton c h a r a c te r is tic a lly and v e ry sp e c ific a lly m a rk ed e s p e c ia lly sig n ifica n t lin e s and p a s s a g e s with sp e c ia l m e tr ic a l e ffe c t s , as if he fr a m e d the m o st d esp era te p arts of the n a rra tiv e in the p ro so d ic str u c tu r es m o s t sp e c ific a lly r e fle c tin g such d esp era tio n . d. In such p a s s a g e s , M ilton ten d s not to a llo w h is s t r e s s e s to b eco m e s t r e s s m a x im a , and he ten d s to slo w and w eight h is lin e s and to d iso r ie n t the m e tr ic a l fr a m e w o rk by the p r e se n c e of s t r e s s e s in odd-num bered p osition s which n eu tralize the potential s tr e s s m axim a. M ilton tends to avoid writing lin es with no s tr e s s m axim um ea rly in the lin e, that is , in positions 2 or 4. The frequency of this c h a ra cteristic in his work su ggests that M ilton r e garded the m e tr ic a l phenomenon rep resen ted by the concept 'early s tr e s s m axim um ' as a kind of prosodic touchstone to which he constantly referred . This touchstone is e sp e c ia lly im portant as a reorien tin g device after lin es or in p a ssa g es with a large amount of m e tr ic a l disorientation, after lin es or in p a ssa g es with no or only one s tr e s s m axim um per line. Although one does not u su ally find lin es with a s tr e s s m a x i m um on position 10, M ilton o cca sio n a lly w rites lin es with a s tr e s s m axim um or a potential s tr e s s m axim um in this p o s i tion. M ost frequently, the potential s tr e s s m axim um is cau sed by the p resen ce in position 10 of a long diphthong en d ing in an R -c o lo r ed schw a, such as the diphthong in f i r e , d ir e , or i r e . Indeed, M ilton tended to r e se r v e th is use of f ir e ( s ) for th is term in al position and for the potential exten sion and m e tr ic a l com p lexity fire can give to the lin e end. M ilton does not tend to a sso c ia te particular patterns of s tr e s s m axim a with particular patterns of s tr e s s p lacem ent or with particular syntactic patterns. In addition to th ese c h a r a c te r is tic s rela ted m o r e s p e c ific a lly to h is handling of s t r e s s m a x im a , M ilton 's handling of s t r e s s e d s y lla b le s has s e v e r a l other c h a r a c te r is tic s . a. H is handling of s t r e s s e d s y lla b le s tends to highlight h is m o d i f ie r s . A m o d ifier i s often the so u rce of m e tr ic a l c o m p lic a tion , e s p e c ia lly when a s t r e s s e d m o d ifier fa lls in an odd- n u m b ered p o sitio n , and two m o d ifie r s freq u en tly o ccu r in M ilton 's s e r ie s of th ree or m o re s t r e s s e d s y lla b le s in a row . b. H is s e r ie s of th ree or m o r e s t r e s s e d s y lla b le s in a row tend to fa ll in c lim a c tic p a s s a g e s , and when th e se s e r ie s of s t r e s s e d s y lla b le s do o c c u r , they tend to be stro n g ly d iso rien tin g f a c to r s in lin es having no or only one s t r e s s m a x im u m per lin e. c. M ilton 's s e r ie s of th ree or m o re s t r e s s e d sy lla b le s s o m e tim e s fa ll at the end of the lin e, su g g estin g the in flu en ce on M ilton 's p ro so d y of the spondaic ending in c la s s ic a l epic p oetry. d. L im ited data fr o m th is study su g g e sts th at M ilton ten d s to u se v erb a l p a r tic le s (such as the s t r e s s e d ad verb ial fo r m in b u rst fo rth ) p red om in an tly in p o sitio n s 2, 8, and 10. The co m p lex ity of M ilton 's lin e s can be partly attributed to the fo llo w in g c a u se s: a. M ilton c o m p lic a te s h is lin e s by syn tactic c o n sid e ra tio n s such as in v e r s io n s , the in terru p tion of p aren th etical e x p r e s s io n s , Ill e lip s e s , shortened fo r m s of w ords and, o c c a sio n a lly , a m b i guity of syntactic function. b, M ilton co m p lica tes h is lin e s by allow ing alternate m e tr ic a l sca n sio n s within a line ca u sed by: U naccen ted eleven th sy lla b le s which m ay poten tially fo rm eith er an e x tr a m e tr ic a l syllab le or an e lis io n with the tenth p osition . The p resen ce of long diphthongs ending in an R -c o lo r e d schw a within the lin e, often in the w ord o u r (s ), which m ay be sp lit into two sy lla b le s or which m ay rem ain m ono s y lla b ic . M ore than one p o ssib le set of e lis io n s within an elev e n - sy lla b le lin e. The p r esen ce in a line of a w ord with a varying num ber of sy lla b le s (such as the m on osyllab ic and d isyllab ic v e r sio n s of arm ed) and a com bination of s t r e s s e s and sy n ta c tic b reak s which allow s two read in gs of the lin e - - a m e tr ic a l nine - syllab le c a ta le ctic reading and a n orm al te n -sy lla b le reading. 5. M ilto n ’s p ra ctice of e lis io n has s e v e r a l c h a r a c te r istic s: a. H is e lis io n s can occu r betw een naked v ow els or o v er / r / , / l / , / m /, /n /, or /h/; th ey m o st often occu r over / r / . b. M ilton tends to place the n on syllab ic ending of the past p a r ti cip le (indicated in the text by 't or ^d.) in ev en -n u m b ered p o s i tio n s, e sp e c ia lly in p osition 10. c. Other e lis io n s within w ords ind icated in the text (as in h eav'n ) occu r predom inantly in ev en -n u m b ered p osition s and half of th ese e lis io n s involve fo r m s of h ea v 'n , h e a v 'n 's , h e a v 'n ly , and h ea v 'n s. M ilton 's u se of p o ly sy lla b ic w o rd s h as s e v e r a l c h a r a c te r is tic s: a. M ilton u s e s few er p o ly sy lla b ic w o rd s than do T hom son or W ord sw orth . b. M ilton often w r ite s exten d ed p a s s a g e s with few if any p o ly sy lla b ic w ord s. c. He ten d s to m ake h is u se of p o ly sy lla b ic w ord s v ery ob viou s by co n cen tra tin g th em , by s o m e tim e s p lacin g th em in c o n sp icu o u s phonetic e n v ir o n m e n ts and, in freq u en tly, in c o n sp icu o u s syn tactic e n v ir o n m e n ts. The r o le of a sso n a n c e and a llite r a tio n is v a ried in M ilton 1 s p rosod y. a. The range and so p h istic a tio n of p a ttern s of a sso n a n ce and a llite r a tio n h elp s d e m o n str a te M ilto n ^ te c h n ic a l s o p h is tic a tion a s a poet. b. W hile m u ch of the a sso n a n c e and a llite r a tio n is s e m a n tic a lly ran d om , so m e of it s p e c ific a lly h elp s to fo cu s key w o r d s, e s p e c ia lly in p a s s a g e s spanning s e v e r a l lin e s . c . The a sso n a n c e and a llite r a tio n , and e s p e c ia lly the c o in c id e n c e of a s so n a n c e and a llite r a tio n , tend to u n d e rsc o re the p r e dom inant s t r e s s m a x im a p attern , although often a lliter a tio n alone p la y s an im p o rta n t co u n ter pointing and co m p lica tin g ro le and h elp s to c r e a te the c o m p lic a te d m e tr ic a l fr a m e w o rk u n d e r sc o r in g the th em a tic c lim a x e s . 113 d. The location of coincident asson an ce and allitera tio n h elp s d em on strate the sp ecia l ch a ra cter of the f ir s t p osition in the lin e, the extent to which it is treated m o re like an e v en - num bered p osition , than any other odd -num bered position . In d escrib in g som e of the functions of sound p a tte rn s--b o th those of s tr e s s and a sso n a n ce and a llite r a tio n --in the M ilton sa m p le, this d isc u ssio n of M ilton's blank v e rse prosody within the H a lle - K eyser theory has d e scr ib e d in one way the underlying v e r s e pattern in P a ra d ise L o st and the p rosod ic lim its within w hich M ilton ran ges in attaining this pattern. F urther data to support the g en era liza tio n s m ade in th is chapter are included in Appendix A, "Computer Data fro m the M ilton Sam ple." The d escrip tio n of M ilton's prosod y, h o w ev er, is only the f ir s t step in th is study. The follow ing ch ap ters d e sc r ib e the next ste p s, the application of the H a lle -K e y ser d escrip tio n to the other bod ies of blank v e r s e and, through th is co n sisten tly applied and u sefu l d escrip tiv e tool, an a n a ly sis of the d ifferen ces am ong the various p ro so d ies of the five blank v e r se poets. 114 Note s ^Karen Lynn, "C om putational P r o so d ie s: The D e ca sy lla b le Line fr o m C haucer to Skelton," unpub. d octoral d isse r ta tio n (U n iv er sity of Southern C a lifo rn ia , 1973), pp. 5 9 -6 3 . In h er study of C haucer u sin g the H a lle -K e y s e r th eo ry , M iss Lynn d is c o v e r e d lin e s that a rea d er would p e r c e iv e as m e tr ic a l c la s s e d as u n m e tr ica l in the com pu ter sca n sio n . Such lin e s con tain ed e lev e n poten tial sy lla b le s and at le a s t one elid ab le sy lla b le and ended w ith a th ree - sy lla b le w ord, such as b ach elor or inn ocent in w hich only the f ir s t sy lla b le w as m a rk ed with s t r e s s . S ee, for e x a m p le , the unelided v e r s io n of the follow in g line: 2 4 6 8 10 "Of C h r iste s m ood er?" seyd e th is inn ocent ( P r io r e s s ' T ale, VII, 538) The un elid ed v e r s io n of th is lin e contain s e le v e n poten tial s y lla b le s , and the la st sy lla b le is u n str e ss e d . In the p ro ced u re in itia lly p r e sen ted by H alle and K e y se r , a lin e with e le v e n p oten tial s y lla b le s w as f ir s t ch eck ed for an u n s tr e s s e d , e x tr a -m e tr ic a l, te r m in a l sy lla b le . If the line contain ed a te r m in a l u n s tr e s s e d s y lla b le , it w as a ssu m e d that th is sy lla b le w as e x tr a -m e tr ic a l and no fu rth er c h e ck s w e re m ade to d eterm in e w hether the lin e should actu ally be scan ned as a ten - sy lla b le lin e req u irin g an in tern al e lisio n . F o r such a lin e as that above fro m C h au cer, th is p roced u re produced s t r e s s m a x im a in an od d -n u m b ered (W) p o sitio n , h e r e in the ninth p o sitio n , and the lin e w as th er e fo re judged u n m e tr ica l. H o w ev er, read in g sey d e in the above ex a m p le as m o n o sy lla b ic produced a p erfectly m e tr ic a l te n -s y lla b le elid ed lin e w ith the s t r e s s m a x im a on the f ir s t sy lla b le of innocent fallin g in p o sitio n 8. The o rd erin g of step s in the s c a n sio n p ro ced u re, h o w ev er, p reclu d ed the se a r c h for p o ssib le and p e r m is s ib le e lis io n s within the lin e. T h e o r e tic a lly , a s im ila r p rob lem could e x is t in a te n -s y lla b le lin e with a c a ta le c tic opening and a te r m in a l, e x tr a -m e tr ic a l sy lla b le . The p roced u re outlined by H alle and K ey ser would a ssu m e a o n e -to - one c o rr e sp o n d e n c e of sy lla b le to p osition for a te n -s y lla b le lin e. H o w ev er, that a ssu m p tio n in th is c a s e would p lace a sy lla b le in p o s i tion 1 that b elonged in p o sitio n 2, one in p o sitio n 2 that b elon ged in p o sitio n 3, e tc . , and would shift a ll of the s t r e s s m a x im a into odd- n u m b ered p o sitio n s, producing an app arently u n m e tr ica l lin e. M iss Lynn co n clu d es that to avoid such m ista k en s c a n sio n s, so m e m eth od is n e c e s s a r y "for d istin gu ish in g a v e r s e - f in a l sy lla b le in v o r e , f e r r e " or sey d e "from that in b a c h e lo r , b a c k e le r " (p. 62) and in n o cen t, e s p e c ia lly when th ese w ord s occu r in v e r s e - f in a l p osition . She s u g g e sts that the m o s t obvious m ethod m ig h t s e e m to be to c o n sid e r 115 the role of second ary s tr e s s for m aking such d istin ction s, to con sid er that the final sy lla b les of bachelor, bak eler, or innocent could carry second ary s t r e s s , while the final sylla b les of v o r e , f e r r e , or seyde could only be u n stre sse d . T h erefore, if a word such as "innocent" in the exam ple above o c c u r s in v e r s e -fin a l position in an e le v e n -sy lla b le lin e, its final syllab le would not autom atically be con sid ered a v erse - fin al, e x tr a -m e tr ic a l u n str e sse d syllab le. A check would be m ade to determ ine if it m ight p o ssib ly be a lightly s tr e s s e d ten th -sy lla b le in a line requiring an internal e lisio n . A consideration of second ary s tr e s s , then, could be very useful in such m e tr ic a lly difficult situations. How e v er , M iss Lynn also presented an alternative solution to such prob- le m s --th a t the in vestigator test "every p ossib le assign m en t of s y lla b les to position for m e tr ic a lity before he can decide w hether the line contains a ca ta lectic on set or a weak ending [or req u ires an internal elisio n ]. The n e c e s s ity for gen eralizin g the in vestigative algorithm to include this m ultiple testin g for m etrica lity is d isc u sse d at length by R obert D illigan, 'Com puters and the H istory of P r o so d y 1 " (p. 63). 2 M o rris Halle and Sam uel Jay K eyser, "Chaucer and the Study of P rosod y," C ollege E n g lish , XXVIII (D ecem b er 1966), 200. 3 H alle and K ey ser, "Chaucer and the Study of P rosody," p. 200. 4 M o rris H alle and Sam uel Jay K eyser, E n glish S tress: Its F orm , Its Growth, and Its R ole in V erse (New York, 1971), p. 169. 5 H alle and K ey ser, "Chaucer and the Study of P rosod y," p. 188. ^Daniel Jon es, Outline of E nglish P h onetics (9th ed. ; C am b ridge, i 9 6 0 ), p. 263. 7 H alle and K ey ser, E nglish S t r e s s , p. I6 9 . g H alle and K ey ser, E nglish S t r e s s , p. 169• 9 Seym our Chatman, A Theory of M eter (London, The Hague, P a r is , 1965), p. 133. ^ T h e lin e, "B elial cam e la s t, than whom a sp irit m ore lewd" (I, 490), has tw elve sy lla b les in its unelided v ersio n and th ree p ossib le sonorant seq u en ces through which e lis io n m ay occu r (ia l of B e lia l, whom a, and sp ir it). Since, as a s tr e s s e d syllab le, lew d cannot occupy position 11 but m ust fall in position 10, two internal e lis io n s m u st be 116 m ad e within the lin e to red u ce the tw elve s y lla b le s to the ten availab le p o sitio n s. If sp ir it is not s e le c te d as one of the elid ab le seq u e n c es, its s t r e s s e d sy lla b le w ill fa ll in p osition 7, crea tin g an u n m e tr ica l s t r e s s m a x im u m in that p osition . T h e re fo r e , one of the e lis io n s m u st occu r on s p ir it , fallin g in p o sitio n 8. The adjoining s t r e s s on m o r e in p o sitio n 9 n e u tr a liz e s the poten tial s t r e s s m a x im u m on s p ir it . The oth er e lis io n can o ccu r eith er in p o sitio n 2 on the la s t two s y lla b le s of B e l ia l, or (if B e lia l is read as tr is y lla b ic ) the e lis io n m u st o ccu r on w hom a in p osition 7. I have s e le c te d the e lis io n w ithin B e l ia l, sin ce it i s l e s s o b tru siv e than that betw een the two w ords w hom a . In eith er ev en t, th is lin e would have no s t r e s s m a x im u m , The s t r e s s e s on c a m e and la s t n e u tra lize ea ch oth er, as do the s t r e s s e s on m o r e , le w d , and the req u ired m o n o sy lla b ic v e r s io n of s p ir it . ^ T h e w ord s m a rk ed with an A rab ic n u m era l 1 c a r r y s t r e s s . 12 Lynn, "C om putational P r o s o d ie s," pp. 127-128. 13 The a v era g e N eu tralization P o ten tia ls for the four p o sitio n s a re 17 p ercen t for N eu tra liza tio n P o ten tia l (A djacent Syntactic B reak) and 24 p e r ce n t for N eu tra liza tio n P o ten tia l (A djacent S tr e ss). The u n u su ally high N eu tra liza tio n P o ten tia l (A djacent S tr e ss) w as ca u sed p a rtly by the la r g e num ber of in verted f ir s t fe e t, by the ap p roxim ately 200 lin e s beginning with a s t r e s s e d fo llo w ed by an u n s t r e s s e d sy lla b le . 14 In addition to the two e x a m p le s lis te d , the oth er lin e s ending in fir e or f ir e s include: "With flo o d s and w h irlw in d s of tem p estu o u s f ir e , " (I, 77); "Here in the h ea rt of h e ll to w ork in fir e ," (I, 151); "With so lid , a s the lake w ith liquid fire;" (I, 229); "And fe w el'd e n tr a ls th en ce c o n c eiv in g fir e ," (I, 234); " 'Twixt upper, n eth er, and su rro u n d ing fir e s;" (I, 346); "Thir c h ild ren s c r ie s un heard, that p a st through fir e " (I, 395); "Thir g lo ry w itherd. A s when h ea v en s fir e " (I, 612); "W here pain of u n extinguish able fire" (II, 88); "Her m is c h ie f, and purge off(5) the b a se r fire" (II, 141); "Of h ell should spout her c a t a r a c ts of fir e " (II, 176); and "With what is punish't; w hence th e se raging fir e s " (II, 213). 15 T hose lin e s containing lin e -te r m in a l w o rd s with diphthongs ending in an R -c o lo r e d sch w a are: "With vain attem pt. H im (l) the alm igh ty pow er" (I, 44); "With suppliant k n ee, and d eifie h is pow er," (I, 112); "Then such could hav orep ow 'rd su ch fo r c e a s o u rs" (I, 145); "Was not in g lo r io u s, though th' even t w as d ire," (I, 624); "By sp ir its rep ro b a te, and in an hour" (I, 697); "In c lu s te r s ; th ey am ong f r e s h d ew s and flo w e r s" (I, 771); "Thus high u p lifted beyond h o p e, a sp ir e s" (H, 7); "We should be quite a b olish t and e x p ire," (I, 93); and "W ill(l) 117 h e , so w is e , le t lo o s e at on ce h is ir e ," (II, 155). 16 The fo u r in s ta n c e s of lin e te r m in a l p la c e m e n t of g u ile are: " T h 'in fern al serp en t; h e ( l) it w a s , w h o se g u ile" (I, 34); "To w ork in c lo s e d e s ig n , by frau d or gu ile" (I, 646); "W hether of op en w a rr or c o v e r t gu ile" (II, 41 ), and "My v o ic e d is s w a d e s ; fo r w h a t(l) can fo r c e or g u ile" (II, 188). 17 The lin e s co n ta in in g th e s e w o rd s are: "And high d isd a in , fr o m s e n s e of in ju r'd m e r it" (I, 98); "That d u r st d is lik e h is r e ig n , and m e p r e fe r r in g " (I, 102); "And out of good s t ill to fin d m e a n s of ev il" (I, 165); "Of h e a v 'n r e c e iv 'd u s fa llin g , and th e thunder" (I, 174); "Should fa v o r equal to the so n s of h eaven " (I, 654); "W ill en v y w hom the h ig h e s t p la c e e x p o s e s " (II, 27); "Stood up (5), the s tr o n g e s t and the f i e r c e s t sp ir it" (II, 44); and "Though fu ll of p ain , th is in te lle c tu a l being" (II, 147). 18 A p p en d ix A l i s t s 32 lin e s a s sh a rin g the s t r e s s m a x im a p a t te r n 6. H o w e v e r , b e c a u s e of a cod in g e r r o r , one lin e w ith a 2 ,6 s t r e s s m a x im a p a ttern w as m is ta k e n ly c la s s e d w ith the lin e s havin g on ly a s t r e s s m a x im u m in p o sitio n 6: "With a r m e d w a tch , th at ren d er a ll a c c e s s " (II, 130). The d is y lla b ic a r m e d w a s co d e d a s its m o n o sy lla b ic d ou b let a rm ed ; the r e s u ltin g ad jacen t s t r e s s on w atch then n e u tr a liz e d the p o ten tia l s t r e s s m a x im u m on th e f i r s t s y lla b le of a r m e d in p o sitio n 2. In the s t r e s s p a tte rn s w h ich fo llo w in the te x t, u n a ccen ted s y lla b le s a re r e p r e s e n te d by (w ) and s t r e s s e d s y lla b le s by ("*). The s t r e s s p a ttern fo r m e d by two u n a cc e n te d s y lla b le s fo llo w e d by two s t r e s s e d s y lla b le s i s . 19 The s p e c if ic d istr ib u tio n o f v e rb a l p a r t ic le s in the M ilton sa m p le i s p r e se n te d in the fo llo w in g c h a r t, alth ough the s m a ll n u m b er of p a r t ic le s in the sa m p le lim it s s t a t is t ic a l v a lid ity of th is c h a r t. P o s itio n r e f e r s to lin e p o sitio n , V alue to the n u m b er of p a r tic le s o c c u r r in g in e a c h p o sitio n , P e r c e n ta g e to the p e r c e n ta g e of to ta l n u m b e r of p a r t ic le s found in any g iv en p o sitio n . The s e r i e s of X s r e p r e se n ts the r e s p e c tiv e p e r c e n t a g e s , one X for e a c h p e r c e n ta g e point. L o ca tio n o f V erb a l P a r t ic le s in the M ilto n Sam ple P o s it io n 1 2 3 4 5 Value 4 9 3 3 1 P e r c e n ta g e 9. 3020 X X X X X X X X X 2 0 .9 2 9 5 X X X X X X X X X X X X X X X X X X X X 6. 9765 X X X X X X 6 .9 7 6 5 X X X X X X 2 .3 2 5 5 X X 118 P o sitio n Value P ercen ta g e_________________ 6 4 9 .3 0 2 0 XXXXXXXXX 7 0 0 .0 0 0 0 8 7 1 6 .2 7 8 5 XXXXXXXXXXXXXXXX 9 3 6. 9765 XXXXXX 10 9 2 0 .9 2 9 5 XXXXXXXXXXXXXXXXXXXX 11 0 0 . 0 0 0 0 20 In a ll of the follow in g lin e s , ea ch violation of the C o r r e sp o n dence R u les as a rticu la ted by H alle and K e y se r in E n glish S tr e s s (p. 169) h as been underlined. 21 In th e se c a s e s , the th ird and sixth in sta n ce s w ould only occu r if C o rresp o n d en ce R ule (i) w ere r e v is e d a s su g g ested by D onald F r e e m an in "On the P r im e s of M etrica l Style," Language and S ty le , I (1968), 6 3 -1 0 1 , to include l i t and / v / as con son an ts o v er w hich e l i sion m a y o c cu r. In T heory of P r o so d y in E igh teen th -C en tu ry England (N ew Y ork, 1954), p. 74, P aul F u s s e ll d e s c r ib e s e lis io n over / v / as p e r m is sib le in eig h teen th -cen tu ry E n g lish poetry. 22 The u n d ersco rin g m a rk s the violation s of the H a lle -K e y s e r C o rresp o n d en ce R ules; the colum n of n u m b ers to the right of the p a s sage in d ica tes line n u m b ers. 23 The w ord flo w e r s o c c u r s only once in the M ilton sa m p le , its a ccen ted sy lla b le fallin g in p o sitio n 10. P o w er(s) o c cu rs 16 tim e s in the sa m p le, 5 tim e s within the lin e as d isy lla b ic , 5 tim e s w ithin the line a s m o n o sy lla b ic (once ea ch in p o sitio n s 1, 6, and 8, and tw ice in p o sitio n 4), and 6 tim e s in lin e te r m in a l p o sitio n , its accen ted syllab le fa llin g in p o sitio n 10 w ith the p o ssib ility of eith er an e x tr a -m e tr ic a l sy lla b le or an e lis io n on p osition 10. 24 In addition, a p o ssib le u n m e tr ica l sca n sio n m ay contribute to the f ir s t lin e 's sen se of co m p lex ity . If a sca n sio n of the f ir s t line c o n sid e r e d an e lis io n b etw een the alm igh ty, the s t r e s s m a x im a r esu ltin g on the secon d sy lla b le of alm igh ty and the f ir s t syllab le of pow er would fa ll, r e s p e c tiv e ly , in the seven th and ninth p o sitio n s, crea tin g an u n m e tr ic a l sca n sio n . T his i s , of c o u r se , an a ltern a te sca n sio n of the line and as such m ay w ell contribute to a p e r c e iv e d se n se of c o m p le x ity about the lin e , but such u n m e tr ica l sc a n sio n s are not the m ain f a c to r s under co n sid era tio n h e r e . We a re co n cern ed with the altern ate m e tr ic a l sca n sio n s. 119 25 C o n sid erin g s p ir its as d isy lla b ic p la c e s the s t r e s s e d sy lla b le of pow er in the elev e n th position ; sin c e th is p o sitio n can only hold an u n s tr e s s e d e x t r a - m e t r ic a l s y lla b le , a cco rd in g to the H a lle -K e y s e r th e o r y , such a s c a n sio n m u s t be r e je c te d a s u n m etrica l. 26 S p irit(s) o c c u r s fo u rtee n t im e s in th is sa m p le , four t im e s as d isy lla b ic (with the s t r e s s e d s y lla b le fa llin g once e a ch in p o sitio n s 2, 4, 6, and 8) and ten tim e s a s a m o n o sy lla b le o c c u r r in g once in p o s i tion 10, tw ice in p o sitio n 4, th re e tim e s in p o sitio n 6, and four tim e s in p o sitio n 8. 27 T h ese lin e s a lso co n ta in a ltern a te and quite u n m e tr ica l s c a n sio n s if fir e is rea d a s d isy lla b ic in a te n - s y lla b le lin e . F o r in sta n c e , read in g the f ir s t lin e a s a te n - s y lla b le lin e w ith an e lis io n b etw een h ere( 1) in and w ith a d is y lla b ic fir e c r e a te s s t r e s s m a x im a in odd- n u m b ered p o sitio n s; th o se on h e a r t , h e l l , w o r k , and fir e fa ll, r e s p e c tiv e ly , on p o sitio n s 3, 5, 7, and 9» a p e r fe c tly u n m e tr ica l lin e in the H a lle -K e y s e r s y s te m . The ob viou s and only m e tr ic a l way to rea d f ir e as d isy lla b ic i s to c o n sid e r it as b eginn ing in the tenth p o sitio n and contain ing an e x t r a - m e t r ic a l s y lla b le . 2 8 The d istrib u tio n of the 45 in sta n c e s of ou r(s) is: se v e n in sta n c e s in p o sitio n 1, th ree in p o sitio n 2, fiv e in p o sitio n 3, two in p o sitio n 4, fiv e in p o sitio n 5, two in p o sitio n 6, fiv e in p o sitio n 7, one in p o sitio n 8, e le v e n in p o sitio n 9# and four in p o sitio n 10. 29 In su ch in s ta n c e s , the phonetic e n v ir o n m e n ts surrounding our p rev en t it fr o m sh a rin g any oth er p o sitio n . F o r in sta n c e , in the f ir s t lin e , "Strongly to su ffer and to supp ort our pains" (I, 147), the / r t / of support and the / p / of p ain s 'hem in' the diphthong and p rev en t it fr o m elid in g w ith the v o w el in p o sitio n 8 or 10, b e c a u se / r t / and / p / are not co n so n a n ts o v e r w hich su ch e lis io n m a y o c c u r . "^Halle and K e y s e r , E n g lish S t r e s s , p. 169. 31 R o b ert B r id g e s , M ilto n 's P r o s o d y (London, 1921). 32 In the ch a rt, P o s itio n r e f e r s to the lin e p o sitio n , V alue to the nu m b er of e lis io n s o c c u r r in g in e a c h p o sitio n . P e r c e n ta g e to the p e r cen ta g e of to ta l e lis io n s o c c u r r in g in e a ch p o sitio n , and the s e r ie s of X s plot the r e s p e c tiv e p e r c e n t a g e s , one X for e a ch p ercen ta g e point. 33 In h is d is c u s s io n of sy lla b iz e d eel en d in gs on p ast p a r tic ip le s in B lank V e r se and C h ro n o lo g y in M ilto n , U n iv e r sity of F lo r id a M o n o g ra p h s, H u m a n itie s --N o . 20 (G a in e sv ille , 1966), A nts O ras a lso 120 con clu d es that M ilton s y lla b iz e s th ese ed endings to help n o r m a lize lin e s , to p rev en t m e tr ic a l com p lexity; he finds th is p ro so d ic fea tu re to follow M ilton 's d evelop m en t as a poet, sin ce it o c c u r s m o re often in the e a r lie r , l e s s ex p e rim en ta l v e r s e and l e s s freq u en tly in the la te r , m o re ex p e rim en ta l v e r s e . 34 The en tire sam p le has an a v era g e of l e s s than one t h r e e - , fo u r -, f iv e - , or s ix -s y lla b le w ord for e v e r y two lin e s (538 p o ly sy lla b ic w ords for 1 ,0 2 6 lin es); the p a ssa g e p r e se n tly under d is c u s sio n has slig h tly m o r e than tw ice that ratio of p o ly sy lla b ic w o r d s - - s ix t e e n p o ly syllab ic w ord s in fifteen lin e s . 35 In the ch art p r e se n ted e a r lie r in the te x t, "L ocation of C o m bined A sso n a n ce and A lliter a tio n in the M ilton Sam ple," the e v en - n u m b ered p o sitio n s contain m o re than tw ice as m u ch com bined a s s o nance and a lliter a tio n as do the o d d -n u m b ered p o sitio n s. The d i s t r i bution of s t r e s s e d s y lla b le s within the lin e m uch m o re stron gly fa v o r s the e v en -n u m b e r ed p o sitio n s (as one w ould exp ect) as illu str a te d by the "Line S tre ss" graph in A ppendix A. 36 About tw o -th ir d s of th e se in itial s t r e s s e d s y lla b le s are f o l low ed by an u n s tr e s s e d sy lla b le (con stitu tin g a tro ch ee); about o n e- th ird are fo llo w ed by a s t r e s s e d sy lla b le (constitutin g a spondee). 37 A co m p lica tin g fa cto r in p o sitio n 9 would a ffect p o sitio n s 8 and 10. H ow ever, sin ce p o sitio n 10 d oes not n o r m a lly c a r r y a s t r e s s m a x im u m , one m igh t e x p e ct th is p o sitio n to be l e s s r e s tr ic tiv e than the other e v en -n u m b e r ed p o sitio n s and p o sitio n 9, th e r e fo r e , to be m o re subject to co m p lica tin g fa c to r s than a r e p o sitio n s 3, 5, or 7. T his d o es not s e e m to be the c a se ; w hile p osition 9 d oes have m o re co m p lica tin g a sso n a tin g -a llite r a tin g s y lla b le s than do p o sitio n s 3, 5, or 7, it has fe w er co m p lica tin g s t r e s s e s - - 8 7 in p o sitio n 9 a s op p osed to 89 in p o sitio n 3, 96 in p o sitio n 5, and 108 in p o sitio n 7. 3 8 H alle and K e y se r , "C haucer and the Study of P ro so d y ," p .188. C H A PT E R IV A DESC R IPTIO N OF THOMSON'S PROSODY T his ch ap ter d e s c r ib e s T h o m so n ’s p ro so d y in "W inter" in t e r m s of h is handling of s t r e s s and s t r e s s m a x im a , of a sso n a n c e and a llite r a tio n , and of e lis io n . S p e c ific a lly , th is ch a p ter d e s c r ib e s the b a sic m e tr ic a l str u ctu re of T h o m so n 's blank v e r s e : h is stron g support to the u n d erlyin g s t r e s s m a x im a stru ctu re of h is lin e and e s p e c ia lly to the seco n d half of the lin e , as w e ll as the p r o so d ic lim its w ith in w hich he r a n g es in attaining h is m e tr ic a l str u c tu r e. The ch ap ter d e s c r ib e s oth er c h a r a c t e r is t ic s of T h o m so n 's p ro so d y a s s o c ia te d w ith h is h a n dling of s t r e s s m a x im a : h is u se of a sso n a n c e and a llite r a tio n to stro n g ly support h is s t r e s s m a x im a s tr u c tu r e , a s w e ll a s h is a s s o c i a tion of p a rticu la r s t r e s s and sy n ta ctic p a ttern s w ith h is s t r e s s m a x im a p a ttern s. The ch ap ter a lso d e s c r ib e s the m e t r ic a l and phonetic e n v i ro n m en ts in w hich T h o m so n 's e lis io n s o c c u r , a s w e ll as the e ffe c ts so m e of th e s e e lis io n s h ave in c r e a tin g lin e s w ith m o r e than one p o s sib le m e tr ic a l sc a n sio n . In addition, the ch a p ter c o n s id e r s the e ffe c t of the R - c o lo r e d sch w a dipththong in adding a kind of m e t r ic a l c o m p lex ity to a lin e . 121 122 T hom son's handling of s t r e s s m axim a both r e s e m b le s that of M ilton and d iffers from it, as su g g ested by the follow ing co m p a riso n of th eir s tr e s s m axim a d en sitie s with ea ch other and with th ose of Shakespeare and Donne^ supplied by Josep h B ea v er. S tr e s s M axim a D e n sitie s of M ilton, Thom son, Shakespeare and Donne P o sitio n M ilton Thom son Shakespeare Donne 2 51% 50% 37% 46% 4 56% 61% 54% 36% 6 43% 50% 46% 33% 8 58% 68% 59% 53% B ea v er con clu d es fro m h is study of Shakespeare and Donne that Donne has a m e tr ic a l structure tending to support stab ility at the e x tr e m itie s of the lin e s , som ew hat like a su sp en sio n b rid ge, perhaps at the ex p en se of m ed ia l stab ility. S h ak esp eare, on the other hand, tends to provide anchors at h alf-w ay points.*' B ea v er s c h e m a tiz e s the s t r e s s m axim a d e n sitie s for Shakespeare and Donne by a h o rizo n ta l line r ep resen tin g th ose p osition s having the la r g er s tr e s s m a x im a d en sities. Sh akespeare —-----------------------------37% 54% 46% 59% Donne ----------------- f - 46% 36% 33% 53% A sim ila r co m p a riso n of M ilton and T hom son r e v e a ls that the s tr e s s m a x im a d e n sitie s of both M ilton and T hom son look lik e th ose of 123 S h a k esp ea re rath er than lik e th o se of Donne; th ey both h ave h ig h er s t r e s s m a x im a d e n s itie s in p o sitio n s 4 and 8, producing a lin e su p p orted in th o se p o sitio n s a s r e p r e s e n te d by the fo llo w in g s c h e m a tiz a - tion s : T A /I O M ilton 1 -----------j- 51% 56% 43% T h om son ——^ 50% 61% 50% T his lin e supp ort, of c o u r s e , m a k es the graph of T h o m so n 's lin e look so m eth in g lik e the graph of M ilto n 's. H o w ev er, the d iffe r e n c e s a re at le a s t as g r e a t a s the s im ila r it ie s . A ll through h is lin e , T h o m so n 's u n d erlyin g s t r e s s m a x im a p a t te r n is m o r e stro n g ly supported than are th ose of any of the oth er above p o e ts, in clu d in g M ilton. T his stro n g er support c o m e s fr o m T h o m so n 's u n u su ally high s t r e s s m a x im a d e n s itie s . In h is study of s t r e s s m a x im a d e n s itie s , B e a v e r found that all the p en ta m eter lin e s he stud ied had a p p ro x im a tely 50 p e r cen t of the a v a ila b le p o sitio n s o ccu p ied by s t r e s s m a x im a (as op p o sed to a p p ro x im a tely 75 p e r c e n t o ccu p a n cy of a v a il able p o sitio n s in tr im e te r and te tr a m e te r lin e s ). T h is in clu d ed a 49 p e r ce n t o ccu p a n cy of a v a ila b le s t r e s s m a x im a p o sitio n s (or a 49 p e r cen t s t r e s s m a x im a d ensity) in S h a k esp ea re and an u n u su ally lo w 42 p e r c e n t s t r e s s m a x im a d en sity in D onne. S im ila r ly , th is study found a 52 p e r c e n t s t r e s s m a x im a d en sity in M ilton , a 54 p e r c e n t d e n sity in C ow p er, and a 50 p e r ce n t d e n sity in both Young and W ordsw orth . 58% 68% 124 In co n tra st to all of th o se, T hom son has a quite high 57 p ercen t s tr e s s m axim a density. In citing B e a v e r 's low 42 p ercen t density in Donne as the low er lim it of the s tr e s s m axim a density variation, a significan t q u a lifica tion should be m ad e. B eaver u sed a sligh tly different s tr e s sin g s y s tem for h is study than was u sed in th is study, which m ay account for the sligh tly low er s t r e s s m a x im a d e n sitie s he record ed for Shake - 3 sp eare and Donne. The probable range of variation of the s tr e s s m axim a d e n s itie s , then, m ight w ell be even sm a lle r than 15 p e r c e n t age points and T hom son's d ivergen ce from the oth ers m ay appear proportion ally even la rg er. Be that as it m ay, th ere are se v e r a l other im portant p ie c e s of evid en ce indicating that T hom son m o re strongly supported the u n d er lying s t r e s s m a x im a pattern than did M ilton. F ir s t, the lis t of T hom so n 's s tr e s s m a x im a patterns occu rrin g m o re than 20 tim e s in the sam ple in d ica tes that he tended to favor patterns having a higher n u m ber of s t r e s s m a x im a than did M ilton. F or in sta n ce, the pattern 2, 4, 6, 8 (the m o st com plete r ea liza tio n of the underlying pattern under n orm al c ir c u m sta n c e s in a p entam eter line) is the third m o st frequently o ccu rrin g pattern in the Thom son sam ple with 100 o c c u r r e n c e s, w here in the M ilton sa m p le, it ranks only eleven th with 54 o c c u r r e n c e s. S e c ond, the pattern s with a low er num ber of s tr e s s m a x im a per lin e occur m o re freq u en tly in M ilton than in Thomson; M ilton has 70 p ercen t m ore 125 lin e s with no s t r e s s m a x im a and 1 6 p e r cen t m o r e w ith only one s t r e s s m axim u m . M ost F req u en tly O ccu rrin g S tr e ss M axim a P a ttern s in the M ilton and T hom son Sam ples N um ber of O c cu rr e n c es Rank ____ in the Sam ple P a ttern T hom son M ilton T hom son M ilton 2 4 8 1 1 140 110 4 8 2 2 105 96 2 4 6 8 3 11 100 54 6 8 4 6 89 61 4 6 8 5 8 70 59 8 6 6 69 61 2 6 8 7 5 58 62 2 4 6 8 14 57 48 4 6 9 9 53 57 2 8 10 3 48 68 6 11 16 45 32 2 4 12 10 41 56 4 13 4 39 63 null 14 12 31 50 2 6 15 15 28 44 2 1 6 12 24 50 T hird, T h o m so n 's stren gthenin g of the underlying pattern , h is "supporting of the lin e," not only ap p ears in h is u n d ersco rin g of the p attern by lin e s with a la r g e num ber of s t r e s s m axim a; it a ls o ap p ears in the co m p a ra tiv e ab sen ce of fa c to r s which m ight co m p lica te or ob scu re the pattern. It w as noted in the d is c u s sio n on M ilton that M ilton 126 often u s e d the sound p a ttern s of a sso n a n c e and a llit e r a tio n to c o u n t e r point o r c o m p lic a te h is s t r e s s p a ttern . T h is i s m u ch l e s s tru e of T h o m so n , who u se d a s so n a n c e and a llite r a tio n p r im a r ily to r e in fo r c e the d om in an t s t r e s s p a ttern . A c o m p a r is o n of the fo llo w in g c h a r ts , w h ich p lot the c o in c id e n c e of a s so n a n c e and a llite r a tio n in the v a r io u s p o s itio n s th rou gh ou t the lin e fo r both T h o m so n and M ilto n , w ill s u g g e st the e x te n t to w h ich th is r e in fo r c in g ten d en cy i s c h a r a c t e r is t ic of 4 T h o m so n . C o in cid en ce of A s s o n a n c e and A llite r a tio n in the T h o m so n Sam ple P o s it io n V alue P e r c e n t a g e _______________ 1 55 1 1 .5 0 6 0 X X X X X X X X X X X 2 6 0 1 2 .5 5 2 0 X X X X X X X X X X X X 3 23 4 .8 1 1 6 x x x x 4 84 17. 5728 x x x x x x x x x x x x x x x x x 5 19 3. 9748 XXX 6 71 1 4 .8 5 3 2 x x x x x x x x x x x x x x 7 17 3 .5 5 6 4 XXX 8 60 1 2 .5 5 2 0 X X X X X X X X X X X X 9 13 2 .7 1 9 6 XX 10 76 15. 8992 X X X X X X X X X X X X X X X 11 0 0 .0 0 0 0 127 C oincidence of A sso n a n ce and A lliteration, in the M ilton Sam ple * P o s itio n Value P e r ce n ta g e 1 59 13.0213 XXXXXXXXXXXXX 2 55 12.1385 XXXXXXXXXXXX 3 22 4 .8 5 5 4 XXXX 4 57 12.5799 XXXXXXXXXXXX 5 16 3. 5312 XXX 6 52 11. 4764 x x x x x x x x x x x 7 29 6.4003 x x x x x x 8 66 14.5662 x x x x x x x x x x x x x x 9 31 6 .8417 x x x x x x 10 65 14.3455 x x x x x x x x x x x x x x 11 1 0.2207 The f ir s t thing to note fr o m th e se ch a r ts i s that T h o m so n 's use of a sso n a n c e and a lliter a tio n has a m u ch h e a v ie r r ein fo rcin g and m uch lig h ter co m p lica tin g e ffect than d oes M ilto n 's. In all ev en -n u m b ered p o sitio n s ex ce p t p osition 8, T hom son has a sig n ifica n tly la r g e r in c i dence of r ein fo r ce m e n t, e s p e c ia lly in p o sitio n s 4, 6, and 10. On the oth er hand, T h om son h a s a sig n ifica n tly lig h ter c o m p li cating e ffe ct in the od d -n u m b ered p o sitio n s, e s p e c ia lly in p o sitio n s 7 and 9. This p redom in antly r ein fo rcin g e ffe c t of the a sso n a n c e and a lliter a tio n is illu str a te d in the follow in g lin e s in w hich the asson atin g 128 or alliteratin g sounds are underlined; those occurring on an ev en - num bered position are underlined tw ice. Weak, wan, and broad, he sk irts the southern sky; (49) Light, life, and joy, the dubious day fo rsa k e. (53) Nor le s s at land the lo o sen 'd tem p est reign s. (175) Sleep frighted flies; and round the rocking dom e, (189) B right as the sk ie s, and as the season keen. (703) P le a se d with the slip p ery su rface, sw ift d escen d s. (759) Thousands b e sid e s, the co stly pride of courts. (815) L ies slum bering su llen in the white a b y ss. (819) Of civ il w isdom , and of m artia l skill. (971) A s is dem on strated in th ese lin es and the graph plotting the coincidence of asson an ce and a llitera tio n , about th ree-fo u rth s of the coincident asson an ce and a llitera tio n o ccu rs in even -n u m b ered position s and, th erefo re, rein fo r ce s the underlying s tr e s s m axim a pattern. F u rth er, excep t for the fir s t word of the fir s t two lin e s cited , weak and lig h t, all of the m ajor asson an ce and a lliteration o ccu rs in even -n u m b ered p o sitio n s. By fa r , m o st of the counterpointing effects on odd- num bered p o sitio n s occu r on pronouns and p rep o sitio n s, on sem a n ti ca lly l e s s im portant w ords such as hie, at, a s , and th e . The cou n ter- pointing effect of even th is m uch asson an ce and alliteratin g is m in im a l as contrasted with the rein forcin g effect on such sem a n tica lly m ajor w ords as "dubious day," "frighted f l i e s ," or "costly court." 129 In co n tr a st to m u ch of M ilton 's sem a n tic a lly random a sso n a n ce and a llite r a tio n , m o s t of T h om son 's a sso n a n c e and a lliter a tio n lin ks se m a n tic a lly r ela ted w ords in a lin e, as illu str a te d in the above lin e s . O c ca sio n a lly , the co n tra stin g s c h e m e s of sound p attern s w ill u n d e r sc o r e a sem a n tic c o n tr a st such as that in the follow in g line u n d e r sc o r e d by the l i pattern and the d pattern. L ife , lig h t, and jo y , the dubious day fo r sa k e . (53) A s im ila r sep a ra tio n of the two p arts of the lin e by c o n str a stin g sound p attern s (here f and i co n tra sted with r) o c c u r s in S leep frigh ted flie s ; and round the rocking dom e (189) H o w ev er, such n eat e ffe c ts w ere very ra re in th is sam p le fro m W inter and th eir a b sen ce su g g e sts that T hom son w as m uch m o re in te r e ste d in the g e n e ra l linking e ffe c ts such p attern s of sound can lend to v e r s e , as w e ll a s the support they lend to the underlying p a ttern s of s t r e s s . With the ex cep tio n of the heavy o c c u r r e n c e in both p oets of the co in cid en ce of a sso n a n c e and a llitera tio n on the f ir s t p o sitio n (often a s the r e s u lt of an in itia l w ord la te r rep ea ted in the lin e ), the m o s t sig n ifica n t d iffe re n c e b etw een T h om son 's and M ilton 's handling of th ese p attern s of sound c o m e s in th eir handling of the la ter h a lf of the lin e. T here T h om son is m u ch l e s s lik e ly to a llow c o n tra stin g or c o m p lic a t ing sound p attern s than is M ilton, w hether th e se be fr o m co n tra stin g a sso n a n c e and a lliter a tio n or fr o m co n tra stin g s t r e s s e s . A s i l l u s tra ted in the ch a rt cited e a r lie r plotting the o c c u r r e n c e of co in cid en t 130 asson ance and alliteration , Thom son has a m uch low er frequency of contrasting sound patterns late in the lin e than d oes Milton. It is as if this part of the line w ere for Thom son the m ore sen sitiv e to ir r e g u la r ity and th erefore the half which req uired the m o re definite m etrica l fram ew ork . This is evident not only in h is m ore con servative u se of contrasting patterns of asson ance and a llitera tio n in the latter half of the lin e, but also in h is handling of s t r e s s , and in com parison to M il ton, in h is handling of punctuation. In te r m s of h is handling of s tr e s s m axim a, Thom son c o n s is tently has a higher s tr e s s m axim a d ensity (and th erefore m ore str e s s m axim a) in the la st half of the line than do Shakesp eare, Donne, and M ilton. In the sixth and eighth p o sitio n s, he h a s, resp e c tiv e ly , a 7 and a 10 percent higher s tr e s s m axim a density than does M ilton, a 4 and a 9 percen t higher s tr e s s m axim a density than does Shakespeare, and a 17 and a 13 percent higher density than does Donne. F u rth er, Thom son frequently ch o o ses those s tr e s s m axim a patterns which support m ore strongly the la s t half of the lin e, those patterns which ca rry s tr e s s m axim a in p osition s 6 an d /or 8. This is e sp e c ia lly evident in com p arison with M ilton. A s illu stra ted by the p reviou s chart listin g the m o st frequently occu rrin g s t r e s s m axim a patterns in the Thom son sam p le, all of T hom son's fir s t elev en m o st frequently occu rring pat te r n s, com p risin g over 80 percen t of all h is lin e s , have str e s s m axim a in eith er position s 6 or 8; noticeably four of the fir s t seven m o st 131 freq u en tly o c c u r r in g p a ttern s have s t r e s s m a x im a in both of th e se late p o sitio n s. In c o n tr a st, only one of M ilto n 's f ir s t sev e n m o s t f r e quently o c c u r r in g p a ttern s has s t r e s s m a x im a in both p o sitio n s, the fifth ranked p attern 2 , 6 , 8. H o w ev er, M ilton d o es give p r e fe r e n c e to a p attern w ithout any la te s t r e s s m a x im a , h is fou rth ranked pattern h a v ing a s t r e s s m a x im u m only in p o sitio n 4. T his p attern ranks only th irteen th in T h o m so n 's s t r e s s m a x im a p a ttern s. F u rth e r, the oth er p a ttern s w ithout any late s t r e s s m a x im a occu r m o r e freq u en tly in M il ton than in Thom son: 1. The s t r e s s m a x im a p attern 2 , 4 ran k s tenth in M ilton with 56 o c c u r r e n c e s , tw elfth in T h om son w ith 41 o c c u r r e n c e s . 2. The p attern w ith no s t r e s s m a x im a ranks tw elfth in M ilton w ith 50 o c c u r r e n c e s , fou rteen th in T h om son w ith 31 o c c u r r e n c e s . 3. The p attern 2 ranks th irteen th in M ilton with 50 o c c u r r e n c e s , six teen th in T h om son with 24 o c c u r r e n c e s . In sh o r t, as co m p a r e d w ith T h om son , M ilton h as about 60 p e r c e n t m o r e lin e s w ithout any late s t r e s s m a x im a than d o es T hom son; o r , in c o m p a r iso n w ith M ilton , T h o m so n ten d s to c h o o se s t r e s s m a x im a p a ttern s w hich give c le a r e r and str o n g e r support to the la s t half of the lin e. A c o m p a r iso n of the d istrib u tio n of punctuation in the T h om son and M ilton s a m p le s r e v e a ls the ex ten t to w h ic h T h om son a lso u s e s punctuation to h e lp defin e and support the end of h is lin e rath er than its 5 beginn ing, e s p e c ia lly in c o m p a r iso n to M ilton. 132 D istribution of Punctuation in the Thom son Sample P o sitio n Value P ercen tage 1 57 2. 4111 2 1 2 6 5. 3298 3 124 5. 2452 4 247 10.4481 5 311 13.1553 6 304 12. 8592 7 267 11. 2941 8 116 4. 9068 9 71 3.0033 10 726 30. 7098 11 14 0 .5922 XX XXXXX XXXXX XXXXXXXXXX XXXXXXXXXXXXX XXXXXXXXXXXX x x x x x x x x x x x x x x x XXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXX D istribution of Punctuation in the M ilton Sample P o sitio n Value _____________________ P ercen tage______________ 1 6 0. 6894 2 22 2 .5 2 7 8 XX 3 68 7.8132 XXXXXXX 4 122 14.0178 XXXXXXXXXXXXXX 5 134 15. 3966 XXXXXXXXXXXXXXX 6 126 14.4774 XXXXXXXXXXXXXX 7 120 13.7880 XXXXXXXXXXXXX 8 80 9.1920 XXXXXXXXX 9 30 3. 4470 XXX 10 154 17.6946 x x x x x x x x x x x x x x x x x 11 8 0 .9 1 9 2 133 It should be noted f ir s t that T hom son has m o re than 2 - 1 / 2 tim e s as m u ch punctuation as d oes M ilton (2 ,3 6 3 in sta n c e s as o p p o sed to 870) and that within th is proportion cer ta in g e n e ra liza tio n s can be m ade r e garding th eir r e s p e c tiv e handling of punctuation at the beginning, m id d le, and end of the lin e. W hile T hom son u s e s m o r e punctuation than d oes M ilton in p o sitio n s 3 through 9. the p ro p o rtio n s of M ilton 's punc tuation fa llin g in th ese p o sitio n s is v ery c lo s e to the proportion of T h om son 's in the sa m e p o sitio n s. F r o m th is v iew , the two p oets tend to punctuate the m id dle of the lin e s im ila r ly . H o w ev er, d iffe r e n c e s a r is e in th eir u se of punctuation at the beginning and end of the lin e. T hom son has m u ch m o r e punctuation after the f ir s t two p o sitio n s in the lin e than does M ilto n --in fa ct, 183 in sta n c e s in T hom son a s com p a red to 28 in sta n c e s in M ilton. V iew ed another w ay, T hom son u s e s 6 - 1 / 2 tim e s a s m uch e a r ly punctuation as d oes M ilton, or m o r e than tw ice as m u ch a s one m ig h t ex p e ct, given T h o m so n 's n o r m a lly h igh er punctuation ra te. It h a s b een argued in the p rev io u s chapter that M ilton se e m e d to reg a rd a s t r e s s m a x im u m e a r ly in the lin e a s an o rien tin g d evice after co m p lex lin e s to r e e s ta b lis h the se n se of the m e tr ic a l fra m ew o rk . This attitude is p e r haps r e fle c te d in h is v e ry infrequ en t u se of punctuation in the f ir s t two p o sitio n s fo r , of c o u r s e , punctuation after eith er the f ir s t or secon d p o sitio n w ould n eu tra lize a potential s t r e s s m a x im u m in p o sitio n 2. On the other hand, T h o m so n 's m uch m o re freq u en t p r a c tic e of p u n c 134 tuating a fter the f i r s t two p o s itio n s h e lp s to m a k e h is p o sitio n 2 s t r e s s m a x im u m d e n sity lo w e r than M ilto n 's (in c o n tr a s t to T h o m so n 's h ig h er d e n s itie s in all the o th er p o sitio n s) and p r o p o r tio n a lly w e a k e n s h is s t r e s s m a x im a s tr u c tu r e e a r ly in th e lin e in c o m p a r is o n to M ilto n 's. The end of the lin e is a d iffe r e n t m a tte r . The a b se n c e of p u n c tu ation and, e s p e c ia lly , the p r e s e n c e of en ja m b m en t tend to c a m o u fla g e a lin e 's te r m in a l s tr u c tu r e . M ilto n 's c o m p a r a tiv e ly lo w u s e o f t e r m in a l pu nctuation (only 154 in s ta n c e s in o v er 1, 000 lin e s ) c o m b in ed w ith h is h igh in c id e n c e o f e n ja m b m e n t s u g g e s t th at he w a s not e s p e c ia lly tr y in g to u n d e r s c o r e the end of h is v e r s e lin e . On the o th er hand, T h o m so n s e e m s s p e c if ic a lly to in s i s t on the str u c tu r a l in te g r ity of the end of h is lin e. In c o n tr a s t to the l e s s than o n e -s ix th of M ilto n 's lin e s w h ich c a r r y te r m in a l punctuation, a lm o s t th r e e -fo u r th s of T h o m s o n 's lin e s (726 lin e s ) c a r r y th is fe a tu r e . F u r th e r , T h o m so n 's lin e s a r e not u s u a lly en ja m b ed . T his u s e o f te r m in a l punctuation, th en , s u g g e s ts a g a in the e x te n t to w h ich T h o m so n ten d s m o r e than M ilton to str o n g ly su p p ort and u n d e r s c o r e the m e t r ic a l str u c tu r e in the la s t h a lf of the lin e. A fe w lin e s w ill c o n c r e te ly illu s tr a te the above g e n e r a liz a tio n s and w ill a ls o s u g g e s t s o m e of the lim it s to th em . In o r d e r to d efin e the p o le s in T h o m so n 's p r o so d y , the fo llo w in g p a s s a g e s h ave b een c h o s e n to illu s t r a t e the n o r m , the q u an titative d e s c r ip tio n ou tlin ed a b o v e , a s w e ll a s the e x c e p tio n to th is n o r m , the lim it s w ith in w h ich the 135 quantitative n orm m u st be extended. Of c o u r se , ex a m p le s could a lso be found to illu str a te any of the p o sitio n s b etw een th ese two p o le s. The f ir s t p a ssa g e ch o sen to illu stra te the quantitative norm con tains no excep tion al lin e s. The distribution of s t r e s s e s is quite r e g u lar; m o s t of the ev en -n u m b ered sy lla b le s ca rry s tr e s s e d sy lla b le s and m o st of th ese are actu alized as s tr e s s m axim . In th is p a ssa g e , s tr e s s m axim a are capitalized; asson atin g and alliteratin g sounds are u n d er lined; and th ose asson atin g or a llitera tin g sounds appearing in ev en - num bered p o s itio n s - -in position s which u n d ersco re the underlying s t r e s s m axim a s tr u c tu r e --a r e underlined tw ice. The le v eled (or schwa) sound has not been co n sid ered as an asso n a tin g sound; the initial capital le tte r s of certa in w ords and of the line have b een om itted for typ ographical cla rity . nor art thou SKILLED in AWful SCHEM ES alone, (30) and HOW to MAKE a MIGHty PE O ple thrive: but Equal G O O D ness, sound JnT E G rity, a fir m unshaken U N corR U P ted soul aMID a £5LIding a ge, and BURning sstrong, not vainly B LA Zing for thy COUNtr^'s w eal, (35) a STEAdy SP Irit R E gu larly free; (W in ter, 30-36) A ll of the lin e s in th is p a ssa g e but one c a r r y te r m in a l punctu ation and are not enjam bed, fir m ly c lo sin g the lin e s as individual u n its, and all of the lin es have a c le a r ly and stron gly defined s t r e s s 136 m a x im a stru ctu re supported by the fo llo w in g p a ttern s: Line 30 4 6 8 Line 31 2 4 6 8 Line 32 2 4 8 Line 33 6 8 Line 34 2 4 8 Line 35 4 8 L ine 36 2 4 6 In th e se p a ttern s one s e e s the r e la tiv e ly high s t r e s s m a x im u m d e n s i t ie s a lrea d y c ite d fo r T hom son; s t r e s s m a x im a ap p ear in m o s t of the p o sitio n s and e s p e c ia lly , a s d e s c r ib e d e a r lie r , in p o sitio n s 4 and 8, the p o sitio n s on w hich T h o m so n 's lin e is q u a n tita tiv ely supported. F in a lly , as h a s been su g g e ste d e a r lie r , the m a jo r a sso n a tin g and a llite r a tin g sou n d s, th o se sounds fa llin g on fu lly s t r e s s e d s y lla b le s , fa ll a lm o s t e x c lu s iv e ly on e v e n -n u m b e r e d s y lla b le s w h ere they m a y m o s t stro n g ly r e in fo r c e the s t r e s s m a x im a p attern . The notable e x c e p tio n s a re nor and n o t, w hich fa ll in the f ir s t p o s itio n s of lin e s 30 and 3 5. A s h a s b een noted e a r lie r , m an y co u n terp o in tin g e f f e c t s , both of s t r e s s and a sso n a n c e and a llite r a tio n , fa ll in th is f ir s t p o sitio n . E x ce p t for th e f ir s t sy lla b le of u n sh ak en (line 33), a ll of th e oth er a sso n a tin g or a llite r a tin g s y lla b le s in o d d -n u m b ered p o sitio n s in v o lv e se m a n tic a lly w eak w o rd s su ch as the o r m o r u n s t r e s s e d s y lla b le s of p o ly sy lla b ic w o rd s. 137 Although this d isc u ssio n h as con cen trated on the m a jo rity of T hom son's m e te r -fix in g lin e s , th ose lin e s which have a c le a r ly su p ported m e tr ic a l stru ctu re, e s p e c ia lly in the la s t half of the lin e, Thom son a lso w rote som e lin es without this clea r m e tr ic a l stru ctu re. Such lin es have no or only one s tr e s s m axim um per lin e and are m e te r - fixed lin e s , lin es in which the m e te r is d eterm ined only by the context. One m ight ex p ect th ese lin e s to be e sp e c ia lly sign ifican t in T hom son, given h is n o rm a lly c le a r e r m e tr ic a l stru ctu re, and they a r e. While som e of the m e te r -fix e d lin e s appear sca ttered throughout the tex t, a large num ber of th ese lin e s fall in fifteen m e te r -fix e d p a s s a g e s . F or the p u rp oses of this d isc u ssio n , a m e te r -fix e d p a ssa g e is one with at le a s t th ree out of fiv e lin es having no or only one s t r e s s m axim u m per line. With the ex cep tio n of the p a ssa g e between lin e s 624 and 627 which d e scrib e a ru ral dance, all of the fifteen m e te r -fix e d p a ssa g e s d e scrib e the te r r o r s and p ow ers of nature during or right after se v e r e 6 winter sto r m s. One of th ese m e te r -fix e d p a s s a g e s , ch o sen to illu stra te the excep tion to the sta tistic a l norm defined for T hom son, su g g e sts the lim its within w hich T hom son ch ose to vary his prosody. Of the tw elve lin e s in th is p a ssa g e , sev en have one or no s tr e s s m axim u m and only one lin e has th ree s t r e s s m axim a. A s in the p rev io u s p a ssa g e , s tr e s s m axim a are capitalized; a sson atin g and a lliteratin g sounds are u n d er lined; and th ose asson atin g and a llitera tin g sounds appearing in e v en - 138 n u m b ered p o sitio n s, on p o sitio n s w hich u n d e r s c o r e the un d erlyin g s t r e s s m a x im a str u c tu r e , are u n d erlin ed tw ic e . A g a in , the le v e le d {or schw a) sound has not b een c o n s id e r e d a s an a sso n a tin g sound; the in itia l ca p ita l le tte r s of c er ta in w o rd s and of the lin e h ave b een o m itte d fo r typ ograp h ical c la r ity . And the _sky sad d en s w ith the G A th er'd sto r m , thro the hush'd a ir the W HItening SHOwer d e s c e n d s a t h ir s t th in -w ave ring; till at LA ST the JfLake s fa ll b road, and w id e, and fa s t, chm m ing the day (230) w ith a conT IN ual_flow . The C H E rish 'd fie ld s put on th eir WIN te r -r o b e , of PUre^st whi t e . tis BRIghtne^ss all; sa.ve w here the new sn ow m e lt s , along the M A zy C U R rent. L ow , the w ood s bow th eir hoar head; and, e r e the L A N guid sun (235) 7 fain t fr o m the w e st eM ITS h is E V e n in g -r a y , e a r th 's uniV E R sa l f a c e , d e e p -h id , and c h ill, is one w ild d a zzlin g w a s t e , that B U r ie s w ide (The WORKS of Man. ) (W in te r , 2 2 7 -2 3 8 ) T h is p a ssa g e i s v e r y c o m p le x , a s in d ic a te d by its v e r y low n u m b er of s t r e s s m a x im a . C o m p a red to T h o m so n 's a v e r a g e s t r e s s m a x im a of 57 p e r c e n t, th e se tw e lv e lin e s h a v e s t r e s s m a x im a d en sity of on ly 35 p e r ce n t. 139 Line 227 8 Line 233 228 6 8 234 229 8 235 230 null 236 231 4 8 237 232 4 8 238 H ow ever, even though th ese lin e s have le s s support of the underlying s tr e s s m axim a stru ctu re, they do illu stra te T hom son's sta tistica l te n dency to support e sp ec ia lly strongly the la st half of the line; four of the six lin es having only one s tr e s s m axim um carry that s tr e s s m a x i m um in position 8. F u rth er, of the five le s s com plex lin e s , all have late s tr e s s m axim a, four with s tr e s s m axim a in position 8 and two with s tr e s s m axim a in both position s 6 and 8. A side from its m e tr ic a l com p lexity, this p assage exhibits other relatively unusual c h a r a c te r is tic s. Thom son tends to separate his m etrica lly com plex lin e s from those lin e s with heavy asson ance and alliteration and to u se the h eavily asson atin g and alliteratin g lin es to rein force the underlying s t r e s s m axim a pattern after a com plex line. These tend en cies are apparent in the follow ing p a ssa g e. A s b e fore s tr e s s m axim a are cap italized , asson atin g and alliteratin g sounds are underlined; and those asson ating or alliteratin g sounds appearing in even-nu m bered p osition s are underlined tw ice. The le v e le d (or schwa) 140 sound h as not b een c o n s id e r e d as an a sso n a tin g sound; the in itia l ca p ita l le t t e r s of c e r ta in w o rd s and of the lin e have b een o m itte d for ty p o g ra p h ica l c la r ity . [th e w h irlin g te m p e s t] k e e n -fa ste n in g , sh a k es th em to the SOlid b a se. (188) s le e p f r ig h te d flie s ; and ROUND the R P e king d o m e, fo r E N tra n ce E A g er , h o w ls the SA vage b la st. (190) then t o o , th ey sa y , thrj^ A L L the B U R then'd a ir , long g ro a n s a re h ea rd , s h r ill sou n d s, and D ista n t s ig h s , (192) th at, u tter'd b^ the D E m on of the night, w arn the deV Q ted W RETCH of WOE and death. (W in ter, 188-194) L ine 188, a quite c o m p le x lin e , has one s t r e s s m a x im a in p o sitio n 8 and con tain s one m a jo r a sso n a tin g sound (the /exI of sh a k es and b a s e ) and one m in o r a sso n a tin g sound (the /if of the u n s t r e s s e d s y lla b le s of two p o ly sy lla b ic w o rd s). L ine 189, w hich fo llo w s , is l e s s c o m p le x , having two h e a v ily a c cen ted and a llite r a tin g s t r e s s m a x im a in p o s i tio n s 6 and 8 and oth er m a jo r a sso n a n c e and a llite r a tio n on p o sitio n s 2 and 4. F u rth er on are two m o r e quite c o m p le x lin e s , lin e s 192 with on ly one s t r e s s m a x im u m in p o sitio n 8, and lin e 193 w ith only one s t r e s s m a x im u m in p o sitio n 6. T h ese two lin e s a r e fo llo w e d by the v e r y h e a v ily a sso n a tin g and a llite r a tin g , th re e s t r e s s lin e , lin e 194, w hich co n ta in s fou r m a jo r a sso n a tin g and a llite r a tin g sounds: the /w / of w arn and w o e , the fdf of d ev o ted and death, the fof of d ev o ted and 141 and w o e , and the [e] of w retch and death. Line 194 also contains the m inor asson ating [i] sound in the unaccented sy lla b les of devoted. While lin e s 192 and 193 do contain som e asson an ce and alliteration , they have nothing to com pare to the com p lexity and the rein forcin g character of line 194. A s an exam ple of T hom son's ten d en cies to separate h is m e t rica lly m ost com plex lin es from th ose with the h e a v ie st asson an ce and alliteration and to use the heavily asson ating and alliteratin g lin es to rein force the underlying s tr e s s m axim a pattern after a com p lex lin e, the p assage ju st d iscu ssed con trasts sharply with that cited e a r lie r from lin es 227 to 238. In lin es 227 to 238, the asson an ce and a llite r a tion patterns are highly developed in the seven m ore com p lex lin es; indeed, they are m ore highly developed than in the l e s s com p lex lin es. F or exam p le, in line 238, which has only one s tr e s s m axim um on p o s i tion 8, e v er y word and nine of the ten position s have at le a st one a s sonating or alliteratin g sound, and w ild and wide have two. A gain, the predom inant patterns strongly tend to fall in the even -n u m b ered p o s i tions to support the underlying s tr e s s m axim a pattern. The co n tr a st ing patterns fallin g in the odd-num bered position s alm ost alw ays in volve sem an tically m inor w ords such as and, th e , or on or the u n ac cented sy lla b le s of polysyllab ic w ords. The notable excep tion s to that gen eralization are sky saddens (line 227), hoar head (line 236), one w ild (line 239)» and save and snow (line 234). Although the contrasting 142 a lliter a tio n on snow of lin e 234 fa lls on an od d -n u m b ered p osition late in the lin e , all the other ex ce p tio n s fa ll e a r ly in the lin e and illu stra te T h om son 's tendency to avoid counter pointing late in the line to h is s t r e s s m a x im a pattern. A nother r e la tiv e ly unusual c h a r a c te r is tic of th is p a ssa g e is the c o m p a ra tiv ely high le v e l of en jam b m en t, four lin e s out of the tw e lv e -- lin e s 229» 231, 234, and 2 3 8 - - a r e enjam bed. L ine 235 a lso la c k s t e r m in al punctuation, but the line en d s at a sy n ta ctic b reak and so is not enjam bed. This p a ssa g e b etw een lin e s 227 and 238 w eak ly illu str a te s another apparent c h a r a c te r is tic of T h o m so n 's v e r s e - - t h a t the n e u tr a li zation of h is s t r e s s m a x im a s e e m s m o r e often to o ccu r through a d ja cen t syn tactic b reak s than through adjacent s t r e s s . In her study of C h a u cer's p ro so d y , K aren Lynn d evelop ed m e a s u r e s w hich she c a lle d the N eu tra liza tio n P o ten tia l (A djacent Syntactic B rea k s) and the N eu tr a liz a tio n P o ten tia l (A djacent S tr e s s). The f ir s t of th e se is the num ber of syn tactic b reak s g iven as a p ercen ta g e of the total o c c u r r e n c e s of that p osition . E x p r e s s e d another w ay, it show s to what d eg ree the en viron m en t of the p a rticu la r S -p o sitio n is d esig n ed to n eu tra lize a s t r e s s e d sy lla b le o c cu rr in g in that p o s i tion. . . . In the sa m e w ay, the seco n d . . . show s a p ercen ta g e v e r s io n of the s t r e s s e d s y lla b le s surrounding ea ch ev en -n u m b e r ed position . ® A c o m p a r iso n of th ese N eu tra liza tio n P o te n tia ls fo r T hom son and M ilton show s the d eg ree to w hich T hom son is m o re lik ely than M ilton a ll through the lin e to n eu tra lize h is s t r e s s m a x im a by adjacent syn tactic b rea k s. In p o sitio n 2, T h om son is s ix tim e s m o r e lik e ly to 143 do so; in p osition s 4 through 8, he is tw ice as lik ely to do so. In c o n tra st, excep t for the second position , Thom son is le s s lik ely than M il ton to n eu tralize h is potential s tr e s s m axim a by adjacent s t r e s s , and in the la st half of the lin e, this ch a r a cter istic is quite pronounced. Or, put another way, Thom son is le s s lik ely to place s t r e s s e s in odd- num bered (weak) p osition s. Again, Thom son se e m s unwilling to strongly com p licate the s tr e s s m a x im a structure late in the lin e by the m ore obvious com plicating featu re, an adjacent s tr e s s . Where he does com plicate the underlying stru ctu re, he tends to do it through an adja cent syntactic break; for in stan ce, position 6 has a low er s tr e s s m axim a density than eith er p osition s 4 or 8 and a higher N eutralization P oten tial (Adjacent Syntactic B reak). N eutralization Potential (Adjacent Syntactic Break) P o sitio n Thom son M ilton 2 18% 3% 4 36% 19% 6 60% 25% 8 37% 20% N eutralization P oten tial (Adjacent S tress) P o sitio n T hom son M ilton 2 46% 39% 4 17% 18% 6 11% 20 % 8 10% 19% 144 T hom son tends to a s so c ia te c e r ta in s t r e s s and syn tactic p at te r n s with h is ind ividual s t r e s s m a x im a p attern s. T hose lin e s , for in sta n ce , without a s t r e s s m axim u m in p o sitio n 2 often sh are a s im ila r line opening, the s t r e s s pattern fo rm ed by one of the follow in g com m on syn tactic p a ttern s. (The u n d erlin ed se c tio n s of the follow in g lin e s illu str a te the c o m m o n syntactic p a ttern s. ) The fir s t of th e se pattern s illu stra ted in lin e s having a 6, 8 s t r e s s m a x im a pattern c o n s is t s of: m o n o sy lla b ic ad jective plus m o n o sy lla b ic p rep o sitio n plus d eterm in er (su ch as the or a p o s s e s s iv e pronoun) plus m o n o sy lla b ic noun. Wide obr the B r im , with m any a T o rren t sw e ll'd , (94) D read o 'e r the S c e n e , the Ghost of H am let stalks; (646) F r e s h fr o m the P lo w , the dun d isco lo u r'd F lo c k s, (64) F a r fr o m the T r a c k , and b le st Abode of Man; (293) T his sy n ta ctic pattern ap p ea rs unchanged or on ly slig h tly m o d ified in lin e s w ith s im ila r s t r e s s m a x im a p attern s. F o r in sta n ce , the four follow in g lin e s sh are the s t r e s s m a x im a pattern 4, 8 - -a pattern s im ila r to that of 6, 8 in the above lin e s in that n eith er pattern has a s t r e s s m a x im u m in p o sitio n 2. The fir s t lin e illu str a te s the above syn tactic pattern; the secon d , th ird , and fourth lin e s illu str a te a c lo s e ly rela ted syn tactic p attern in w hich a d isy lla b ic m od ifying a d jectiv e p r e c e d e s the noun. F on d o 'e r the R iv e r cro u d , in v a r io u s Sport (762) P ro n e fr o m the d ripp ing E a v e , and dum b C a sc a d e (748) Lone on the m id n ig h t S te e p , and all a g h a st, (178) R o ll'd in the doubling S torm , she tr ie d to so a r; (24) A n o th er c o m m o n sy n ta c tic p attern c l o s e l y r e la t e d to the f i r s t c o n s is t s of m o n o s y lla b ic v e rb p lu s m o n o sy lla b ic p r e p o s itio n plu s d e te r m in e r p lu s n ou n. A gain , th is p attern a p p e a r s in lin e s w ith r e la t e d s t r e s s m a x im a p a tte r n s, in lin e s w ithout a s t r e s s m a x im a in p o sitio n 2. The f i r s t th r e e lin e s illu str a tin g th is sy n ta c tic p a ttern h a v e a 6, 8 s t r e s s m a x im a pattern; the fou rth h a s a 4 , 8 s t r e s s m a x im a p a t te r n , and the fifth a 4 , 6 s t r e s s m a x im a p a ttern . W h eels fr o m the D e e p , and s c r e a m s along the Land. (145) R u sh on h is N e r v e s , and c a ll th eir V igor fo rth (287) S te e ls o 'e r the C h e e k : o r e ls e the C o m ic M u se (650) Stoop to th e B o tto m of the R o ck s th ey sh a d e. (177) H o ld s to the W orld a P ic tu r e of it s e lf , (651) The fo llo w in g lin e s illu s t r a t e slig h t v a r ia tio n s on th is b a s ic sy n ta c tic p a ttern in v o lv in g v a r ia tio n in the c o m p o sitio n of the tw o m e d ia l u n a c c e n te d s y lla b le s . L a sh 'd into F o a m , the f ie r c e c o n flictin g B rin e (159) B u r st into C h a o s w ith tr e m en d o u s R o a r , (16>3) P r e s s h im to E a rth , and p ie r c e h is m ig h ty H e a rt. (399) 146 L in e s without a s t r e s s m a x im u m in p osition 2 sh a re other c o m m on s t r e s s and syn tactic pattern s. F o r in sta n c e , in such lin e s , the in itia l s t r e s s p a t t e r n ' ' i s often a ctu a lized by a sy n ta ctic pattern c o n sistin g of m o n o sy lla b ic v erb plu s d e te r m in e r plus m o n o sy lla b ic a d je c tiv e plus noun, a s ( illu str a te d by the follow in g lin e s with a 6 ,8 s tr e s s m a x im a pattern . S trik es h is sad E y e , but D e sa r ts lo s t in Snow; (800) E ye the b leak H eaven, and next the g listen in g E arth , (262) W ears a wan C ir cle round her blunted H orn s. (125) In lin e s without a s tr e s s m a x im a in p o sitio n 2, the initial s t r e s s pattern "'■"is often a c tu a lized by the sy n ta ctic p attern , m o n o sy lla b ic v erb plus m o n o sy lla b ic p a rticle plu s conjunction plus p a r tic ip le , as illu str a te d in the follow in g lin es with a 4 , 8 s t r e s s m a x im a pattern. S tretch ed out, and b le a c h ing in the n o rth ern B la st. (321) D ash 'd down, and s c a tter'd , by the te a r in g W ind's (183) V a ria tio n s on th is syn tactic pattern include such a s the following: L ooks down with P ity on the feeb le T o il (1019) U rg'd on by fe a r le s s Want. The b leatin g Kind (261) R o lls round the S ea so n s of the changing Y e a r, (107) In lin e s w ithout a s t r e s s m a x im u m in p o sitio n 2, the in itia l s t r e s s p a t t e r n 4/0 " is often a ctu a lized by the sy n ta ctic pattern, m ono syllab ic p rep o sitio n plus d e te r m in e r plus m o n o sy lla b ic a d jectiv e plus noun, as in the fo llo w in g lin e s w ith a 6, 8 s t r e s s m a x im a pattern . 147 Thro the hush'd Air the whitening Shower d escen d s, (229) Thro the thick A ir ; a s cloath'd in cloudy Storm , (48) T hro1 the black Night that sits im m en se around, (158) The fir s t two of th ese la s t exam p les illu strate m o re strongly than previous ex a m p les the patterned nature of all of the above lin e s , since the pattern here in volves not only the sam e syntax, but also a lm o st all of the sam e w o r d s. T hom son's use of such m ore obvious patterning is strikingly dem onstrated in the follow ing extended p a ssa g e p rim a rily based on the rep etition of How m any plus verb . This basic pattern is underlined with a solid line; other m inor and m ore lo ca l patterns are underlined with a broken lin e. How m any f e e l , this very M om ent, Death And all the sad V ariety of Pain. How m any sink in the devouring F lo od, Or m o re ftev£U ^ng_F lam e. How m any b le e d , By sham eful V ariance betw ixt Man and Man. How m any pine in Want, and Dungeon Glooms; Shut from the c_ommon_Air_, and com m on U se Of their own L im b s. How m any drink the Cup Of baleful G rief, or eat the bitter B read Of M isery. Sore p ierc'd by wintry Winds, How m any shrink into the sord id Hut Of c h e a r le s s P overty. How m any sh ak e. . . . How m an y, rack'd with h on est P a s s io n s , droop In deep r etir'd D is tr e s s . How many stand. . . . (327-346) Other exam p les of lin es built on such repeated syntactic patterns include: Nor W ife, nor C hild ren, m o re shall he behold Nor F r ie n d s, nor sa cred H om e. On ev ery N erve (316-317) 148 Unpity !d, and unheard, where M ise r y m o a n s ; W here S ic k n ess p in e s , w h e j : ^ a n d _ H u n g e _ r _ b u r n , (362-3 6 3 ) G ather'd the Seeds o_f_Trade, of u sefu l A r t s , Of C iv il W isd o m , and of M artial S k ill. (9 6 8 - 9 6 9 ) M any oth er e x a m p le s could be cited of T h o m so n 's ten d en cy to a s so c ia te c e r ta in s t r e s s and syntactic pattern s with h is individual s t r e s s m a x im a p attern s and to w rite lin e s b a sed on such sy n ta ctic p a tte rn s, but the above e x a m p le s should su g g est the extent to w hich th is i s c h a r a c t e r is tic of h is p ro so d y and h is poetic co n stru ctio n . A nother c h a r a c te r istic of T h om son 's handling of s t r e s s e d s y l l a b le s is th a th e tend s to place h is verb al p a r tic le s (su ch a s the s t r e s s e d ad v erb ia l fo r m in b u rst forth) in p o sitio n s 2, 8, or 10. The e x a c t lo c a tion of th e se v erb a l p a r tic le s in the T hom son sa m p le is p r e se n te d in the fo llo w in g ch art. L o ca tio n of V erb al P a r tic le s in the T h om son Sam ple P o s i tio n ^ Value ___________________________P e r ce n ta g e 1 2 4 .7 6 1 8 XXXX 2 14 3 3 .3 3 2 6 x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x 3 1 2. 3809 XX 4 4 9 .5 2 3 6 x x x x x x x x x 5 0 0 .0 0 0 0 6 2 4 .7 6 1 8 XXXX 7 0 0 .0 0 0 0 8 7 1 6 .6 6 6 3 XXXXXXXXXXXXXXXX 9 1 2. 3809 XX 10 11 2 6 .1 8 9 9 XXXXXXXXXXXXXXXXXXXXXXXXXX 11 0 0 .0 0 0 0 149 The final com m ents on Thom son's m e tr ic s w ill concern his practice of elisio n . As noted in the fir s t chapter of this study, Halle and K eyser d escrib e the environm ents for e lisio n under the fir st of their correspondence rules found in their rev ised theory in E nglish Stress: "a position (S, W, or X) corresp on d s to a single syllable OR to a sonorant sequence incorporating at m ost two vow els (im m ediately 9 adjoining or separated by a sonorant consonant)." This adequately d escrib es Thom son's p ractice. There are 23 in stan ces of elisio n in which the sonorant sequence occupying a single position c o n sists of a str e s se d and an u n stressed syllab le. With few excep tion s, these sequences clu ster at the beginning and end of the line, in positions 1, 2, and 10, and include one m on osyllab ic occu rren ce of bower and 22 in stan ces of elisio n of the syllabic / n / of heaven and e v en . All the r e st of the e lisio n s involved seq uences of u n stressed sy lla b les and occu rred a lm o st ex clu siv ely in odd-num bered p osition s. Instances of two im m ed iately adjoining vow els occupying the sam e position include: lo l and 111 as in the d isyllab ic v ersio n s of bellow in g, follow ing, winnowing, and shadowy; /u : / and 111 as in issu in g ; 111 and 111 as in happyist and unpitying; 111 and /o f as in Tanglio and Scipio; and 111 as in m any a. In in stan ces w here the sam e position w as o c c u pied by two vow els separated by a sonorant consonant, Thom son lim ited the sonorant consonants he u sed in th is sam ple to I t I (53 in sta n ces), Ini (12 in sta n ces), 111 (2 in sta n ces), and Iv l (the 22 in stan ces of e lisio n of 150 the sy lla b ic / n / of h ea v en and e v e n ). T here w e re no in sta n c e s of e l i sio n over / h, m / , or £ pronounced as / s / . The d istrib u tio n of th ese e lis io n s in v o lv in g u n s t r e s s e d s y lla b le s is p r e se n te d in the follow ing ch art. The colu m n en titled "M etrical E nvironm ent" l i s t s the p osition in the line contain ing the sonorant seq uence; in the co lu m n s under "Phonetic E n viron m en t of the Sonorant S eq u en ces," v r e f e r s to a v o w e l, and II, N _, and Li r e fe r to the sonorant con son an ts. L ocation of E lis io n s Involving U n s tr e s s e d S y lla b les in the T h om son Sam ple . , , . . P h on etic E n viron m en t of the Sonorant Sequence M etrica l ----------------------------------------------------------------------- i--------- E n viron m en t [vRv] [vNv] [vL v] [vv] Total 1 2 1 2 3 3 15 2 2 5 24 4 5 15 4 3 22 6 7 9 3 5 17 8 9 14 3 3 20 10 Two oth er a s p e c ts of T h o m so n 's p r a c tic e of e lis io n should be noted. F ir s t , T h om son tends to p lace the e lis io n s of the p a st p a r ti c ip ia l ending a lr ea d y in d icated in the tex t (as in ch a rm 'd and v iew 'd ) throughout the lin e , though he p la c e s about tw ice a s m an y of th ese in 151 the tenth position as in any other position. The ex a ct distribution of th ese e lis io n s [called "O rthographically Im itated E lisio n s (8-Count)"] appears in the following chart. Location of O rthographically Im itated E lisio n s (8-Count) in the Thom son Sam ple P o sitio n Value ____________________ P ercen tage 1 30 12.3960 XXXXXXXXXXXX 2 14 5 .7 8 4 8 XXXXX 3 24 9 .9 1 6 8 XXXXXXXXX 4 19 7 .8 5 0 8 XXXXXXX 5 20 8.2640 XXXXXXXX 6 20 8.2640 XXXXXXXX 7 10 4 .1 3 2 0 XXXX 8 17 7 .0 2 4 4 XXXXXXX 9 28 11. 5696 XXXXXXXXXXX 10 58 2 3 .9 6 5 6 XXXXXXXXXXXXXXXXXXXXXXX 11 2 0 .8 2 6 4 Those elision s in the Thom son sam ple occu rrin g within w ords and a lrea d y indicated in the text (such as m u rm 'rin g and p ow 'r) fall m ore predom inantly in p o sitio n s 2, 6, and 8 than in other p osition s. The ex a ct distribution of th ese e lis io n s [ca lled "Orthographic - P honetic E lisio n s (9-Count)"] appears in the follow ing chart. 152 P o sitio n Value 1 4 5 .9 7 0 0 2 20 2 9 .8 5 0 0 3 5 7 .4 6 2 5 4 6 8 .9 5 5 0 5 2 2 .9 8 5 0 6 10 14.9250 7 0 0 .0 0 0 0 8 14 2 0 .8 9 5 0 9 4 5 .9 7 0 0 10 2 2 .9 8 5 0 11 0 0 .0 0 0 0 L ocation of O rth ograp h ic-P h on etic E lisio n s (9 -Count) in the T hom son Sample P ercen ta g e Other e lis io n s req u ired in the T hom son sam ple involve the long diphthong ending in an R -c o lo r e d sch w a (such a s that found in dire) w hich had been coded as two sep arate sy lla b le s. E ach of th ese diph thongs would n o rm a lly be c o n sid e re d a s one sy lla b le, though a long one. H ow ever, a s d is c u s s e d in the M ilton chapter, by using su ch diphthongs, a poet is able to add a kind of m e tr ic a l com p lexity or fu ll n e s s to the line r ela ted to sy lla b le count without actu ally adding any ex tra sy lla b le s. The fu lln e ss such diphthongs im part to the lin e is abvious in such lin e s as: U ncertain w a n d ers, stain'd; red fie r y S treak s (120) R etirin g from the D ow ns, w here all Day long (139) 153 In th is dire S ea so n , oft the W hirlw in d's W ing (269) Like M ilton, T h om son d e r iv e s so m e of h is m e tr ic a l co m p lica tio n r esu ltin g fr o m v a ria tio n or p oten tial v a r ia tio n in the n u m b er o f s y lla b le s in a lin e fr o m th e s e long R -c o lo r e d sch w a diphthongs w ithin the lin e. Like M ilton , T h om son a ls o u s e s th e s e diphthongs a s a d ev ice for c r e a tin g lin e s w ith m u ltip le s c a n s io n s , an im p ortant s o u r c e of m e t r ic a l co m p le x ity . He s o m e tim e s u s e s th e se elid ab le w o rd s in m e tr ic a lly am b igu ou s en v ir o n m e n ts, su ch as the tenth p o sitio n , w h ere such w o rd s cou ld be r e a d in a p e r fo r m a n c e e ith e r as m o n o sy lla b ic or as d is y lla b ic , a s c r e a tin g eith e r a n o r m a l or t e n - s y lla b le lin e , or an e le v e n - s y lla b le lin e w ith an e x t r a - m e t r ic a l sy lla b le , as in: Into the m in g lin g S to rm , d em an d th e ir S ir e , (314) M uch is the P a t r io t 's w eed in g Hand req uired . (383) P r e s e r v in g s till th at quick p ecu lia r F i r e , (449) W ith F r ie n d sh ip and P h ilo so p h y r e tir 'd . (520) T h om son a lso p la c e s w o rd s su c h as h e a v e n and pow er in the tenth p o s i tion w h ere in the sa m e way th ey m ay be rea d a s eith er m o n o sy lla b ic or a s d isy lla b ic w ith an e x t r a - m e t r ic a l s y lla b le , a s in: The D a y 's fa ir F a c e . The W a n d erers of H eaven , (80) The F ru it of a ll h is T oil. The F o w ls of H eaven , (242) R e je c ts th' A llu r e m e n ts of c o rru p ted P o w er; (670) D e r iv 'd , thou s e c r e t a ll-in v a d in g P o w e r , (715) 154 In a ll of th ese lin e s, the p o ssib ility of the two m e tr ic a l sca n sio n s g iv es a certain sen se of m e tr ic a l co m p lex ity to the lin e s. Like M ilton, T hom son so m e tim e s w r ite s an e le v e n -sy lla b le unelided line which m ay be red u ced to a te n -sy lla b le line through m ore than one e lisio n . A gain, the p o ssib ility of two m e tr ic a l v ersio n s of the line g iv es it a certa in co m p lex ity . Som e such lin es include: And heavenly M using. W elcom e, kindred G loom s ! (5) Wide o ’er the B rim , with m any a T orrent sw ell'd , (94) W h ere(l) are your s to r e s ye pow erful B ein gs ! Say (113) The fir st of th ese lin e s con tain s e lev e n sy lla b le s. The line can be reduced to a m e tr ic a l te n -sy lla b le lin e by two different sets of e l i sion s - -hnavenly and heavenly M us in g --b y the occupancy of two d iffer ent position s by adjacent s e t s of s y lla b le s as rep resen ted by the u n d er lining in the follow ing v e r s io n s of the line: And h ea v en ly M using. W elco m e, kindred G loom s ! And h ea v enly M using. W elco m e, kindred G loom s ! The second e le v e n -sy lla b le lin e m ay be red u ced to ten sy lla b le s through th ree different s e ts of e lis io n s , as rep re sen ted by the un der lining in the follow ing v e r s io n s of the line: Wide o'er the B rim , w ith m any a T orren t sw ell'd , Wide o 'er the B rim , w ith m any a T orrent sw ell'd , Wide o 'er the B rim , w ith m any a T orren t sw ell'd , 155 In the f ir s t of th e s e s c a n s io n s , the fin a l sy lla b le of m an y m a y occu p y p o sitio n 6 w ith its f i r s t sy lla b le; in the seco n d sc a n sio n , it m a y o ccu p y p o sitio n 7 w ith a; and in the th ird sc a n sio n , m an y a o c c u p ie s p o sitio n s 6, 7, and 8, and T o rren t o c c u p ie s p o sitio n 9 (sin c e /r / is one of the sounds o v er w hich e lis io n m a y o c cu r in the H a lle -K e y s e r sc a n sio n ). The r esu ltin g s t r e s s in p o sitio n 9 is n e u tr a liz e d by the s t r e s s on sw e ll'd fa llin g in p o sitio n 10. The th ird of the e le v e n - s y lla b le lin e s a b ove, " W h ere(l) a re your S to r e s , ye p ow erfu l B e in g s ! sa y ," a lso has a ltern a te m e tr ic a l s c a n sio n s. In the f i r s t of t h e s e , both p o w erfu l and b ein g s are rea d as d i sy lla b le s ; the r eq u ired e lis io n o c c u r s o c c u r s on p o w erfu l, a s in d ica ted by the u n d erlin in g of the f i r s t of the fo llo w in g v e r s io n s of the lin e . In a sec o n d sc a n sio n , p o w erfu l is read a s a tr is y lla b le and b ein g s as an e lid e d m o n o sy lla b le , a s in d ica ted by the u n d erlin in g of the sec o n d v e r sio n of the lin e w h ich fo llo w s . The r e su ltin g s t r e s s on b ein g , fa llin g in p o sitio n 9, i s n e u tr a liz e d by the sy n ta c tic b rea k fo llo w in g p o sitio n 9. W h e r e(l) a r e your S to r e s , ye p o w erfu l B e in g s ! sa y , W h e r e(l) a r e your S to r e s , ye p ow erfu l B e in g s ! sa y , T his lin e a lso h a s a th ird so n o ra n t seq u en ce in W h ere(l) a r e , w hich m a y not be e lid e d to p rovid e s t ill another s c a n sio n of the lin e. Such an e lis io n w ould c r e a te an u n m e tr ic a l s t r e s s m a x im u m on p ow erfu l in p o sitio n 5. 156 Like M ilton, T hom son s o m e tim e s u s e s w o rd s w ith R -c o lo r e d sch w a diphthongs w ithin the lin e in en v iro n m en ts w h ere the diphthongs can be sp lit and can contribu te a genuine a ltern a te m e tr ic a l sca n sio n of a l in e , as in: Now when the c h e a r le s s E m p ire of the sky (41) If E m p ir e is read as tr is y lla b ic , the secon d sy lla b le of the R -c o lo r e d sch w a diphthong can eith er occu py p osition 7 with the fir s t sy lla b le of the diphthong, as in d ica ted by the u n d erlining of the f ir s t of the fo llo w ing v e r s io n s of the lin e. H o w ev er, the secon d sy lla b le of the diphthong can a ls o occu py p o sitio n 8 w ith of sin ce / r / is one of the consonant sounds o v e r w hich such sh arin g of p o sitio n s m ay o c cu r in the H a lle - K e y se r C o rresp o n d en ce R u les. Now when the c h e a r le s s E m p ire of the sky Now when the c h e a r le s s E m p ire of the sky A nother e ffe c t con trib u tes to the m e tr ic a l c o m p le x ity of T h o m so n 's lin e s . Two lin e s m a y be v iew ed as eith er nine - sy lla b le c a ta le c - tic lin e s or as te n -sy lla b le n o rm a l lin e s . T h ese lin e s involve m o n o sy lla b ic and d isy lla b ic v e r s io n s of cru el: T am 'd by the c r u e l S ea so n , crou d around (243) C ru el as D eath, and hungry a s the Grave ! (393) Both of th e se lin e s m a y be r eg a r d e d as m e tr ic a l te n - s y lla b le lin e s if c r u e l i s rea d a s d isy lla b ic . H o w ev er, both of th e se lin e s m a y a lso be r eg a r d e d as m e tr ic a l n in e -sy lla b le c a ta le ctic lin e s w ithin the H a lle - 157 K eyser theory if cru el is read as m on osyllab ic. In such a reading, the fir s t syllab le of each line would fall in position 2, with no resu ltin g u n m etrica l s t r e s s m axim um . In sum m ary, a num ber of con clu sion s can be drawn from this study of T hom son's prosody in W inter. 1. Although he p laces his stron gest support for h is underlying s t r e s s m axim a pattern in positions 4 and 8, Thom son strongly supports h is line in all even -n u m b ered p o sitio n s, as reflected by a num ber of ch a ra cteristics: a. He has a high s tr e s s m axim a density all through the line. b. He p refers s tr e s s m axim a patterns having a high num ber of s tr e s s m axim a per line. c. He u s e s asson ance and alliteration to rein force strongly his underlying s tr e s s m axim a pattern. 2. Thom son e sp e c ia lly strongly supports the m e tr ic a l s tr u c ture of the la s t half of h is lin e, as reflec te d by se v e r a l c h a r a cter istic s: a. He p r e fe rs s tr e s s m axim a patterns with late s tr e s s m axim a. b. He lim its those fa cto rs which m ight com p licate or ob scu re the underlying s tr e s s m a x im a pattern late in the lin e, such as s t r e s s e s or asson an ce or allitera tio n falling in odd-num bered positions. c. He tends to w rite lin es having term in a l punctuation and no enjam bm ent. T hom son is l e s s lik ely than M ilton to n e u tra lize h is p oten tial s t r e s s m a x im a by adjacent s t r e s s e s in od d -n u m b ered p o sitio n s. T his is e s p e c ia lly pronounced in the la st half of the lin e. T hom son's lin e s having no or on ly one s t r e s s m axim u m per lin e (his m e te r - fix e d lin es) tend to fall to g eth er in c e r tain p a s s a g e s d escrib in g the t e r r o r s and p o w ers of nature during or right after s e v e r e w in ter s to r m s . T hese p a s sa g es provide ex cep tio n s to so m e of T h om son 's m o re usual p rosod ic p ra ctices: a. They contain few er s t r e s s m a x im a than m o st of T h o m so n 's lin e s. b. T hey contain h eavy a sso n a n c e and a llitera tio n although T hom son u su a lly tends to sep a ra te h is m e te r -fix e d lin e s fr o m th ose lin e s w ith h e a v ie s t a sso n a n ce and a llitera tio n . c. T hey a lso contain high le v e ls of enjam bm ent. In th e s e r e s p e c t s , the p rosod y of T h o m so n 's m o r e c o m p lex lin e s m o r e n ea rly r e s e m b le s M ilton 's p rosod y than does that of T h o m so n 's le s s c o m p le x lin e s . H ow ever, in so m e a s p e c ts , the p ro so d y of e v en th ese m e te r -fix e d p a s s a g e s c o n tr a sts with M ilton 's and h elp s define T h om son 's p ro so d ic u n iq u e n e ss, h is tendency: a. To support m o st stro n g ly the la s t half of h is lin e. 159 b. To use patterns of asson an ce and alliteration to r e in force the underlying s tr e s s m axim a pattern rather than to counterpoint it. c. To n eu tralize h is s t r e s s m axim a predom inantly by adjacent syntactic b reak s rather than by adjacent s tr e s s e s . 6. Thom son tends to a sso c ia te certain str e s s and syntactic patterns with his individual s tr e s s m axim a patterns. 7. Thom son tends to place h is verb al p a r tic le s in p osition s 2, 8, or 10. 8. T hom son's p ractice of e lisio n has sev e r a l c h a r a cter istic s: a. By using w ords with long, R -c o lo r e d schwa diphthongs, he (like Milton) adds a kind of m e tr ic a l com p lexity or fu lln ess to the line rela ted to syllable count without actually adding any ex tra sy lla b les. b. He (like Milton) so m e tim e s u s e s th ese long diphthongs in the tenth position w here they m ay help lengthen the line. c. He so m e tim e s u se s the potential com plicating effe cts of the long, R -c o lo r ed schwa diphthongs within the line to crea te alternate sca n sio n s. d. He tends to place h is e lis io n s occu rrin g betw een a s tr e s s e d and an u n str e sse d syllab le (as in the m o n o syllabic v e r sio n s of h eaven and even) at the beginning and end of the lin e, in p osition s 1, 2, and 10. e. His e lis io n s betw een u n str e ss e d sy lla b les (as in the d i syllabic v e rsio n of m any a or thundering) tend to fa ll in odd-num bered p osition s within the line (in p osition s 3, 5, 7, or 9), and the la rg e m ajority of th ese involve e lisio n s over / r / a s in the d isyllab ic v e r sio n of thun- f. He m ak es no e lisio n s in this sam ple over / h /, / m l, or 160 £ pronounced as Is/; he e lid e s o v er / r / , In/, If/, and / v / . g. T hom son ten d s to distribu te the e lis io n s of the p ast p a r ticip ia l endings a lrea d y in d icated in the text (as in c h a r m 'd ) throughout the lin e, although about tw ic e as m any of th ese fall in the tenth p o sitio n a s in any other p osition . h. He ten d s to place those e lis io n s within w ord s and a l read y in d icated in the te x t (as in m u rm 'rin g ) in p o s i tion s 2, 6, and 8. 9. In c o n tr a st to M ilton 's often sem a n tica lly random u se of a sso n a n c e and a llitera tio n , T h o m so n 's a sso n a n c e and a l lite r a tio n tend to link sem a n tica lly rela ted w o rd s in a lin e. In d e scr ib in g som e of the sound pattern s - -th o se of s t r e s s , of a sso n a n ce and a llitera tio n , and of e lis io n - - in the T hom son sa m p le and th eir function in h is p ro so d y , this d isc u ssio n h a s d e sc r ib e d in one way the un d erlyin g v e r s e pattern in Winter and so m e of the p ro so d ic lim its w ithin w hich T h om son ra n g es in attaining th is pattern . T his d is c u s sion has a lso noted so m e of T h om son's s im ila r it ie s to and d iffe re n c e s fro m M ilton. F u rth er data to support the g e n e r a liz a tio n s m ade in this chapter are included in A ppendix B, "C om puter Data fr o m the T h o m son Sam ple." 161 Note s ^ Joseph B e a v e r , "A G ra m m a r of P r o s o d y ," C o lle g e E n g lis h , X X IX , No. 4 (Jan u ary 1968), 3 1 0 -3 2 1 . 2 B e a v e r , "A G ra m m a r of P r o so d y ," p. 3 20. 3 B e a v e r ’s s t r e s s in g s y s t e m w a s b a se d on S eym ou r C h a tm a n ’s d istin c tio n am o n g "five ty p es of sy lla b le s" : "a) fu ll- v o w e le d m o n o sy lla b ic w o rd s w ith n o n -r e d u c ib le v o w e ls (e. g. , " straigh t," "bright," e t c . ) b) r e d u c ib le fu ll-v o w e le d m o n o s y lla b ic w o rd s ("a," "to," " sh a ll, " "you," "it," "can," etc. In g e n e r a l, m o s t n o n - le x ic a l m o n o sy lla b ic w o rd s can r e d u c e the v o w e l c o l o r in g to /i/ .) c) s t r e s s e d s y lla b le s of p o ly sy lla b ic w o r d s d) f u ll- v o w e lle d u n s t r e s s e d s y lla b le s in p o ly s y lla b ic w o r d s e) u n s t r e s s e d s y lla b le s in p o ly s y lla b ic w o r d s w ith r ed u c ed v o w e ls" (p. 312). In B e a v e r 's s y s t e m , o n ly s y lla b le s ty p e s a and c ca n c o n s t i tute s t r e s s m a x im a ; typ e b cannot. In c o n tr a s t, th is study u s e d a s lig h tly d iffe r e n t s t r e s s i n g s y s t e m w hich w ould fin d a s lig h tly d if f e r ent s e t of s t r e s s m a x im a . The d iffe r e n c e b e tw e en the tw o s y s t e m s c e n t e r s on B e a v e r 's typ e b w o r d s, w h ich in clu d e p ro n o u n s, p r e p o s i tio n s, so m e a u x ilia r y v e r b s , and so m e a d v e r b s . In e ith e r stud y, m o s t type b w o r d s w ou ld n ot c a r r y s t r e s s . H o w e v e r , in c o n tr a s t to B e a v e r 's stu d y, c e r ta in type b w o r d s in th is study cou ld c a r r y s t r e s s and t h e r e fo r e co u ld c o n stitu te s t r e s s m a x im a . T h e se w o r d s in clu d e the fe w type b w o rd s w h ich n o r m a lly c a r r y s t r e s s , such a s v erb a l p a r t ic le s (e. g. , the up o f sw a llo w e d up), and the typ e b w o r d s that o c c a s io n a lly c a r r y s t r e s s e ith e r fr o m v ery str o n g r h e to r ic a l e m p h a s is or fr o m u n u su a l sy n ta c tic in v e r sio n . T h is d iffe r e n c e b etw een the two s t r e s s i n g s y s t e m s lim it s , to a c e r ta in e x te n t, the v a lid ity of c o m p a r in g th em , a s illu s t r a t e d by the fo llo w in g e x a m p le s . In th e f i r s t e x a m p le (from S h a k e s p e a r e ’s S o n n e ts), all o f the u n d erlin ed w o r d s w ould c a r r y s t r e s s in both of th e s t r e s s in g s y s t e m s ; the tw o w o rd s u n d erlin ed with o n ly a s in g le u n d e r s c o r e w ould not c a r r y s t r e s s in B e a v e r ’s s y s te m . Oh th a t th is too too so lid fle s h w ould m e l t , The d iffe r e n c e b etw een the two s t r e s s i n g s y s t e m s f o c u s e s in th is lin e on th e s t r e s s i n g of to o . In ex p la in in g w hy he w ou ld not s t r e s s it, B e a v e r s a y s , " 'too' is a fu ll v o w eled s y lla b le ( /t u w /) but it fr e q u e n tly r e d u c e s to a n e u tr a liz e d vow el ( / t i / ) , a s in 'too m u c h ’ sa id r a p id ly , 162 with s t r e s s on 'm uch.' It is im portant to note that it is th is capacity for reduction rather than how the w ord m ay actu ally be said in a p a r ticu lar in sta n ce, which d eterm in es its c la ssifica tio n " (p. 312). How e v e r , sin ce th is study of blank v e r s e w as in te r e ste d in "how the word m a y actually be said in a p articu lar in sta n ce," it would have s tr e s s e d both in sta n ces of too in the lin e. In th is p articu lar lin e, neith er in stan ce of too would have been a s t r e s s m a x im u m in either system ; B e a v e r 's sy ste m would not have s t r e s s e d th em , and the s t r e s s e s given th em in th is study would have ca n c ele d each other out. H ow ever, in other lin e s , the d ifferen ces in the s tr e s sin g s y s te m s would have m ore noticeable r e s u lts , as in the follow ing lin es fro m Book I of P a r a d ise L o st; H ere sw allow 'd up in e n d le ss m is e r y (I, 142) And dig'd out rib s of gold. L et none adm ire (I, 690) Both ex a m p le s p resen t type b w ords; up and out can function eith er as n o rm a lly u n str e sse d p rep o sitio n s o r , as they do h e r e , as n orm ally s tr e s s e d v erb a l p a r tic le s. Since in the s tr e s sin g s y ste m u sed in this study, verb al p a r tic le s c a rr y th eir n orm al s t r e s s , the fir s t line would c a r r y a s t r e s s m axim u m on up, w hile in the secon d lin e, the potential s t r e s s m a x im a on both dig'd and rib s would be n eu tra lized by the s tr e s s on ou t. In B e a v e r ’s s tr e s sin g sy ste m , the situation would be exactly the r ev e r se ; sin c e, as type b w ord s, n eith er v erb a l p article could c a rr y s t r e s s , the f ir s t line would c a r r y no s tr e s s m axim um on up, but the second would c a r r y s tr e s s m a x im a on both dig'd and r ib s . 4 On the c h a rts, P o sitio n r e fe r s to the p o sitio n s within the lin e, Value to the num ber of o c c u r r e n c e s of coin cid en t a sso n a n ce and a llit era tio n on any given p osition , P e r ce n ta g e to the p ercen tage of total o c c u r r e n c e s which occu r in any g iven p osition . The row s of X s chart the p ercen tage for each p osition , one X for each p ercen tage point. 5 In the follow ing c h a rts, Value r e fe r s to the num ber of punctu ation m a rk s follow ing a given p o sitio n in the en tire sam p le. ^The fou rteen com p lex p a s s a g e s are lin es: 11-17, 9 5 -1 0 5 , 144-150, 186-194, 2 2 8 -2 3 9 , 2 6 9 -2 7 5 , 3 0 1 -3 0 5 , 3 9 3 -3 9 9 , 4 2 5 -4 2 9 , 511 -5 1 6 , 6 2 4 -6 2 7 , 743 -7 4 6 , 7 8 5 -7 9 2 , 915-924. 7 "Faint fro m the W est" is a p a ren th etica l e x p r e s s io n betw een "languid Sun" and "em its h is E v e n in g -R a y ." T h erefo re, "West" o c cu rs n ext to a syntactic break and cannot con stitu te a s t r e s s m axim u m . g K aren Lynn, "Computational P r o so d ie s: The D eca sy lla b ic L ine fro m C haucer to Skelton," unpub. d octoral d isser ta tio n (U n iv ersity 163 of Southern C a lifo rn ia (June 1973), pp. 127 -1 2 8 . 9 H alle and K e y s e r , E n g lish S t r e s s , p. 169. C H A PTER V A DESCRIPTIO N OF YOUNG'S PROSODY The Young sa m p le , w h ich th is chapter d e s c r ib e s , is quite d if fe r en t fro m the other s a m p le s , for its p rosod y and stru ctu re stron gly r e fle c t the h er o ic co u p lets w h ich Young had w ritten for 40 y e a r s b e fo re he turned to the blank v e r s e of N ight T houghts. The couplet stru ctu re of Night Thoughts i s e s p e c ia lly evid en t in Y oung's handling of s t r e s s m a x im a support to the lin e , in h is p la cem en t of syntactic b rea k s, and in h is u se of a sso n a n c e and a llitera tio n to u n d ersco re balan ce and a n tith e sis w ithin the lin e , as w ell a s in the v ery stru ctu re of the lin e s and p a s s a g e s . H o w ev er, a few a sp e c ts of h is handling of s t r e s s and s t r e s s m a x im a are r e m in is c e n t of Milton; both sign al e s p e c ia lly im p ortant lin e s by an unusual m e tr ic a l set w ithin th em and both sep arate p attern s of s t r e s s m a x im a fro m syn tactic pattern s. Y oung's p ro so d y a lso r e s e m b le s that of the oth er poets to varying d e g r e e s in h is handling of e lis io n s and of m eth od s for adding m e tr ic a l co m p lica tio n to h is lin e s . The Young sa m p le c o n s is t e d o f the 458 lin e s of "Night the F ir st" and the f ir s t 542 lin e s of "Night the Ninth" of N ight T houghts;* 164 165 resp ectiv e f ir s t ed itions. The distribution of s tr e s s m axim a in this sam ple con firm s the m e tr ic a lity of Young’s lin es within the Halle - K eyser prosody, and also su ggests the ev en n ess of Young's s tr e s s 2 m axim a support. Location of S tress M axim a in the Young Sample P osition Value ______________________P ercen tage________ 1 0 0. 0000 2 480 23.7600 x x x x x x x x x x x x x x x x x x x x x x x 3 1 0.0 4 9 5 4 479 23.710 5 x x x x x x x x x x x x x x x x x x x x x x x 5 0 0. 0000 6 502 24. 8490 x x x x x x x x x x x x x x x x x x x x x x x x 7 7 0. 3465 8 516 25. 5420 x x x x x x x x x x x x x x x x x x x x x x x x x 9 4 0.1980 10 31 1. 5345 X 11 0 0.0 0 0 0 W hereas over a large sam ple M ilton and Thom son had lin es m o st strongly supported in the fourth and eighth p osition s, th is chart su g g e sts that Y oung's line over a large sam ple is quite ev en ly supported and only sligh tly m o re strongly supported in the second half of the lin e. This ob servation is confirm ed by com paring Young's s tr e s s m axim a d e n sitie s, the percentage or density of occupancy by s t r e s s m axim a of a given p osition , with th ose of M ilton and Thom son. 166 S tre ss M axim a D e n sitie s in M ilton, T hom son, and Young Po sition M ilton T hom son Young 2 51% 50% 48% 4 56% 61% 48% 6 43% 50% 50% 8 58% 68% 52% Y oung's s tr e s s m a x im a distribu tion is rem ark ab ly even . H is low er s tr e s s m axim a d en sity (few er s t r e s s m axim a) in p o sitio n s 4 and 8 co n tribute strongly to the e v en n e ss of h is support, as does h is c o m p a r a tiv e ly higher s t r e s s m a x im a density in p osition 6. Another im portant feature of Young's handling of s tr e s s is su g g ested by this c o m p a riso n . He tend s to w rite lin es with a r ela tiv ely low num ber of s t r e s s m axim a; h is average s tr e s s m axim a density is only 49- 5%, as opp osed to T hom son's 57%. F u rth er, Young is the only one of the fiv e authors studied who has lin es with no s tr e s s m a x im a ranking am ong h is ten m o s t freq u en tly appearing patterns. H is secon d and third ranked patterns have only one s t r e s s m axim um ; M ilton 's fir s t pattern s having only one s t r e s s m axim um are the fourth and sixth; T hom son's are the sixth and eleven th . And w hile for T hom son, the lin e having four s tr e s s m a x im a is the third m o s t popular p at tern out of six teen , this pattern ranks only thirteenth in Young. In M ilton it ranks eleven th . The follow in g table listin g the m o st f r e quently o ccu rrin g s tr e s s m axim a p attern s in Young su g g e sts the extent to w hich he p r e fe r s lin e s with few or no s t r e s s m axim a. 167 M ost F req u en tly O c cu rr in g S t r e s s M axim a P a tte r n s in the Young Sam ple N um ber o f O c c u r r e n c e s P attern R ank in the S 2 4 8 1 88 6 2 79 8 3 75 2 6 4 73 3 8 (4) 73 6 8 6 65 2 6 8 7 59 4 6 (7) 59 2 4 6 9 56 Null 10 54 2 8 11 52 4 12 50 2 4 6 8 13 47 2 14 46 4 6 8 15 44 2 4 16 38 S in ce one c h a r a c t e r is tic of Y oun g's p ro so d y is h is c o m p a r a tiv e fo n d n ess fo r lin e s with fe w s t r e s s m a x im a , an in v e stig a tio n of h is 53 lin e s w ith out any s t r e s s m a x im a i s c e r ta in ly in o r d e r. T h e se lin e s a lso d e s e r v e s p e c ia l note b e c a u s e th ey a re u su a lly quite in te r e stin g m e t r ic a lly and im p ortan t th e m a tic a lly , s e m a n tic a lly , and r h e to r ic a lly . M e tr ic a lly , th e se lin e s a re a n o m a lie s - - t h e r eg u la r a ltern ation of s t r e s s e d and u n s tr e s s e d s y lla b le s g iv e s w ay to the often h a r r ie d 168 rep etition of s t r e s s e d sy lla b le s or to the je r k in e ss of frequent punctu ation. A lm o st in evitab ly, th ese lin es state som e p a rticu la rly im p o r tant g en era liza tio n w hich su m s up im m ed iately p recedin g or follow ing p a ssa g e s. Often th e se lin e s , e sp e c ia lly those with three or m o re s tr e s s e d s y lla b le s in a row , m ake forcib le statem en ts about m u tability, m a n 's m o rta lity , and lo s s . Young has e sp e c ia lly c a lled the r ea d er's attention to th ese im portant lin es by h is unusual m e tr ic a l set within th em . Two of the m o st m e tr ic a lly in terestin g lin e s in "Book the F ir st" illu stra te th is point. "The bell strik es one: we take no note of tim e" (I, 54) p rovid es the e a r lie s t exam ple of Young's u se of a m e t r ic a lly v ery co m p lex line and of a s e r ie s of s tr e s s e d sy lla b le s for sp e cia l th em atic fo c u s. F u rth er, Young has sign aled the sp ecia l i m portance of th is lin e by quite u n ch a ra cteristica lly giving it two s e r ie s of th ree s t r e s s e d syllab le in a r o w - - b ell strik es one and take no note. T his line in tro d u ces a long m editation on death and the im p ortance of acknow ledging death. The p r o c e s s io n of rep eated s t r e s s e s in the lin e s e e m s for Young to be the knell of m y departed h o u r s , the solem n sound which he fe e ls and w hich he helps the read er fe e l in the s t r e s s ing of bell str ik e s one and take no n o te. F u rth er, th is p ercep tion of p a ssin g tim e and of m u tability rem in d s the poet that he too is m u table, that the to llin g of the clock is v ery like the tollin g of the death b ell, that he stands o 'e r lif e 's narrow v erg e to look upon a dread e te r n ity . 169 F o r Young, th is r e a liz a tio n of the fa ct of death is a b so lu tely c ritica l; in it m an r e a liz e s h is lim ita tio n s and i s fo r c ed to look beyond h im se lf for sa lv a tio n , to the C h ristia n ity and C h ristia n a p o lo g etics which the poem expounds. Young c a lls our attention to th is th em e again in a m e tr ic a lly v e ry in ter e stin g line with no s t r e s s m a x im a at the end of the "Night the F ir s t," w here the author again poin ts out the freq u en t danger of ignorin g the p r e se n c e of death. In that lin e, "All m en think all m en m o r ta l, but th e m se lv e s" (I, 422), the f ir s t s ix s t r e s s e d sy lla b le s again h a m m er the th em e into the r e a d e r 's ea r and c o n s c io u sn e s s ; the la s t th re e sy lla b le s after the c a e s u r a n eatly add the q u a lific a tio n --but th e m s e lv e s - -a s the hedge in the m ind of fearfu l m en . Of th ese la s t th ree s y lla b le s , the f ir s t two are u n s tr e s s e d , putting in e ffe ct a m u ch stro n g er e m p h a sis (by c o m p a r iso n with the two p reced in g u n s tr e s s e d sy lla b le s) on s e l v e s , on the one being w hom ea ch fearfu l m an e x c e p ts fr o m h is g e n e ra liza tio n about a ll other m en. T his th em e, the danger of ign orin g the p r e se n c e of death, and the s t r e s s in g of m u tab ility and m a n 's m o r ta lity appear again and again; E a rth 's a c to r s change e a r th 's tr a n s ito ry s c e n e s , (IX, 154) M an startin g fro m h is couch, sh all sle e p no m o r e ! (IX, 207) The lin e s quoted d ir e c tly above u sed a s e r ie s of th ree or m o r e s t r e s s e d sy lla b le s in a row . In Young, such a s e r ie s often fe ll at or v e r y n ear the end of the lin e. The im p ortant su b ject m a tter of such 170 lin es and the positioning of the s t r e s s e s at the end of the lin es su g g ests that here the spondaic ending of c la s s ic a l v e r se had influenced Young's m e tr ic a l technique. In c la s s ic a l prosody, im portant lin es often ended with the heavy spondaic ending con sistin g of spondee - spondee rather than the m ore u su al dactylic ending con sistin g of dactyl-sp on d ee. Some other ex a m p les of Young's use of such spondaic endings include: I wake: How happy they who wake no m ore ! (I. 7) Fate ! Drop the curtain; I can lo s e no m o r e . (I, 27) Of things im p o ssib le ? (Could sleep do m o re ?) (I, 164) A s when a tr a v e lle r , a long day past (IX, 1) Torn from m y bleeding b rea st, and death's dark sh ad e, (IX, 18) A n d (l), when at w o rst, they dream them s e lv e s quite well: (IX, 37) W h ere(l), the prim e a ctors of the la st y e a r's s c e n e ; (IX, 56) War, fam ine, p e stile n c e, and found too weak (IX, 145) And now, all d r o ss rem ov'd , heav'n's own pure day, (IX, 186) F o r guilt no p lea! To pain, no pause ! No bound ! (IX, 277) These lin es are all th em atically important; they em p h asize either the tr a n sito r in e ss of m o rta l life, the w arnings of death which we cannot ign ore, or in lin e 186 of Night IX, the beauty and salvation of heaven to which m an should be striving. Young's p lacem en t of s tr e s s m axim a (or h is lack of them) has been influenced by two other a sp ects of h is prosody, h is p lacem en t of s tr e s s e d sy lla b le s and h is placem ent of syntactic b reak s. In h is 171 p la c e m e n t of s t r e s s e d s y lla b le s , Young is m id w a y b etw een M ilto n 's p r a c tic e and T h o m so n 's. Young c o n s iste n tly p la c e s m o r e s t r e s s e d s y lla b le s in the e v e n -n u m b e r e d p o sitio n s than d o es M ilton but fe w er than d o e s T h om son , e s p e c ia lly in p o sitio n s 4 and 8. Young a lso p la c e s fe w er s t r e s s e d s y lla b le s in o d d -n u m b e r ed p o sitio n s than d oes 3 M ilton , but m o r e than d o es T h om son , e s p e c ia lly in p o sitio n s 5 and 7. Y ou n g's p la cem en t of n e u tr a liz in g s t r e s s e d s y lla b le s p a rtly a cco u n ts for h is low s t r e s s m a x im a d e n s it ie s , but as s u g g e ste d by the fo llo w in g c o m p a r iso n , he is m u ch m o r e lik e ly to n e u tr a liz e a p oten tial s t r e s s m a x im a by an ad jacent sy n ta ctic b reak than by an ad jacen t s t r e s s . The high in sta n ce of " in verted f ir s t feet" a cco u n ts fo r the c o m p a r a tiv e ly high N eu tra liza tio n P o ten tia l {A djacen t S tr e s s) in p o s i tion 2 for a ll th ree a u th ors. N eu tr a liz a tio n P o ten tia l (A djacent Syn tactic B reak ) P o s itio n M ilton T h o m so n Young 2 3% 18% 31% 4 19% 36% 56% 6 25% 60% 68% 8 20% 37% 51% N eu tra liza tio n P o ten tia l (A d jacen t S tr e s s) Po sitio n M ilton T h o m so n Young 2 39% 46% 46% 4 18% 17% 21% 6 20% 11% 17% 8 19% 10% 15% 172 The predom inating effect of syntactic breaks as the n eu tralizer for Young's s tr e s s m axim a su ggested by the above ch arts is illu stra ted in the following lin es. Those s t r e s s m axim a neutralized by syntactic breaks are underlined. S elf-given , solar, ray of found delight. (I, 218) And that thro' ev ery sta g e : when young, indeed (I, 411) The lon gest night, tho' longer f a r , would fail, (I, 434) T ho1 fa r , far higher s e t , in a im , 1 tru st, (IX, 25) A b o v e, around, ben eath, am azem en t a l l ! (IX, 209) A dream , a ch ea t, now , all th in gs, but her sm ile . (IX, 324) There a re, of c o u rse, m any lin es where potential s tr e s s m axim a are a lso neutralized by adjoining s t r e s s , as in the fir s t (s e l f - given), fourth (far high er), and sixth (all th in gs) ex a m p les above. O ccasion ally both neutralizing fa cto rs work togeth er to produce such a strongly jarring and th em atically im portant line as "Where night, death, age, c a re , c r im e , and sorrow c ea se," (IX, 23). A s the above lin es have illu stra ted , Young's p lacem ent of sy n tactic breaks as rep resen ted by h is placem ent of punctuation is one of his m o st anti-M iltonic elem en ts. The lin es jerk forw ard by fits and 4 sta r ts, the v ery antithesis of a M iltonic forw ard -drivin g rhythm. The extent of this an tith esis over a large sam ple is su ggested by a com p arison of Young's and M ilton's punctuation in the two sa m p les. sit 1 2 3 4 5 6 7 8 9 10 11 12 sit: 1 2 3 4 5 6 7 8 9 10 11 173 D istrib u tion of P u nctuation in the Young Sam ple Value P ercen ta g e 104 3. 5152 XXX 210 7. 0980 XXXXXXX 206 6. 9628 XXXXXX 350 11. 8300 XXXXXXXXXXX 404 1 3 .6552 x x x x x x x x x x x x x 280 9. 4640 x x x x x x x x x 278 9. 3964 x x x x x x x x x 232 7. 8416 XXXXXXX 148 5. 0024 XXXXX 712 24. 0656 XXXXXXXXXXXXXXXXXXXXXXXX 30 1. 0140 X 2 0. 0676 D istrib u tion of P u n ctu ation in the M ilton Sam ple Value P ercen ta g e 6 0. 6894 22 2. 5278 XX 68 7. 8132 XXXXXXX 122 14. 4178 XXXXXXXXXXXXXX 134 15. 3966 XXXXXXXXXXXXXXX 126 14. 4774 XXXXXXXXXXXXXX 120 1 3 .7 8 8 0 x x x x x x x x x x x x x 80 9. 1920 x x x x x x x x x 30 3. 4470 XX X 154 17. 6946 x x x x x x x x x x x x x x x x x 8 0. 9192 0 0 .0 0 0 0 174 In these c h a r ts, P o sitio n refer s to the position after which a punctua tion m ark o c c u r s , Value to the number of m arks for each p osition in the sam ple, P ercen ta g e to the percentage of m arks falling after each position; the s e r ie s of X s plot the percen tages, one X for each p e r centage point. M ilton punctuates le s s frequently and with le s s concentration than does Young. M ilton ind icates only 870 pau ses by punctuation in his entire sa m p le as com pared with the 2 ,9 5 6 pau ses Young in d icates. Milton p la ces term in a l punctuation on only 154 lin e s, Young on 712 lin es. M ilton s e e m s to have no sp ecia l p referen ce for the p lacem en t of m edial c a e s u r a s , punctuating alm ost equally after the fourth, fifth, sixth, and seven th position s and com paratively frequently after the third and eighth positions; Young has m uch m ore internal punctuation and see m s to fa v o r punctuating after the fourth and fifth p osition s. This quantitative o v erview of Young's punctuation with its high incidence of term in al and m ed ial punctuation r eflec ts that fo rm , the heroic couplet, in which Young wrote for 45 y ea rs before turning to the blank v e r se of Night Thoughts. In fact, m any a sp ects of h is blank verse prosody r e fle c t the couplet with its end-stopped lin e s , its h a lf line structure w ith m ed ial ca esu ra , and its balance and a n tith esis. While by no m e a n s all of Young's lin es lend th em se lv e s to a "couplet an alysis," a la r g e num ber of them do. Young even u se s asson an ce and alliteration to rein fo rce h is balance and a n tith esis, to link sem a n tica lly 175 im p ortant w o rd s, and m o st often , to u n d e rsc o re the un d erlyin g s t r e s s m a x im a pattern . F o r in sta n ce , "A c a ll to duty, not d isch a rg e fro m ca re" (I, 329) not only s e ts up the balan ce b etw een c a ll and d is c h a r g e , b etw een duty and c a r e , but it d oes so with the a lliter a tio n of / k / f r a m ing that on / d /. This a llitera tio n o b v io u sly lin k s the sem a n tic a lly im p ortan t w ord s and with the ex cep tio n of sy lla b le 7, the a llitera tin g s y lla b le s fa ll on ev en -n u m b e r ed p o sitio n s, u n d ersco rin g the s t r e s s m a x im a pattern. The lin e , "Song so o th es our p ain s, and age h as pains to sooth" (IX, 16), a lso ex h ib its " cou p let-lik e" c h a r a c t e r is tic s . It is en d -sto p p ed and has a m e d ia l ca esu ra ; the two h a lv e s of the lin e c o n tr a s t th e m a tic a lly but are b alan ced by the rep etitio n of pain and soothe and the fra m in g e ffe ct of the a lliter a tio n on Is/. S im ila r ly , rep etitio n w hich h igh ligh ts c o n tra st ap p ears in "The c u r se of c u r s e s i s , our c u r se to love;" (IX, 42) and b alan ced a lliter a tio n and a sso n a n c e to h igh ligh t a co n tr a st ap p ears in "Our p r e se n t f r a ilt ie s , or approaching fate" (IX, 89) and in "The deed p redom in ant! The deed of deeds; / That m a k es a h ell of h e ll, a h eav'n of heav'n ," (IX, 3 4 3 -3 4 4 ). A ll of th e s e lin e s could r ea d ily have co m e fro m a poem in h e r o ic c o u p lets, a fa cto r w hich h as probably con fu sed the d e sc r ip tio n of Y oung's blank v e r s e in the p ast. A m o r e exten d ed exam p le of the sa m e ten d en cy in Young i l l u s tr a te s h is c o u p le t-lik e sty le ev en m o r e fo r c efu lly . 176 To faith and v ir tu e , why so b ack w ard , m a n ? 1 F r o m h en ce: - - the P r e s e n t stro n g ly s tr ik e s us all; 2 The fu tu re faintly: ca n w e, th en, be m e n ? 3 If m en , L o ren zo ! the r e v e r s e is right. 4 R e a so n is m a n ’s p e c u lia r , s e n s e , the b r u te ’s. 5 The p r e s e n t is the sca n ty r e a lm of sen se ; ^ 6 The fu tu re, r e a s o n 's e m p ir e unconfin'd. . . . 7 The punctuation h ere is c o u p le t-lik e and a n ti-M ilto n ic . The s ix c o m p lete lin e s are a ll e n d -sto p p ed and all end w ith h ea v y , te r m in a l p u n c t u a t io n - t w o q u estio n m a r k s , two s e m ic o lo n s , and tw o p e r io d s . F u r th e r , w ithin th e s e six lin e s are th re e m o r e te r m in a l punctuation m a r k e r s - - t w o c o lo n s and one e x c la m a tio n m a r k - - t o say nothing of the se v e n c o m m a s w hich v e r y str o n g ly b reak up the f ir s t , th ird , and fifth lin e s . A ll of th is punctuation s u r e ly se ts up a pon d erou s in e r tia a g a in st w hich any M ilton ic fo r w a r d -d r iv in g rhythm is su re to lo s e m o m en tu m . H o w e v e r , ev en m o r e than th e punctuation, the v e r y stru ctu re of the p a s s a g e is c o u p le t-lik e . The la s t s ix of the s e v e n lin e s are fo r m a lly u n rh ym ed , e n d -sto p p ed c o u p le ts. E ach co u p let a d v a n ces one u n it in the a rgu m en t, a unit n ea tly co m p lete by the end of the seco n d lin e of the co u p let. F u r th e r , e a ch cou p let i s str u ctu red about one m a jo r a n tith e s is. The f i r s t ju x ta p o ses the p r e s e n t str o n g ly s tr ik e s us to the fu ture fa in tly ; th e seco n d ju x ta p o ses r e a s o n is m a n 's p e c u lia r to s e n s e , the b r u t e ’s [p ecu lia r]; and th e th ird ju x ta p o se s the p r e s e n t 's sca n ty r e a lm of s e n se to the fu tu r e 's uncon fined e m p ir e of r e a so n . O ther e le m e n ts r e in fo r c e th is c o u p le t-lik e str u c tu r e . The sec o n d lin e of the p a s s a g e in tro d u ces a m a jo r a llite r a tin g sound, the / sf of p r e se n t 177 stro n g ly str ik e s u s . In the sixth lin e, th is sam e a llitera tin g sound r e la t e s p r e s e n t, sca n ty , and sen se and se ts up a m ajor juxtaposition b etw een the scanty rea lm of se n se and the unconfined rea lm of reason . T his juxtaposition tie s in the other dom inant a llitera tio n patterns run ning through th is p assage (both within and betw een the lin es): the a llit e r a tio n s on / f / - - to faith and virtue (line 1) and the future faintly (line 3 )--a n d on / r / - - the r e v e r se is right (line 4) and r ea so n (lin es 5 and 7). In th is p a ssa g e, th ese a llitera tio n s on til and / r / u n d ersco re the m a in them e of Night T houghts, the need for m an to c o n sc io u sly m e d i tate on h is future, his lim ita tio n s, and h is im p erfectio n s and to d ed i c a te h im se lf to faith and rea so n in h is pursuit of etern a l h ap pin ess. In th is p a ssa g e, then, the confining of a unit of sen se to two lin e s of p oetry, the end-stop pin g of the lin e s , the balan ce and antith e s i s within the lin e s , in addition to the stron gly m arked m ed ia l c a e s u r a s in six of the seven lin e s , stron gly r e fle c t Young's previous e x p e r ie n c e as a w riter of h ero ic couplets; they su g g est the extent to w hich he has neatly adapted h is old m anner to a new m atter and w ritten new kind of blank v e rse . The lis t s of s tr e s s m axim a pattern s p resen ted in Appendix C r e v e a l two other c h a r a c te r istic s of Y oung's p rosody rela ted to his handling of s t r e s s and s tr e s s m axim a. F ir s t , Young tend s to a sso c ia te c e r ta in p attern s of s tr e s s m a x im a with p articu lar patterns of s tr e s s p la cem en t. F o r in stan ce, the 50 lin es sharing the s t r e s s m axim a 178 p attern 4 a c tu a lize th is p attern through only four p a ttern s of in itia l s t r e s s p la c e m e n t an^ and two of th e s e , " w ' ° and accou n t fo r 32 of the 50 lin e s . In c o n tr a st, M ilton d o es not tend to a s s o c ia te p a ttern s of s t r e s s p la c e m e n t w ith h is p a t te r n s of s t r e s s m a x im a ; in the e x a m p le to support th is g e n e r a liz a tio n p r e se n te d in C hapter III, M ilto n 's 31 lin e s sh a rin g the s t r e s s m a x i m u m pattern 6 a c tu a lize th is p attern th rou gh e le v e n d ifferen t p a ttern s of in itia l s t r e s s p la c e m e n t. H o w ev er, Young (lik e M ilton) d o es not tend to a s s o c ia te p a r tic u la r sy n ta ctic p a ttern s w ith h is p a ttern s of s t r e s s m a x im a . F o r in sta n c e , the 50 lin e s sh a rin g the s t r e s s m a x im a p attern 4 in the Young sa m p le a c tu a lize th is p attern through 49 d ifferen t in itia l sy n ta c tic p a ttern s. Only two lin e s sh are the in itia l s t r e s s p attern uo'J ' ° and the in itia l sy n ta ctic p a ttern m o n o sy lla b ic p r e p o sitio n plu s tetr a sy lla b ic noun a c ce n ted on the th ird s y lla b le : A s m a u s o le u m s , p y r a m id s, and to m b s. (IX, 67) O 'er d ev a sta tio n we blind r e v e ls keep; (IX, 97) Of the rem a in in g lin e s , none s h a r e s an in itia l sy n ta ctic p attern with any oth er. The fo llo w in g l i s t of th e s e r em a in in g lin e s illu s t r a t e s the range and v a r ie ty of sy n ta c tic p a ttern s Young u s e s to a c tu a liz e a given s t r e s s m a x im a pattern; a s im ila r l i s t cou ld be c o n str u c te d fo r any oth er s t r e s s m a x im a p a ttern . The lin e s a r e a rra n g ed a cco rd in g to the p attern of in itia l s t r e s s p la c e m e n t. 179 1. The in itial s t r e s s pattern " u' u: F ate ! Drop the curtain; I can lo s e no m ore (I, 27) Thought w anders up(5) and down(5), su p riz'd , am az'd , (I, 82) O C ynthia! why so p a le? D ost thou la m en t (I, 213) Not m o re the ch ild ren , than su re h e ir s of pain. (I, 239) W ild haunts of m o n s t e r s , p o iso n s, stin g s, and death; (I, 286) M ore sad! this earth is a true m ap of man: (I, 288) M ore gen erou s so rro w w hile it sin k s, e x a lts, (I, 299) (Sly, tr e a ch er o u s m in er) w orking in the dark, (I, 355) Soon c lo s e , th ere past the shaft, no tra ce is found: (I, 427) One labour m ore indulge: then sle e p , m y stra in ! (XX, 21) T heir fate deploring, to fo r g e t o u r(l) ow n? (IX, 82) F a r other firm am en t than e 'er w as se e n , (IX, 170) W ho(l) h e a r s, intrepid, the full charge it b rin g s, (IX, 244) P ou r forth(5) th eir m y r ia d s, p oten tates, and p o w 'rs, (IX, 330) M ade h a lf-a d o ra b le its e lf, ad ore, (IX, 437) Not one, to soften c e n su r e 's hardy c r im e ; (IX, 471) 2. The in itial s t r e s s pattern Torn fro m m y bleedin g b r e a st, and death 's dark shade, (I. 18) W hy(l) then th eir lo s s d ep lo re, that a re not lost? (I, 106) Thrown into tum ult, raptur'd, or a la rm 'd , (I, 150) W ant, and in cu ra b le d is e a s e , (fe ll pair) (I, 252) S u rfeit's d om in ion o 'e r you: but so g r e a t (I, 263) W arn'd by the langou r of lif e 's ev'n in g ra y , (IX, 11) W hat(l) is the w orld i t s e lf ? T h y (l) w o rld ? - - a gra v e ! (IX, 91) B u t(l), like C a ssa n d r a , p r o p h e s ie s in vain; (IX, 133) M ore than a s to n is h m e n t! If m o r e c a n (l) b e(l)! (IX, 169) W hy(l) on h im s e lf should m an void judgm ent p a s s ? (IX, 235) O rder o 'e r o r d e r , r is in g , b la ze o 'e r b la z e , (IX, 258) P a in i s to sa v e fr o m p a in ! A ll p u n ish m en t, (IX, 383) Joy fr o m the J o y o u s, fr e q u e n tly b e tr a y s , (IX, 403) H e r o e s in b a ttle, p ilo ts in the sto r m , (IX, 412) W h o (l), lik e a d aem on , m u r m 'r in g fr o m the d u st, (IX, 473) V a r io u s, e x te n s iv e , b ea ten but by few; (IX, 525) The in itia l s t r e s s p a ttern I wake: how happy th ey who w ake no m o r e ! (I, 7) Is c o rd , is c a b le , to m a n 's ten d er tie (I, 178) In vain, to m any; not, I tr u s t, to th ee. (I, 134) B ew a r e , L o ren zo ! A slo w -su d d e n death. (I, 387) And g o d s, a m b itio u s, triu m p h in h is tr a in . (IX, 178) T im e w a s(l)! E tern ity n ow r e ig n s alone! (IX, 315) Shall w ak e, and w on d er, and ex u lt, and p r a is e , (IX, 434) Which n on e, who tr a v e l th is bad road, c a n m is s : (IX, 532) 4. The in itia l s t r e s s pattern Uvu ' This perad ven tu re, infam ous for li e s , (I. 377) On th is r e v e r sio n tak es up(5) ready praise; (I, 403) A s when a tr a v e lle r , a long day past (IX, 1) Than e 'e r w as thought by man! F ar other sta rs! (IX, 171) And her resen tm en t to mankind, how ju st? (IX, 317) A nother c h a r a c te r istic of Young's handling of s t r e s s e d sy lla b le s should be noted. Although the sam ple s iz e is too sm all to provide c o n vincin g g e n e ra liza tio n s, it s e e m s that Young tends to p lace his verbal p a r tic le s (the s t r e s s e d ad verbial form in such verb al p h ra ses as burst forth ) throughout the lin e, with a slight p referen ce for p lacin g th em in p osition s 2 and 4. The exact location of th ese p a r tic le s in the Young sam p le ap p ears in the follow ing chart. .Location of V erbal P a r tic le s in the Young Sam ple P o sitio n Value P ercen tage 1 2 3 4 5 6 7 8 9 10 11 12 0 5 1 4 1 3 0 3 2 3 0 0 0.0000 22. 7270 XXXXXXXXXXXXXXXXXXXXXX 4. 5454 XXXX 18. 1816 XXXXXXXXXXXXXXXXXX 4. 5454 XXXX 13.6362 XXXXXXXXXXXXX 0.0000 13.6362 XXXXXXXXXXXXX 9 .0 9 0 8 XXXXXXXXX 13.6362 XXXXXXXXXXXXX 0.0000 0.0000 182 In c o n c lu sio n , th is study of Y ou n g's handling of s t r e s s and s t r e s s m a x im a h as attem p ted to p rovid e a qu antitative p e r sp e c tiv e fr o m w hich to define so m e of the unique c h a r a c t e r is t ic s and e ffe c ts of Y oun g's p ro so d y . T his u n iq u en ess h as lon g c r e a te d p r o b le m s in the c r it ic a l r e s p o n se to N ight T houghts. In addition to the u n d isg u ise d d i s gu st show n by so m e of the c r it ic s to the poem its e lf,^ N ight Thoughts h as c e r ta in ly su ffered in freq u en t c o m p a r is o n s w ith P a r a d is e L o s t . A p oem in the M ilton ic tra d itio n , g o e s the c r it ic a l sen tim e n t, should c e r ta in ly m o r e stro n g ly im ita te M ilton than d o es N ight T h o u g h ts. H ow e v e r , im ita tio n is a slip p e r y c o n cep t both in co n c ep tio n and ex ec u tio n , and in " C o n jectu res on O rigin al C o m p o sitio n ," Young h im s e lf had s e v e r a l th in gs to sa y on im ita tio n . H is e s s a y a r g u e s that o r ig in a lity and native g en iu s should be g iv en fr e e rein at the e x p e n s e , if n e c e s s a r y , of the s tr ic t cre d o of im ita tio n and r u le -g o v e r n e d c o m p o sitio n ad vocated by e a r ly e ig h te e n th -c e n tu r y c o n s e r v a tiv e th e o r is ts su ch a s E dw ard B y s s h e . A c co r d in g to Y oung, " R u les, lik e c r u tc h e s , a re a n eed fu l aid 7 to the la m e though an im p ed im e n t to the stron g" and th e r e fo r e w r ite r s should b ew a re the "soft f e t t e r s of e a s y im ita tio n ." H o w e v er , although he did argu e fo r o r ig in a lity in a r t, Young did not to ta lly deny the value of tr a d itio n a s a guide: "Let u s be as fa r fr o m n e g le c tin g , as fr o m co p y in g , th eir a d m ira b le c o m p o s itio n s. L et our u n d erstan d in g fe e d on th em . . . but le t th em n o u rish not an n ihilate our own and w hen we rea d g le t our im a g in a tio n kindle at th eir c h a r m s." T h e se two attitu d es 183 should fo rm a th eo r e tic a l foundation on which Young b ased h is p ro so d ic p r a c tic e s . In te r m s of h is "M iltonic im itation ," we m igh t ex p ect to find som e M iltonic c h a r a c te r is tic s m ixed with m uch o rig in a lity in the prosod y of Night T houghts. This is in fact the c a s e . A s with M ilton, Young habitually sign aled e s p e c ia lly im portant th em atic lin e s by an unusual m e tr ic a l set in th em , m o st n o ticea b ly by giving such lin e s a low num ber of s tr e s s m axim a. H ow ever, although Young's blank v e r s e d oes show som e M iltonic c h a r a c te r is tic s in its p la cem en t of s t r e s s and its treatm en t of im portant lin e s , it m o re c h a r a c te r is tic a lly r e fle c ts the m e tr ic a l style of the h ero ic cou p let with its a n tith esis, its b alan ce, and its en d -stop p ed with lin e s , a style u n d ersco red by Y oung's u se of asson an ce and a llitera tio n . This co u p le t style not only exp lain s the e ffect of m any individual lin e s in Night T houghts; it a lso h elp s to explain an in itially pu zzlin g phenom enon in the quantitative o v erv iew of Young's prosod y, h is s t r e s s m a x im a d i s tribution. It has been d em on strated that Young supports h is lin e r e l a tiv e ly ev en ly throughout, an apparently strange and arb itra ry d e p a r ture fro m the predom inant support on the fourth and eighth p o sitio n s p ra cticed by both M ilton and T hom son. H ow ever, Young's ev en su p port m a k es se n se w ithin a v isio n of h im as a w riter o f blank v e r s e co u p lets. In th is v isio n , it is the half lin e, not the individual p osition , that is m o s t im portant: the poem advances th em atic a lly -m o st often by half lin e s , and in it half lin e s th em a tica lly balance and co n tra st. It 184 se e m s appropriate, th erefo re, that th ese sam e half lin e s provide the m e tr ic a l as w ell as the them atic base and that no one position in the half lin e take p reced en ce. The fir s t half balan ces the second half. F ar from seem in g an arbitrary and m e a n in g le ss departure fro m his tradition, Young's even support of the lin e r e fle c ts a co n sisten cy in h is prosody and them atic treatm en t as rem ark ab le as it is different. Young's e lisio n s w ere a r ela tiv ely lim ited and sim ple c o n tributor to the m e tr ic a l com p lexity, but provided a sm a ll inten sifying effect to the heavy term in al endings c h a r a cter istic of h is v e r s e . W ith in the lim its of the coding sy ste m , 140 lin es in the Young sam ple r e quired e lisio n (as opposed to the 217 lin e s in the M ilton sam p le). H ow e v er , of th ese 140 lin e s , a large m ajority of 99 req uired e lis io n only because of the coding conventions u sed to r ep resen t the diphthong form ed by the conjunction of a vow el and the R -c o lo r e d schwa; the cod - 9 ing convention created an apparently doubly r ep resen ted diphthong. M ost of such diphthongs appeared at or near the end of a line where they would help lengthen out the line and would contribute, along with the h eavy term in al punctuation and o c ca sio n a l spondaic endin gs, to the heavy line endings c h a ra cteristic of Young's v e r s e . F u rth er, m o st of the seven teen true e x tr a -m e tr ic a l sy lla b le s w ere long final s y lla b le s, eith er open vow els such as L orenzo (IX, 427), found thee (IX, 296), or syllabic / l / , I n i , or / r / - - a l l of which extend the line m ore than would stopped sound such a s It/ or / p / or Ibl. The c la s s of lin e-term in a l 185 w ord s ending in e x tr a -m e tr ic a l sy lla b ic liq u id s in clu d es tr e a su r e (I, 40), stra n g er (I, 81), nature (I, 98), im m o r ta l (I, 102), and e v er {IX, 217). Young a lso elid ed o v e r the con son an t sounds / r / , / n / , 111, h i , producing d isy lla b ic fo r m s of d ifferen t (I, 71), glitterin g (I, 346) p r iso n e r (I, 136), and raven ou s (I, 292), am on g o th ers. A c o m p a r iso n of Y oung's e lis io n s a c r o s s two adjacent v o w e ls in "Night the F ir s t" and "Night the Ninth" d is c lo s e s an in te r e stin g but probably in sig n ifica n t d iffe re n c e . In "Night the F ir s t," Young e lid e s p red om in an tly with low , back vo w els; th ere a re four in sta n ces of e l i sio n s o c cu rr in g w ith the low , back vow el l o l - - t h r e e in fo r m s of e m bryo (I, 127, 130, and 131) and one in n a rro w er (I, 194 )--w h ile only one in sta n ce o c c u r s of an e lis io n w ith a high fron t v o w e l--th e 111 of pitying (I, 43). H o w ev er, in "Night the Ninth," w ritten th ree y ea rs la te r , Young e lid e s on ly with high front vo we 1 s - - R aphae 11 s (IX, 22), ruin (IX, 140), p a llia te (IX, 472), satiate (IX, 521), m any a (IX, 529), and R aphael - strok e (IX, 539). In th ree in s ta n c e s , Young r e v e r s e s the p ro ced u re of e lis io n to expand a diphthong to f ill two syllabic p o sitio n s as had T h o m s o n - -id ea (I, 361), r e a l (I, 128), and theatre (IX, 259). In h is p la cem en t of e lis io n s of the p a st p a r ticip ia l ending a lrea d y in d ica ted in the tex t, as in ch a rm 'd and view 'd , Young m o r e n e a r ly r e s e m b le s T hom son than M ilton. M ilton tends to place th e se e lis io n s on ly in ev en -n u m b ered p o sitio n s, w h ile T hom son and Young ten d to p lace th em throughout the lin e. A ll th r e e p o ets tend to favor 186 position 10, and Young also favors position 6. The n u m b ers of th ese e lis io n s per 1,000 lin es d e c r e a se s ch ron ologically from Milton through Young: 216 in the M ilton sam p le, 237 in the Thom son sa m p le s, and 190 in the Young sam p le. The exact distribution of th ese e lisio n s [ca lled "O rthographically Im itated E lisio n (8-Count)"] in the Young sam p le fo llo w s. The distributions for the T hom son and Milton sam p les appear in the d iscu ssio n of th ese e lisio n s in the r e sp e c tiv e ch apters, as w e ll as in the Appendix A for M ilton and Appendix B for Thom son. L ocation of O rthographically Im itated E lisio n (8 -Count) in the Young Sam ple P o sitio n Value P ercen ta g e 1 13 6. 8149 XXXXXX 2 15 7 .8 9 4 5 XXXXXXX 3 20 10.5260 XXXXXXXXXX 4 18 9 .4 7 3 4 XXXXXXXXX 5 11 5 .7 8 9 3 x x x x x 6 29 15.2627 x x x x x x x x x x x x x x x 7 19 9 .9 9 9 7 x x x x x x x x x 8 20 10.5260 XXXXXXXXXX 9 10 5 .2 6 3 0 x x x x x 10 32 16.8416 x x x x x x x x x x x x x x x x 11 3 1. 5789 x 12 0 0 .0 0 0 0 In h is u se and placem ent of other e lis io n s within w ords alread y indicated in the text, as in m u rm 'rin g and p ow 'r, Young d iffers fro m 187 h is p r e d e c e s s o r s m ore m a rk ed ly . The o c c u r r e n c e of th ese e lis io n s per 1 ,0 0 0 lin e s v a r ie s fr o m 124 for M ilton , to 66 fo r T hom son, to 76 for Young. W hile M ilton and T hom son tend to p la c e th ese e lis io n s in ev en -n u m b ered p o sitio n s, Young tends to con cen trate th em ea rly in the lin e, e s p e c ia lly in p o sitio n s 1, 2, or 4. The exact distribu tion of th e s e e lis io n s [called " O rth ograp h ic-P h on etic E lis io n s (9-C ount)"] fo llo w s. The d istrib u tio n s for the M ilton and T h om son sa m p le s appear in the d isc u ssio n of th e s e e lis io n s in the r e s p e c tiv e ch a p ters, as w e ll as in Appendix A for M ilton and A ppendix B for Thom son. L ocation of O rth o g ra p h ic-P h o n etic E lisio n (9 -Count) in th e Young Sam ple P o sitio n Value P ercen ta g e 1 11 14.4727 XXXXXXXXXXXXXX 2 12 15.7884 x x x x x x x x x x x x x x x 3 6 7. 8942 XXXXXXX 4 14 18. 4198 x x x x x x x x x x x x x x x x x x 5 6 7. 8942 XXXXXXX 6 9 11. 8413 x x x x x x x x x x x 7 2 2 .6 3 1 4 XX 8 9 11.8413 x x x x x x x x x x x 9 0 0.0000 10 7 9.2099 x x x x x x x x x 11 0 0.0000 12 0 0.0000 188 Young u s e s m an y of the s a m e m e th o d s fo r adding c o m p le x ity to h is lin e s as do M ilton and T h om son . B y u sin g lo n g dip hth ongs ending in an R - c o lo r e d sch w a (s u c h a s th at found in d ir e ) , Y oung is able to add a kind of m e t r ic a l c o m p le x ity or a f u lln e s s to the lin e r e la te d to sy lla b le count w ithout a c tu a lly adding any e x tr a s y lla b le s . S om e such lin e s in clu d e: N or l e s s in s p ir e m y con d u ct, than m y song; (I, 48) Our v e r y w is h e s give u s not ou r w ish ; (I, 273) Our w aking d r e a m s a r e fatal; h ow I d r e a m t (I, 163) A lth ough su ch lo n g diphthongs w ould n o r m a lly be c o n s id e r e d as o n ly one s y lla b le , in a p e r fo r m a n c e of a lin e th ey m a y be r e a d a s tw o s y lla b le s , both fa llin g in th e sa m e p o sitio n o c c u p ie d by the diphthong a lo n e. In oth er lin e s , o th e r a lte r n a tiv e s a r e c r e a te d by the sp littin g of the d ip h th o n g s. In s o m e lin e s , th e diphthongs fa ll in the ten th p o sitio n w h ere th ey m a y be s p lit to fo r m an e x t r a m e t r ic a l s y lla b le , a s in the fo llo w in g lin es: And fr o m e a c h s c e n e , the n o b le s t tru th s i n s p ir e : (I, 47) The fu tu re e m b r y o , s lu m b e r in g in h is s i r e . (I, 130) W here t im e , and p ain , and ch a n ce and death e x p ir e ? (I, 144) L ik e b o s o m fr ie n d s h ip s to r e s e n tm e n t so u r'd (I, 337) In o th er lin e s su c h as th e fo llo w in g , sp littin g the diphthong m a y fo r m an e le v e n - s y ll a b le lin e w h ic h m a y be r ed u c ed to a t e n - s y lla b le lin e in m o r e than one w ay. In e a c h c a s e , the p o s s ib le v e r s io n s of the lin e s 189 in volvin g the d ifferen t e lis io n s h ave b een g iven and the p o ssib le e l i sion s have been underlined: Who c e n te r e d in ou r m ake such stran ge e x tr e m e s ? Who c e n te r 'd in our m ake such strange e x tr e m e s ? (I, 70) S trik es e m p ir e s fr o m the root; each m o m en t plays S trik es e m p ir e s fr o m the r o o t; each m om en t plays Strik es e m p ir e s fr o m the root; each m o m en t p lays (I, 193) To labouring thought is born. How dim our eye To labouring thought is born. How dim o ur eye (I, 361) In the f ir s t of th e se e x a m p le s (I, 70), the f ir s t sy lla b le of the sp lit diphthong in our m ay e ith e r sh are p o sitio n 4 with in or p o sitio n 5 with the second sy lla b le of the sp lit diphthong. In the secon d ex a m p le (I, 193), reading em p ire s a s tr is y lla b ic (sp littin g the ir e diphthong) c r e a t e s th ree d ifferen t m e tr ic a l v e r s io n s of the lin e. In the f ir s t of th e s e , the two s y lla b le s of the s p lit diphthong m a y occu p y p o sitio n 3; in the secon d and th ird v e r s io n s of the lin e , the sp lit diphthong o c c u p ie s p o sitio n s 3 and 4 with a req u ired e lis io n fa llin g eith er on p o sitio n 6 (containing the root) o r on p o sitio n 9 (containing m om en t). In the third ex a m p le of altern ate sc a n sio n s of a lin e c a u se d by the splitting of a long R -c o lo r e d sch w a diphthong (I, 361), the f ir s t sy lla b le o f the sp lit diphthong m ay eith er occu py p o sitio n 9 with its seco n d sy lla b le or it m a y occu p y p o sitio n 8 w ith dim (sin c e / m / is one of the consonant sounds o v er w hich e lis io n m ay o ccu r in the H a lle - K e y se r th eory). 190 Other lin es lack an R -c o lo r ed schwa but still contain elev en sy lla b les which m ay be reduced to ten sy lla b les in m ore thanone way. In each c a s e , the p ossib le v ersio n s of the lin es have been given and the p o ssib le e lisio n s have been underlined. Even silen t night p roclaim s etern al day: E ven silen t night p roclaim s etern al day: (I, 103) E m b rio s we m u st b e (l), till we burst the sh ell E m b rios we m u st b e (l), till we burst the sh ell (I, 131) Of m y departed jo y s, a num erou s train! Of m y departed jo y s, a num erous train ! Of m y departed jo y s, a num ero u s train ! (I, 228) The fir s t of th ese exam p les (I, 103) m ay reduce its elev en sy lla b les to ten through two different sets of sy lla b les occupying the sam e position: eith er the two sy lla b les of even m ay occupy position 1, or the two of silen t m ay occupy position 3 with the resu ltin g s tr e s s in position 3 being n eu tralized by the adjacent s tr e s s on night in p osition 4. The second exam ple (I, 131) m ay also reduce its elev en sy lla b les to ten through two different sets of double occu pancies: eith er the final two sy lla b les of em b rio s m ay both occupy position 2 or we m u st m ay occupy p osition 4. The third exam ple (I, 228) m ay reduce its elev en sy lla b les to ten through three p ossib le sets of double occu pancies: 1. The sy lla b les a nu (from a n u m erou s) m ay occupy position 7; the resulting s tr e s s in p osition 7 is n eu tralized by the adjacent syntactic break. 2. The fir s t two sylla b les of num erous m ay both occupy position 8. 191 3. The la s t two sy lla b le s of n u m ero u s m a y both occupy p osition 9. In a ll of th e se e x a m p le s , Young c r e a te s lin e s having m o r e than one m e tr ic a l sca n sio n by elid in g e le v e n - s y lla b le lin e s to ten sy lla b le s through m o re than one p o ssib le e lis io n . Young has only one lin e w hich m ay be read a s eith er a te n - sy lla b le n o rm a l lin e or as a n in e -sy lla b le c a ta le c tic lin e. A ctiv e, a e r ia l, to w 'rin g , unconfin'd (I, 100) In th is e x a m p le , a e r ia l m ay be read as eith er d isy lla b ic or a s t r i s y l la b ic. If it is read a s d is y lla b ic , the f ir s t sy lla b le of active m u st fall in p o sitio n 2 and the resu ltin g s t r e s s in p o sitio n 3 is n e u tra lize d by the adjacent syn tactic b reak. If a e r ia l is read a s tr is y lla b ic , it m u st fa ll in p o sitio n s 3 through 5; the s t r e s s e d sy lla b le fa llin g in p o sitio n 3 is again n eu tra lized by the adjacent syn tactic break. In su m m a ry , a num ber of co n clu sio n s can be drawn about the nature of Y oung's p ro so d y as e x e m p lifie d by the 1 ,0 0 0 lin e s in th is sa m p le. 1. Young hab itually sig n a ls e s p e c ia lly im p ortant th em a tic lin e s by giving such lin e s a low num ber of s t r e s s m a x im a per lin e. He freq u en tly ends such lin e s with th ree s t r e s s e d s y lla b le s in a row , r e m in is c e n t of the spondaic ending of c la s s ic a l p ro so d y . 2. Y oung's p ro so d y r e f le c ts the m e tr ic a l sty le of the h ero ic 192 couplet with its an tith esis, its balance, and its end-stopped lin e s , a style u n d erscored by Young's u se of asson ance and allite ration. 3. Young's rela tiv ely even str e ss m axim a support to the line r eflec ts th is couplet style; half lin e balan ces half line and no one position tak es precedence over any other. 4. Young tends to a sso c ia te str ess patterns but not syntactic patterns with his patterns of s tr e s s m axim a. 5. Young u s e s relatively few verbal p a r tic le s and tends to place them in even -nu m bered p o sitio n s, e sp ec ia lly in position s 2 and 4. 6. Young's p ractice of e lis io n has sev e r a l ch a ra cteristics: a. He e lid e s with the low back vow el / o / and the high front vowel 111 as w ell as o v er the consonant sounds / r / and / n /. b. He p la ces the e lis io n s of the p ast p articip ial ending already indicated in the text (as in charm 'd and view'd) throughout the line though he favors positions 6 and 10. Young has few er of th ese e lis io n s than do M ilton or Thom son. c. Young tends to concentrate h is other e lisio n s within w ords already indicated in the text (as in m u rm 'ring and p ow 'r) ea rly in the line, e sp e c ia lly in positions 1, 2, and 4. 7. Young u s e s many of the sam e m ethods for adding co m p lex ity to his lin es as do M ilton and Thomson: a. By u sin g words with long, R -c o lo r e d schwa diphthongs, 193 Young adds a kind of m e tr ic a l c o m p le x ity or fu lln e ss to the lin e r ela ted to syllab le count without actu ally adding any ex tra sy lla b le s to the lin e. b. H e s o m e tim e s u s e s th ese long diphthongs in the tenth p o sitio n w h ere th ey m ay help to length en the lin e. c. He s o m e tim e s u s e s the co m p lica tin g e ffe c ts of th ese lo n g diphthongs within the line to c re a te altern ate m e t r ic a l s c a n s io n s , to c r e a te lin e s with e le v e n p o ten tia l s y lla b le s w hich m ay be red u ced to ten sy lla b le s by m o re than one p o ssib le e lisio n . d. H e also c r e a t e s e le v e n -sy lla b le lin e s without the long diphthongs w hich m ay be red u ced to ten s y lla b le s by m o r e than one e lis io n . e. Young h a s one lin e which m ay be read as e ith e r a ten - sy lla b le n o rm a l lin e or a s a n in e -sy lla b le c a ta le c tic lin e . In d e scr ib in g so m e of the sound pattern s in the Young sa m p le -- e s p e c ia lly those o f s t r e s s , of a sso n a n ce and a lliter a tio n , and of e lis io n - - t h is ch ap ter d e s c r ib e s in one way the un d erlyin g v e r s e p at tern of N ight Thoughts and som e of the p ro so d ic lim its w ithin w hich Young r a n g es in attaining th is pattern. In p a rticu la r, the ch ap ter s u g g e sts th e exten t to w hich Y oun g's blank v e r s e p rosod y r e f le c ts h is 40 y e a r s of w riting h e r o ic c o u p le ts, perhaps one r e a so n w hy, in sp ite of h is " rea lly c u r io u s " ^ v e r s e , he m a y w ell d e se r v e Sam uel Joh n son 's tribute: "For a ll h is d e fe c ts , he w a s a m an of gen iu s and a poet. F u rth er data to support th e g e n e ra liza tio n s m ade in th is ch ap ter are included in A ppendix C, "C om puter Data fr o m the Young Sam ple." 194 Note s *The te x t fo r "Night the F ir s t" w as tak en fr o m the f i r s t ed ition of The C om plaint: O r, N igh t-T h ou gh ts on L ife , D eath, and I m m o r ta lity (L ondon, 1742) and the te x t for "Night the Ninth" fr o m the f ir s t ed itio n of The C o n so la tio n {London, 1746). The tw o p a rts of the poem w ill be r e f e r r e d to sim p ly by the part n u m ber and the lin e num ber: "Night th e F ir s t," lin e 1, w ould be (I, 1). 2 In the ch a rt, P o s itio n r e f e r s to the p o s itio n s in the lin e , Value to the nu m ber of s t r e s s m a x im a ap p earin g in e a ch of the p o s i tio n s throu ghout the sa m p le , and P e r c e n ta g e to th e p e r ce n ta g e of the s t r e s s m a x im a that f a ll in any given p osition ; th e X s plot the p e r c e n t age fo r e a c h p o sitio n , one X fo r ea ch p e r c e n ta g e point. The tw elv e s t r e s s m a x im a ap p aren tly fa llin g in o d d -n u m b e r ed p o sitio n s r e s u lte d fr o m in c o r r e c t ly c o d ed w ords; all of th e s e s t r e s s m a x im a a ctu a lly fa ll in e v e n -n u m b e r e d p o s itio n s. 3 C h a rts lis tin g the lo c a tio n of s t r e s s in th e v a r io u s s a m p le s are lo c a te d in the r e s p e c tiv e a p p en d ix es. 4 M ilto n 's fo r w a r d -d r iv in g rhyth m is d is c u s s e d in th is study in C hapter III. 5 T h e se lin e s a re c ite d fr o m the 1822 e d itio n of N ight T h o u g h ts, pp. 2 0 3 -2 0 4 by D onald M a rsh a ll, "The D e v elo p m e n t of B lan k V e r s e P o e tr y fr o m M ilton to W ordsw orth," unpub. d o cto ra l d is s e r ta t io n (Y ale U n iv e r s ity , 1971), pp. 2 4 2 -2 4 3 . M a rsh a ll a ttem p ts to p r o v e that th ese lin e s e x e m p lify Y oung's M ilton ic fo r w a r d -d r iv in g rh yth m . ^ J a m e s Sutherland h a s c r it ic iz e d Night T houghts fo r its " fo rm l e s s , e g o t is t ic a l, v a g u e , u n r e str a in e d , a m b itio u s, and g r a n d io s e " c h a r a c te r in A P r e f a c e to E ig h teen th -C en tu ry P o e tr y (O xford, 1948), p. 160. A fte r a long d is c u s s io n of M ilto n 's m o d u la tio n s, E n id H am er d i s m i s s e s Young in a third of a paragraph: "The m e tr e of N ight Thoughts t r ic k le s r a th e r th in ly, and i s a lte r n a te ly in sip id and blatant. T here a re fe w m od u lation s" in The M e tr e s of E n g lis h P o e tr y (N ew Y ork, 1930), p. 108. And in A H isto r y of E n g lish P r o s o d y , V ol. H, B ook VIII (London, 1923), pp. 4 8 9 -4 9 0 , G eorge S a in tsb u ry r e j e c t s N ight T houghts as h a v in g on "the w hole an u n r e a lity w h ich i s fa ta l." 7 E d w ard Y oung, " C on jectu res on O rig in a l C o m p o sitio n ," in The W orks of D r. E dw ard Young, ed. by John D oran (London, 1854), _____ 195 Young, " C on jectu res on O rigin al C om p osition ," p. 554. 9 Such a diphthong o c c u r s in e x p ir e , w hich w as en cod ed I k s p a ir3r and tr a n s c r ib e d IK SPA ;f4-@R. In th is tr a n sc rip tio n , the p arts of the diphthong, / A # / and /@ /, look lik e two v o w els which should occu py two p o sitio n s. H o w ev er, such diphthongs should u su a lly be tr e a ted as a sin g le vow el sound in d eterm in in g sy lla b le p o sitio n s within the lin e. (The encoding of a ll other diphthongs as a sin g le m o d ified vow el r e f le c ts the m o re com m on p ro so d ic b eh avior of diph th ongs. ) It is a m e a s u r e of the c o m p u te r's "ear" that it a lm o s t alw ays ch o se th e se doubly r e p r e se n te d diphthongs as the two " sy lla b les" to occupy a sin g le p o sitio n (to be e lid e d in th o se in sta n c e s w h ere th is coding convention had c r e a te d lin e s with m o r e than the p e rm itted ten sy lla b le s . 10 S ain tsb u ry, A H isto ry of E n g lish P r o so d y , p. 490. ^ ^ Sam uel Joh n son , "Life of Young," L iv e s of the E n g lish P o e t s , Vol. Ill, ed. G eorge B irb eck H ill (O xford, 1905), p. 399- C H A PT E R VI A DESC R IPTIO N OF C O W PER 'S PROSODY T his ch ap ter d e s c r ib e s the p ro so d y of W illia m C ow per in The T ask in t e r m s of h is handling and p la c e m e n t of s t r e s s and s t r e s s m a x im a , h is handling and p la c e m e n t of e lis io n s , and h is u se of a sso n a n c e and a llite r a tio n . T h is d e sc r ip tio n illu m in a te s so m e of C o w p e r ’s p r o so d ic s im ila r it ie s to and d iffe r e n c e s fr o m M ilton and to a l e s s e r e x tent, h is p ro so d ic d iffe r e n c e s fr o m T h om son and Young. The C ow per sa m p le w as c o m p o se d of 1 ,0 2 8 lin e s of The T a s k , the 848 lin e s of B ook III ("The G arden") and the f i r s t 180 lin e s of B ook I ("The Sofa"). A ll of the lin e s in the C ow per sa m p le ca n be c o n s id e r e d m e t r ic a l w ithin the H a lle -K e y s e r th eo r y w ithout e x te r n a l a d ju st m e n ts of the th eo ry . C o w p e r's handling of s t r e s s and of s t r e s s m a x im a h a s s e v e r a l c h a r a c t e r is t ic s . F i r s t , C ow per ten d s to supp ort the f i r s t h alf of h is lin e w ith s t r e s s m a x im a m o r e str o n g ly than the sec o n d h a lf and, in c o m p a r iso n w ith M ilton and T h om son , he su p p o rts the fou rth , sixth , and eigh th p o sitio n s r e la tiv e ly ev en ly . T his i s illu str a te d by a c o m p a r iso n of the s t r e s s m a x im a d e n s itie s of the v a r io u s p o e ts . 196 197 S tr e ss M axim a D e n sitie s of M ilton, T hom son, Young, and Cowper P o sitio n M ilton T hom son Young Cowper 2 51% 50% 48% 57% 4 56% 61% 48% 54% 6 43% 50% 50% 50% 8 58% 68% 52% 53% C ow per's s t r e s s m a x im a support to the f ir s t half of h is line is d is tin c tive am ong the poets studied thus far; both M ilton and T hom son placed m o st of th eir s t r e s s m axim a support in p osition s 4 and 8; Young placed m o st of h is support in p osition s 6 and 8. C ow p er's stronger s t r e s s m a x im a support to the fir s t half of the line and e s p e c ia lly to p osition 2 is r e fle c te d by h is ch o ice of s tr e s s m axim a p attern s. Six of h is eight m o s t freq u en tly occu rrin g patterns have a s t r e s s m axim u m in p osition 2. By c o m p a riso n , of M ilton's eight m o st frequently occu rrin g p attern s, only th ree (2, 4, 8 and 2, 8 and 2 ,6 ,8 ) have a s t r e s s m axim u m in p osition 2. A lso , in co m p a riso n to both M ilton and T hom son, C ow p er's few er s t r e s s m a x im a in p osition 8 is r e fle c te d by h is ch o ice of s t r e s s m a x im a p attern s. While sev e n of both M ilton 's and T h om son's f ir s t eig h t m o s t frequently occu rrin g patterns have a s tr e s s m axim u m in p o sitio n 8, only four of C ow per's fir s t eigh t s t r e s s m a x im a pattern s do. 198 S tre ss M axim a P attern s O ccurring M ore Than Thirty T im es in the Cowper Sam ple N um ber of O ccu rren ces P attern Rank in the Sam ple 00 (M 1 118 4 8 2 87 2 4 6 3 80 2 6 4 78 2 6 8 5 71 4 6 6 69 2 8 7 59 2 4 8 57 6 9 56 8 10 54 2 11 53 2 4 6 8 (11) 53 6 8 13 51 4 6 8 14 45 4 15 40 NULL 16 33 C ow per's support for the fir s t half of h is lin e, and e sp ec ia lly for p osition 2, appears in other fa cto rs b e sid e s h is very frequent u se of early s tr e s s m axim a. F o r instance, Cowper u s e s the rein forcin g 199 effe cts of a sso n a n c e and a lliter a tio n m o r e strongly in p o sitio n s 2 and 4 than do eith er M ilton or Young and m o re stron gly in p o sitio n 2 than d oes T hom son. T his is d em on strated fo r M ilton by the follow ing ch arts and d is c u s s io n s d e scr ib in g the co in cid en ce of a sso n a n ce and a llitera tio n in the M ilton and C ow per sa m p le s. Sim ilar ch arts for T hom son and Young are contain ed in A ppen dixes B and C, r e s p e c tiv e ly . L ocation of C om bined A sso n a n ce and A llitera tio n in the M ilton Sam ple P o sitio n Value P ercen ta g e___________ 1 59 13.0213 XXXXXXXXXXXXX 2 55 12.1385 XXXXXXXXXXXX 3 22 4.8554 XXXX 4 57 12.5799 XXXXXXXXXXXX 5 16 3. 5312 XXX 6 52 11.4764 XXXXXXXXXXX 7 29 6.4003 XXXXXX 8 66 14.5662 x x x x x x x x x x x x x x 9 31 6. 8417 XXXXXX 10 65 14.3455 XXXXXXXXXXXXXX 11 1 0.2207 L ocation of C om bined A sso n a n ce and A llitera tio n in the C ow per Sam ple P o sitio n V alue ___________ P ercen ta g e______________ 1 55 1 1 .1 3 2 0 XXXXXXXXXXX 2 75 15. 1800 XXXXXXXXXXXXXXX 3 31 6 .2 7 4 4 XXXXXX 200 P o s itio n V alue P e r c e n t a g e 4 84 17. 0016 XXXXXXXXXXXXXXXXX 5 31 6. 2744 XXXXXX 6 46 9. 3104 XXXXXXXXX 7 19 3. 8456 XXX 8 63 12.7512 XXXXXXXXXXXX 9 25 5. 0600 x x x x x 10 64 12.9536 XXXXXXXXXXXX 11 1 0 .2 0 2 4 T hree p e r c e n t m o r e of the total a s s o n a tin g - a llite r a tin g s y lla b le s in C o w p e r 's lin e s f a ll in p o sitio n 2 than do th o se in M ilto n 's lin e s , and 4 - 1 / 2 p e r c e n t m o r e o f th e s e s y lla b le s in C o w p e r's lin e s f a ll in p o s i tion 4 than do th o se in M ilto n 's lin e s . A ls o , C o w p e r 's g r e a te r supp ort fo r p o sitio n 2 i s r e in fo r c e d by h is fe w e r c o m p lic a tin g or c o u n te r - p oin tin g s y lla b le s in the f i r s t p o sitio n . In c o n tr a st, a la r g e r p e r c e n t age of b oth M ilto n 's r e in fo r c in g and co u n terp o in tin g a s so n a tin g - a llite r a tin g s y lla b le s fa ll in the la s t h alf of the lin e . F u r th e r , C o w p e r 's p a r tic u la r ly stro n g su p p ort for p o sitio n 2 a p p ea r s in h is h an dlin g o f s t r e s s e a r ly in the lin e , e s p e c ia lly a s c o m p a red w ith that of the o th er th re e p oets a lr e a d y d is c u s s e d . The f o l lo w in g c h a r t p r e s e n t s the q u an titative o v e r v ie w of th is tr a it fo r e a ch of the fo u r p o e ts , sh ow in g the n u m b er of s t r e s s e d s y lla b le s p er 1 ,0 0 0 lin e s fa llin g in e a c h of the f i r s t th re e p o s itio n s fo r e a c h of the p o e ts . S t r e s s e d S yllab les per 1 ,0 0 0 L in es Po sition M ilton T hom son Young C ow per 1 298 682 344 717 336 786 258 751 3 87 113 119 82 A s th is ch art illu s t r a t e s , Cowper p la c e s a sig n ifica n tly sm a lle r n u m ber of s t r e s s e d s y lla b le s in p o sitio n s 1 and 3 than do any of the oth er poets and a sig n ifica n tly la r g e r num ber of s t r e s s e d sy lla b le s in p o s i tion 2 than do eith e r M ilton or T hom son. In oth er w o rd s, he p la c e s m o re poten tial s t r e s s m a x im a in p o sitio n 2 and n e u tra lize s fe w er of th em by ad jacent s t r e s s e d sy lla b le s than do eith er M ilton or T hom son. T his m a in ly accou n ts for h is la r g e r s t r e s s m a x im a density in p osition 2 (57 p ercen t) than eith er M ilton 's p o sitio n 2 d e n sity (51 percent) or T h o m so n 's d en sity (50 p ercen t). C ow per a lso h a s a higher s t r e s s m a x im a d en sity than d oes Young, but partly for a differen t rea so n . Young p la c e s m o re s t r e s s e d sy lla b le s in p o sitio n 2 per 1,000 lin e s , m o re poten tial s t r e s s m a x im a than d o es C ow per, but Young a lso p la c e s m o r e s t r e s s e d s y lla b le s and, e s p e c ia lly , m an y m ore syn tactic 2 b reak s adjacent to th ese poten tial s t r e s s m a x im a . This prod u ces Y oung's m u ch lo w er s t r e s s m a x im a d en sity of 48 p ercen t. In su m m a ry , then, C ow p er's stron g support of the f i r s t half of the lin e , and e sp e c ia lly of p osition 2, is r e fle c te d by s e v e r a l c h a r a c t e r is t ic s of h is prosod y. He fa v o r s s t r e s s m a x im a patterns with a 202 s t r e s s m a x im u m in p o sitio n 2, he r e in fo r c e s p o sitio n s 2 and 4 stro n g ly w ith p a ttern s of a sso n a n c e and a llite r a tio n , and he lim it s the cou n ter - pointing e ffe c t s of a sso n a n c e and a llite r a tio n in the f ir s t p o sitio n and of ad jacent s t r e s s e s in the f ir s t and th ird p o sitio n s. E x a m p le s of such lin e s , in w hich the a sso n a tin g and a lliter a tin g sound s h a v e b een u n d erlin ed , include: 3 F r o m flo w 'r to flo w 'r , a n d e v 'n the breath in g a ir (III, 539) And p o ck etted a p r iz e by fraud obtain'd , (III, 87) And s till th ey d re a m that th ey sh all s till s u c c e e d , (III, 128) The little w ick of lif e 's poor sh a llo w lam p (III, 164) A h J W h a t(l) i s life thus sp en t? And w h at(l) are th e y (l) (III, 173) And w h en I w eig h th is se e m in g w isd o m w e ll (III, 180) I cannot a n a ly ze the a ir , nor ca tch (III, 214) A s d o e s M ilton , C ow per s e e m s to r eg a r d an e a r ly s t r e s s m a x im u m , e s p e c ia lly a s t r e s s m a x im u m in p o sitio n 2, a s a r e o r i- 4 entin g d e v ic e a fter a m e t r ic a lly d iso r ie n tin g or m e t e r - f ix e d p a s s a g e . He p la c e s th e s e e a r ly s t r e s s m a x im a after lin e s w ith no or on ly one s t r e s s m a x im u m a s the fo llo w in g lin e s illu s tr a te . (In the fo llo w in g e x a m p le s , the s t r e s s m a x im a have b een u n d erlin ed . ) Or when rough w in ter ra g e s , on the soft And s h e lte r 'd Sofa, w h ile the n itro u s a ir (HI, 31-3 2 ) 203 Thou art not known w here p le a su re is adored, That r e e ling godde s s with the z o n e le s s w a ist No. L et her p a ss, an d (l), ch ariotted along In guilty splendo r, shake the public w ays; That they are safe, sin n ers of eith er sex , T ran sg r e s s what la w s they m a y (l). W ell d r e ss'd , w ell bred, (III, 97-98) Ah! w hat(l) is life thus spent? and w h at(l) are they But fran tic who thus spend it? all for sm oke (III, 173-174) Keen enough, w ise and skilful as thou a rt(l) To cut the link of brotherhood, by w hich (III, 207-208) A s all of th ese lin es (except lin es 173-174 of Book III) a lso illu stra te, in p a ssa g e s w here the d isorien tin g or m e te r -fix e d lin es occu r in i s o lation, Cowper tends to p lace lin e s with three s tr e s s m axim a after the d isorien tin g lin es to m o re fir m ly e sta b lish the m e tr ic a l stru ctu re. In p a ssa g e s w here the d isorien tin g lin es occu r in groups, they m o st frequently tend to fa ll in sm a ll groups of two o r , infrequ en tly, of th ree lin e s. T hese lin e s tend eith er to fa ll togeth er (as illu stra ted by the f ir s t two exam p les) or to be sep arated by one line with a stron ger m e tr ic a l fram ew ork (as in the la s t two ex a m p le s). S tr e ss m axim a are underlined. A ll fle s h is g r a s s , and all its g lo ry fad es Like the fair flow 'r di she v eil'd in the wind; R ich es have w in gs, and grandeur is a dream ; The m an we celeb ra te m u st find a tom b, (III, 262-264) And c a te ch ise it w ell. A pply the g la s s , Search it, and prove now if it b e (l) not blood Congen ial with thine own. And if it b e (l) , What edge of subtlety can st thou suppose (III> 203-206) ( in , 51-52) (III, 69-70) 204 Oh frien d ly to the b e st p u rsu its of man, F r ie n d ly to thought, to v ir tue, and to p ea ce, D om e s tic life in ru ra l l e i s ure p ass'd! F ew know thy value, and few ta ste thy sw e e ts, Though m an y b o a st thy fa v o r s, and affect A p e s tilen t and m o st c o r r o s ive steam , L ike a g r o s s fog Boe_otian, r isin g fa st, And fa st c o n d en sed upon the dew y sa sh , A sk s e g r e s s ; w hich obtained, the o v erch a rg ed And drench'd c o n s e r vato ry b r e a th e s abroad In the f ir s t tw o e x a m p le s, the two d iso rien tin g or m e te r -fix e d lin e s with no or only one s t r e s s m a x im a fa ll togeth er b etw een tw o lin e s each having tw o s t r e s s m axim a; in the la s t two e x a m p le s, the d is o r ien tin g lin e s fa ll b etw een lin e s having two, th re e , or four s t r e s s m a x im a p er lin e. In a ll of th ese c a s e s , an ea rly s t r e s s m a x im u m h elp s r e a s s e r t the m e tr ic a l fra m ew o rk after the d iso rien tin g lin e s , and in the la s t two e x a m p le s, th is m e tr ic a l fra m ew o rk i s even m o re stron gly r ein fo r ce d by the la r g e num ber of s t r e s s m a x im a in lin e s 496 and 498. W hile C ow per p la c e s m o st of h is d iso rien tin g or m e te r -fix e d lin e s w ithin a strong m e tr ic a l fra m ew o rk , he r e s e r v e s a few of th e se lin e s fo r four unusual p a s s a g e s in th is sa m p le. T h ese p a s s a g e s ea ch c o n tain a s e r ie s of d iso rien tin g lin e s in a row and th ree of the p a s s a g e s are am on g the m o s t h e a v ily 'M iltonic' in the sam p le, exhibiting such 'M iltonic' c h a r a c t e r is tic s a s syn tactic in v e r sio n s, su b stitu tion s of one syn tactic fo r m fo r another (u su ally of a d jectival fo r m s for ad v erb ia l fo r m s ), the e lis io n s of the or to (in the fo r m of th 1 and t^) with the v o w el of the follow in g w ord, the p rom in en t u se of not a s a m e tr ic a l (III, 290-294) (III, 494-498) 205 com p licator and, in the fir s t p a ssa g e, a concentration (in line 361) of 5 p olysyllab ic w ords rem in iscen t of Milton. Can h e(l) want occupation who has th ese (l)? W ill he be_idle who has m uch t' enjoy? (360) M e(l) th erefo re, studious of laboriou s ea se, Not slothful; happy to deceiv e the tim e, (362) Not w aste it; and aw are that human life Is but a loan to be repaid with u se, (364) When he shall c a ll h is debto rs to account, F r o m whom are all our b le ssin gs; b u s'n ess finds (366) E v 'n h e r e (l). While sedulous I seek t' im prove, At le a st n eglect not, or leave unem ploy'd (368) The mind he gave me; driving it, though slack Too oft(l), and much im peded in its work (370) By ca u s e s not to be divulged in vain, To its ju st p oin t--th e s e r v ice of mankind. (Ill, 359-372) In addition to being m arked a s unusual by the s e r ie s of four lin es at the beginning having only one s tr e s s m axim u m per line, th is p a ssa g e contains sev era l d istin ct 'M ilton ic1 ch a r a cter istic s: 1. syntactic in v ersio n s in M e(l). . . b u s'n ess finds (1. 361-366) 2. lengthy interruption of parenthetical ex p ressio n in lin es 361 through 366. 3. the e lisio n s t'enj oy (1.360) and t'im p rove (1. 367) 4. the prom inent m e tr ic a l and syntactic u se of not in not slothful (1. 362) not w aste it (1. 363) n eg lect not (1. 368) c a u se s not to be divulged (1. 371) 5. the concen tration of two polysyllab ic w ords, both of which require e lisio n in one line in M e(l) th erefo re, studious of laboriou s ea se , (1. 361) In addition to h is substitution of c lo se for c lo se ly (I, 80), of scarce 206 fo r s c a r c e ly (I, 156), and of slow for slow ly (I, 160) and h is o c c a sio n a l in v e r sio n of noun and ad jective a s in plough slo w m ovin g (I, 160), the follow in g two p a s s a g e s a ls o illu str a te the 'M iltonic' c h a r a c t e r is t ic s (liste d above) with extended groups of m e tr ic a lly d is o r ien tin g lin es. In g enious fa n cy , n e v e r bette r p lea s'd Than when e m p loy'd t 1 a cc o m m odate the fair, H eard the sw e e t m oan with pity, and d ev is'd The soft settee; one elbow at each end, And in the m id s t an elbow it r eceiv 'd , U nited yet divided, tw ain at once. So sit two k in gs of B ren tford on one throne; And so two c itiz e n s who take the a ir, C lo se pack'd, and s m iling, in a ch a ise and one. (I, 72-80) How oft upon yon em in e n c e our pace H as sla ck en 'd to a p a u se, and we have born The ruffling wind, s c a r c e c o n sc io u s that it blew , W hile adm iration, feed in g at the eye, And still u n sated , dw elt upon the scen e. T hence with what p le a sure have we just d iscern 'd The d is tant plough slo w m ovin g, and b esid e H is la b 'ring te a m , that sw erv 'd not fr o m the track, The stu rdy sw a in d im in ish 'd to a boy! (I, 154- 162) One oth er p a ssa g e con tain s four lin e s having only one s t r e s s m a x im a p e r line: That play of lu n gs, inh a ling and again Re s p ir ing f r e e ly the fr e s h a ir, that m a k es Swift pace or steep a sc e n t no to il to m e, M ine [m y y e a r s] h ave not p ilfer'd yet; nor yet im p a ir'd My r e lish of fa ir p rosp ect; s c e n e s that sooth'd Or ch arm 'd m e young, no lon ger young, I find Stil soothing and of p ow 'r to ch a rm m e still. And w itn e s s, d ear c o m panion of m y w alks, W hose arm th is tw entieth winter I p e r c e iv e . . . (Ill, 137- 145) 207 H ow ever, th is p assage contains none of the 'M iltonic' c h a r a c te r is tic s contained in the above p a s s a g e s , with the p o ssib le excep tion of the p aren th etical e x p r essio n no lon ger young (I, 142), which is by no m ea n s excep tion al in Cowper. He often u s e s such an o c ca sio n a l p aren th etical e x p r e ssio n , though he u su a lly d oes not w rite the heavily p aren th etical poetry so m e tim e s a sso c ia te d with M ilton and illu stra ted by the h e a v ily 'M iltonic' p a ssa g e cited e a r lie r from The Task (III, 3 59-373). Instead, the p a ssa g e d irectly above contains the norm al syntactic o r d e r, su b ject-v erb -o b ject, and C ow per's ty p ica l support on ea rly s t r e s s m axim a. Of the four lin e s having only one s tr e s s m a x im a (III, 139-142), one line has a s t r e s s m axim u m on p osition 4, and two o th ers a s t r e s s m axim u m on p osition 2. In addition, four of the five lin e s having two and th ree s t r e s s m a x im a and surrounding th e se m e tr ic a lly disorien tin g lin es have a s t r e s s m axim u m on p o s i tion 2. To a lim ited extent, C ow per, lik e T hom son, tend s to a sso c ia te cer ta in syntactic patterns with h is s t r e s s m a x im a p attern s. F o r in sta n ce, of the 53 lin es having the s t r e s s m a x im a pattern 2, th irteen of th ese lin e s begin with one of the two follow ing syntactic patterns: 1. A tr isy lla b ic word accen ted on the second s y lla b le , as in: C ongenial with thine own. And if it be (1), (III, 205)^ Im p erviou s to the wind. F ir s t he bids sp read (III, 475) P r e su m in g an attem pt not l e s s sublim e (III, 459) E ntangled, winds now th is way and now that (III, 2) Abandon'd, as unworthy of our love (III, 731) 208 D elig h ted . T h ere, fa st rooted in h is bank, (I, 166) 2. A m o n o sy lla b ic m od ifyin g or in trod u cin g w ord (su ch as a d efin ite a r tic le or a p o s s e s s iv e or r e la tiv e pronoun or a con ju n ction or a p rep osition ) plu s a d isy lla b ic a d jectiv e s t r e s s e d on the f ir s t sy lla b le p lu s a m o n o sy lla b ic noun a s in: T he p len teo u s b lo o m , that no rough b la st m a y sw eep (III, 441) T he d ista n t plough slow m ovin g, and b e sid e (I, 160) H is d ev io u s c o u r s e u n certain , seek in g hom e; (III, 3) H is la b 'rin g tea m , that sw erv 'd not fr o m the tr a c k (I, 161) W h ose Stygian th ro a ts breath e d a rk n ess a ll day long (III, 738) A nd thund'ring loud, with h is ten thousand w h e e ls? (Ill, 740) And w a n d 1 ring e y e s , s till lean in g on the a r m (III, 5 3) W ith hopeful g e m s . The rest, no portion le ft (III, 421) S om e of the rem ain in g lin e s having the s t r e s s m a x im a p attern 2 b eg in w ith rela ted p attern s: 1. A tr is y lla b ic noun or verb a ccen ted on the secon d s y lla b le : T h 'a m b itio n of one m e a n e r far, w h o se p ow ’r s (III, 458) A m b itio n , a v 'r ic e , pen u ry in c u r r 'd (III, 811) D e p r e c ia te s and u n d oes u s in our own? (Ill, 284) 2. An in tro d u cto ry m o n o sy lla b ic w ord p lu s a tr is y lla b ic a d jectiv e,n o u n or verb a ccen ted on the f ir s t s y lla b le : So c o v eted , e ls e b a se and d is e s t e e m 'd (III, 448) So m a n ifo ld , a ll p le a sin g in th eir kind, (III, 624) And su r fe ite d lew d town w ith h er fa ir d u es, (III, 7 5 8) Of o r a c le s lik e th e se ? G reat pity too (III, 169) A nd e x e r c is e a ll fu n ctio n s of a m an (III, 198) 3. A m o d ifie r (d efinite a r tic le or p o s s e s s i v e pronoun) plus a d isy lla b ic noun a c cen ted on the f ir s t s y lla b le : T he co u n try s ta r v e s , and they that feed th 1 o 'e r c h a r g 'd (III, 757) 209 My ch a rm er is not m ine alone, m y sw eets (III, 719) Their vigor, injured soon, not soon restored . (Ill, 608) His garlands fr o m the boughs. Again, as oft (III, 442) His dainties and the w orld 's m ore num 'rous half (III, 545) The value of th ese la st three groups as shared syntactic pat terns is lim ited b eca u se the patterns involve only the fir st th ree line positions and only one or two words, but m ore im portantly b ecau se the patterns are in com p lete. F or instance, in (3) above, although the patterns all begin with a m od ifier and a disyllabic noun, they are t e r minated differently. The fir s t two end in a m onosyllabic verb (is and sta r v es), the third with a parenthetical ex p ressio n , the fourth with a prepositional ph rase, and the fifth with a coordinated noun. A much better and m ore convincing view of C ow per's tendency to a sso cia te syntactic patterns with h is handling of s tr e s s m axim a appears if one d oes not lim it the concept str e s s m axim a pattern too narrowly. F or in stan ce, if one is in terested in those syntactic pat tern s a sso cia ted with a s tr e s s m axim u m in position 2, it is r e a s o n able to search all of the lin es which share that s tr e s s m axim um . These lin e s w ill include many s tr e s s m axim a patterns, including the patterns 2, 4, 8 and 2, 4, 6 as w ell a s the pattern 2. F ro m th is point of view, one m ay say that Cowper often a ctu a lizes a str e s s m axim u m in position 2 through one of the two following related syntactic patterns: 1. An introductory u n stre sse d m onosyllabic word (such a s a definite a rticle or a p o s s e s s iv e pronoun or a conjunction or a preposition) plus a disyllabic adjective s tr e s s e d on 210 the f ir s t sy lla b le p lu s a m o n o sy lla b ic noun as in: The solid earth, and fr o m the strata th ere The little w ick of lif e 's poor sh allow lam p , The n a u seo u s ta sk to paint her a s she is ( l ) , My languid lim b s when su m m er s e a r s the p lain s M y panting side w as ch arged when I w ith drew H is e v e r y n erv e in action and at stretch And silen t w oods I wander, far fr o m th o se To d istan t w o rld s and triflin g in th eir own. With gen tle fo r c e so licitin g the d arts 2. An in trod u ctory u n str e ss e d m o n o sy lla b ic w ord plus a d isy lla b ic ad jective s t r e s s e d on the f ir s t sy lla b le plus a d isy lla b ic noun s tr e s s e d on the f ir s t sy lla b le a s in: (III, 151) (III, 164) (III, 67) (III, 30) (III, 110) (III, 90) (III, 118) (III, 166) (III, 115) A thousand s y s te m s , each in h is own w ay, (III, 171) A s e n s e le s s bargain. When I see such g a m e s (III, 176) A silen t w itn e ss of the lead lon g rage, (III, 218) And p e r ilo u s ligh tn in gs fr o m the angry clou d s (III, 212) And sh e lte r'd Sofa, w h ile the n itrou s a ir (HI, 32) Or h e e d le s s fo lly by w hich th ou san d s die, (III, 219) My fo r m e r p a rtn ers of the peopled scen e; (III, 119) That r eelin g go d d ess with the z o n e le s s w a ist (HI, 52) In gu ilty splendor, shake the public ways; (III, 70) T h is ten d en cy to rep etitio n illu stra ted in C o w p er's s e le c tio n of the syn tactic p attern s a s s o c ia te d w ith a s t r e s s m a x im u m in p o sitio n two a p p ea rs again in C ow p er's u se of both a sso n a n c e and a lliter a tio n in the sa m e lin e. W h ereas M ilton 's u se of th is com b in ed a sso n a n c e and a llite r a tio n ten d s to be se m a n tic a lly random , a lm o st h alf of C o w p er's (58 of 137 in sta n ces) is ca u sed by the rep etitio n of a sin gle w ord w ithin the lin e. About h alf of the rep ea ted w o rd s in v o lv e such m in o r w ords as to or for a s in: T o t e ll its slu m b e r s and to paint its d r e a m s , (III, 13) To be p r e f e r r 'd t o sm oke, to the e c lip s e (III, 736) 211 H ow ever, m any of the repeated w ords in the Cowper sam ple involve sem a n tica lly im portant w ords such as those in the follow ing lines- This repetition tends to strongly u n d erscore the s t r e s s m axim a pat tern falling on even-nu m bered syllab les. And sore discom fited , fro m slough to slough (III, 5) That purity, whose lo s s w as lo s s of all. (Ill, 84) F rien d s in the friends of scien ce, and true pray'r (III, 250) F ew know thy value, and few ta ste thy sw eets (III, 293) F r e sh for h is task , intend what task he m ay(1). (Ill, 387) D im inutive, w ell fill'd with w ell prepar'd (III, 513) Two le a v e s produces, two rough indented le a v e s , (III, 526) F ro m flow 'r to flo w 1 r , and ev'n the breathing air (III, 539) Cold as its th em e , and like its th e m e , the fruit (III, 564) Who lo v e s a garden, lo v e s a green -h o u se too. (Ill, 566) T heir je s sa m in e , her je ssa m in e rem ote (III, 584) Plant behind plant aspiring, in the van (III, 593) And what we adm ire, we p r a is e . And when we p raise (III, 702) N ature, enchanting N a tu re, in whose form (III, 721) The gouty lim b , 'tis true; but gouty lim b , (I, 107) Or charm 'd m e young, no longer young, I find (I, 142) C ow per's tendency to repeat individual w ords and, o c c a s io n ally, groups of words can a lso be seen in m ore extended p a ssa g es such a s the following: The nu rse sle e p s sw e e tly , hir'd to watch the sick, Whom snoring she disturbs. A s sw eetly he( 1), (90) Who quits the co a ch -b o x at the m idnight hour To sleep within the ca rria g e m ore secu re, (92) H is le g s depending at the open door. Sw eet sleep enjoys the curate in h is desk, (94) The tedious recto r drawling o'er h is head; And sw eet the c le r k below . But neither sleep (95) Of la zy n u rse, who sn o res the sick m an dead, Nor h is who quits the box at m idnight hour (98) To slum ber in the ca rria g e m ore secu re, Nor sleep enjoy'd by curate in h is desk, (100) Nor yet the dozings of the clerk, are sw e e t, 212 C om par'd with the r ep o se the SO FA y ie ld s. {I, 89- 102) T h is p a ssa g e a lso illu str a te s C o w p er's tend en cy to stron gly under sc o r e the s t r e s s m a x im a pattern (e s p e c ia lly that e a r ly in the line) w ith h is a sso n a n ce and a llitera tio n . In s e v e r a l quantifiably supportable w ays, C ow p er's p rosod y is l e s s c o m p le x than T h o m so n 's or Y ou n g's or, e sp e c ia lly , than M ilton's. F ir s t , the C owper sa m p le req u ired a read er to m ake few er e lis io n s p er thousand lin e s than did the other s a m p le s and far few er than did the M ilton sam ple: 212 e lis io n s for the M ilton sa m p le, 163 for the T hom son sa m p le, 144 for the Young sa m p le, and 77 for the C ow per sa m p le. That the num ber of th e se e lis io n s d e c r e a s e d stead ily fr o m the M ilton sa m p le to the C ow per sam p le su g g e sts that e lis io n s b eca m e a le s s im p ortan t fa cto r in m e tr ic a l c o m p le x ity for ea ch of the s u c c e s s iv e p o e ts. T his is c er ta in ly tru e for C ow per. 7 Of the eigh ty e lis io n s req u ired in the C ow per sam p le, a la rg e m a jo rity of 58 in volved long diphthongs ending in an R -c o lo r e d schwa (su ch a s that found in dire) w hich had b een coded a s tw o sep a ra te s y lla b le s . E ach of th e s e diphthongs would n o rm a lly be co n sid e re d a s one sy lla b le, though a long one. H ow ever, a s d is c u s s e d in the M ilton 213 ch ap ter, by u sin g such diphthongs, a p oet is able to add a kind of m e tr ic a l c o m p le x ity or a fu lln e s s to the lin e r e la te d to sy lla b le count w ithout a c tu a lly adding any e x tr a s y lla b le s . Of the long diphthongs C ow per u s e s , 30 in v o lv e the ir e diphthong in su ch w ord s a s m ir y , Q d e s ir o u s , r e q u ir e d , and in s p i r e ■ The fu lln e ss th ey im p a rt is obviou s in such lin e s as: Or havin g long in m ir y w a y s b een fo ile d (III, 4) D e s ir o u s to retu rn and not r e c e iv e d (III, 81) With only two e x c e p tio n s , th ese ir e diphthongs fa ll in e v e n -n u m b e r e d p o sitio n s, e s p e c ia lly in p o sitio n s 2 and 10. Of the long R - c o lo r e d 9 sch w a diphthongs, s e v e n te e n in volve our and, w ith only two e x c e p tio n s, th e s e fa ll in o d d -n u m b ered p o sitio n s, e s p e c ia lly in p o sitio n s 5 and 9- The rem a in in g ten long diphthongs o c cu r in door (th ree in s ta n c e s ), flo o r (th ree in s ta n c e s ), hour (three in s ta n c e s ), and flo w e r s (one in s ta n c e ), and all of th em fa ll in the tenth p o sitio n . The ch art b elow p r e s e n t s the e x a c t lo ca tio n of the ir e and our diphthongs. L o ca tio n o f the ir e and our D iphthongs in the C ow per Sam ple P o sition N u m b er of O c c u r r e n c e s of ir e Diphthong N u m b er of O c c u r r e n c e s °I our Diphthong 1 1 2 2 8 1 3 1 214 N um ber of O ccu rr e n c es Num ber of O ccu rren ces P o sitio n of ire Diphthong of our Diphthong 4 3 5 5 6 5 7 3 8 5 1 9 1 5 10 7 Like M ilton, C owper d e r iv es m uch of h is m e tr ic a l com p lication r e sulting fro m v a ria tio n or poten tial variation in the num ber of sy lla b le s in a lin e from th e se long ir e diphthongs and, like M ilton, Cowper p la ces m any of th e se long dipththongs in the tenth p osition w here they m ay help length en the lin e. In fa c t, m o st of th ese e lis io n s tended to fall eith er at the beginning of the lin e (in p osition s 1 or 2) or at the end of the line (in p osition s 8, 9, or 10). In c o n tra st, the seven teen e lisio n s betw een vow els (or in the H a lle -K e y ser term in o lo g y , the double occupancy of one p osition by two adjacent vo w els) tended to fall in the m id dle of the line (in position s 3 through 7) and on odd -num bered sy lla b le s. One such e lis io n fa lls in position 1, th ree in p osition 3, th ree in p osition 5, nine in p osition 7, and one in p osition 8. The e lis io n s betw een vow els occu r between: 1. T h e / i / sounds of liv e l i e s t , 2. The I I I a n d /a / sounds of hap p ie r , 3. The 111 a n d / e i / sounds of fo lia g e , d ep r e cia tes, ob v ia te , and Z odiac, 215 4. The 111 and schwa sounds of m any a 5. The / U : / and 111 sounds of g en u in e, 6. The lOl and 111 sounds of o v e r s h a d o w in g , 7. The om n ip otent, the en o r m o u s , and the a c c o m p lish 'd . The C ow per sa m p le a lso contain ed fiv e e lis io n s o v e r consonants: two ov er 111 in p e r ilo u s and enn ob lin g, two o v e r fnl in lu m in ou s and open- / / . , io xng, and one o v e r / r / in gath er in g . The sec o n d w ay in w hich C o w p e r's lin e s a re l e s s c o m p le x than M ilto n 's, T h o m so n 's, o r Y oung's is th at fe w er of C o w p e r's lin e s have m o r e than one p o s s ib le m e tr ic a l sc a n sio n . T his i s r e la te d to the n u m b er of lin e s req u irin g e lis io n , fo r a ltern a te s c a n s io n s of a lin e u su a lly a r is e w h en e le v e n or tw elve s y lla b le s m a y be red u ced to fill the te n p o sitio n s in m o r e than one w ay, a s in the fo llo w in g line: Liong s in c e ( l); w ith m an y an a rro w d eep in fix t (III, 109) Since the H a lle -K e y s e r C o rresp o n d en ce R ule (i) a llo w s e lis io n eith e r b etw een two ad jacen t v o w els or o v e r I n l , th is lin e m a y be elid ed to ten s y lla b le s in tw o w a y s, producing two d iffe re n t s c a n s io n s of the lin e in w hich tw o d ifferen t s e t s of adjacent s y lla b le s o ccu p y one position: L ong s in c e ( l); w ith m a ny an a r ro w d e e p in fixt L ong s in c e ( l); w ith m an y an a r row d e e p in fix t (III, 109) O ther lin e s havin g m o r e than one s c a n s io n are r e la t iv e ly s tr a ig h t fo rw a rd and a ll in volve the p o ssib le e x p a n sio n of a long diphthong into two sep a ra te s y lla b le s . For in s ta n c e , th e long diphthong ending in an 216 R -c o lo r ed schw a and fallin g in p osition 10 can either be co n sid ered as one syllable or as a split diphthong creatin g an e x tr a -m e tr ic a l syllab le and a s tr e s s m axim u m in p osition 10 as in: H is country, or was slack when she r e quired (III, 89) D isco v 'rin g m uch the tem p er of her si r e . (Ill, 434) By m agic su m m on s of th'O rphean ly r e . (Ill, 587) C ow per's use of th ese diphthongs is sim ila r to M ilton's in that both so m e tim e s use the ire diphthong to lengthen the end of a line. Like M ilton, Cowper also u s e s the potential com p licatin g e ffects of the long R -c o lo r e d sch w a diphthong within the line to crea te alternate sca n sio n s. In pronunciation, such a diphthong as that in a sp ire can a ssu m e a ch a ra cter very n ear to , if not id en tica l with, that of the diphthong in Stygian, w hich can fo rm eith er a d isyllab ic or tr isy lla b ic fo rm of the word. The poten tially com p licatin g R -c o lo r e d schw a diph thongs Cowper u s e s include those in our and hour in such lin es as: In all our crow ded s tr e e ts , and sen a tes s e e m (III, 61) If the diphthong in our is sp lit, the f ir s t syllab le of the split diph thong can eith er occupy p osition 2 with all or it can occupy the third p osition with the secon d sy lla b le of the sp lit diphthong: In all our crow ded s tr e e ts , and sen a tes se e m . ^ . In all our crow d ed s tr e e ts , and sen a tes s e e m ' Other lin es with s im ila r com bin ations of the e lis io n of such a sp lit diphthong include: 217 D e p r e c ia te s and u n d oes u s in our own? (III. 284) D e p r e c ia te s and u n d oes u s in our own? B e q u ell'd in a ll our s u m m e r -m o n th s 1 r e tr e a ts; (III, 315) B e q u ell'd in a ll our s u m m e r -m o n th s 1 r e tr e a ts; F r o m w h o m a re a ll our b le s s in g s ; b u s 'n e s s fin d s (III, 366) F r o m w h om a r e a ll our b le s s in g s ; b u s 'n e s s fin d s And now p erh a p s the g lo r io u s h our i s c o m e , (III, 790) And now p erh a p s the g lo r io u s hour is c o m e , U npeople a ll our c o u n tie s, of such h e r d s (III, 831) U npeople a ll our c o u n tie s, of such h er d s In cu rrin g sh ort fatigue; a n d (l), though our y e a r s (I, 129) In cu rrin g sh ort fatigue; a n d (l), though our y e a r s F o u r of C o w p e r's se v e n u s e s of our in th is w ay o ccu r in the c o m b in a tion a ll o u r . O ther in s ta n c e s of the m u ltip le sc a n sio n of a lin e r esu ltin g fr o m a sp lit ir e diphthong include: D e s ir o u s to r e turn and not r e c e iv e d , (III, 81) D e s ir o u s to retu rn and not r e c e iv e d , The s p ir y m y r tle w ith u n w ith'rin g le a f (III, 570) The sp ir y m y r tle w ith un w ith'rin g le a f S om e m o r e a s p irin g ca tch the n eigh b or shrub (III, 665) S om e m o r e a sparing ca tch the n eigh b or shrub In the th ird ex a m p le , if the hr of a sp ir in g i s sp lit into tw o s y lla b le s the secon d s y lla b le of the sp lit diphthong ca n occu p y the fifth p o sitio n w ith the ing of a sp ir in g or it can occu p y the fourth p o sitio n w ith the sp ir of a s p ir in g . D ike M ilton , C ow per ten d s to p la ce the e lis io n s he has a lr e a d y 218 indicated in the tex t in even -n u m b ered p osition s. T hese include the e lis io n s of the p ast p articip ial ending as in charm 'd and v ie w 'd , w hich as in M ilton fa ll about tw ice as frequently in the tenth p osition as in any other ev en -n u m b ered position . H ow ever, unlike M ilton, C owper p la c e s v ery few of th ese e lis io n s in position 1. The ex a ct distribu tion of th ese e lis io n s [called "O rthographically Im itated E lisio n s (8-C ou nt)'l app ears in the follow ing ch a rts. L ocation of O rthographically Im itated E lisio n (8 -Count) in M ilton P o s i- tion Value _______________________ P ercen ta g e______________________________ 1 22 9.9088 XXXXXXXXX 2 29 13.0616 XXXXXXXXXXXXX 3 8 3.6032 XXX 4 17 7. 6568 x x x x x x x 5 13 5.8552 x x x x x 6 28 12. 6112 XXXXXXXXXXXX 7 10 4 .5 0 4 0 x x x x 8 15 6 .7560 XXXXXX 9 6 2 .7 0 2 4 XX 10 74 33.3296 x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x 11 0 0 .0000 12 0 0 .0 0 0 0 219 L ocation of O rth o g ra p h ica lly Im ita ted E lis io n (8-C ou n t) in C ow per P o s itio n Value _______________________ P e r c e n ta g e _____ 1 6 2. 6595 XX 2 27 14.3613 XXXXXXXXXXXXXX 3 12 6. 3828 XXXXXX 4 25 13.2975 x x x x x x x x x x x x x 5 8 4. 2552 x x x x 6 21 11.1699 XXXXXXXXXXX 7 9 4. 7871 x x x x 8 21 11. 1699 XXXXXXXXXXX 9 13 6.9147 XXXXXX 10 47 24.9993 x x x x x x x x x x x x x x x x x x x x x x x x 11 0 0.0000 T hose e lis io n s in C ow per o c c u r r in g w ithin w ord s as in m u rm 'rin g and pow 'r fa ll m o r e p red o m in a n tly in p o sitio n s 2 and 8 than in the oth er e v e n -n u m b e r e d p o s itio n s. In c o n tr a st, th e s e e lis io n s in M ilton fa ll r e la tiv e ly e v en ly throughout the lin e in the e v e n -n u m b e r e d p o s itio n s , with slig h tly m o r e fa llin g in p o sitio n s 4 and 6; both M ilton and C ow per p lace a sig n ifica n t n u m b er of th e se e lis io n s in p o sitio n 1. The e x a c t d istrib u tio n of th e se e lis io n s [c a lle d " O rth o g ra p h ic-P h o n etic E lis io n s (9-C ount)"] a p p ea rs in the fo llo w in g c h a r ts . 220 P o sitio n Value L ocation of O rthographic -P h on etic E lisio n (9-Count) in M ilton B ercen ta g e 1 10 7.8740 XXXXXXX 2 20 15. 7480 XXXXXXXXXXXXXXX 3 1 0.7874 4 23 18.1102 x x x x x x x x x x x x x x x x x x 5 5 3.9370 XXX 6 25 19. 6850 x x x x x x x x x x x x x x x x x x x 7 3 2.3622 XX 8 18 14.1732 x x x x x x x x x x x x x x 9 4 3. 1496 XXX 10 18 14.1732 x x x x x x x x x x x x x x 11 0 0. 0000 12 0 0.0000 L ocation of O rth ograp h ic-P h on etic E lisio n (9-Count) in Cowper P o sitio n V alue P ercen ta g e 1 11 9. 0156 XXXXXXXXX 2 29 23. 7684 XXXXXXXXXXXXXXXXXXXXXXX 3 3 2. 4588 XX 4 15 12.2940 x x x x x x x x x x x x 5 3 2.4588 XX 6 17 13.9332 x x x x x x x x x x x x x 7 3 2.4588 XX 8 27 22. 1292 x x x x x x x x x x x x x x x x x x x x x x 9 3 2.4588 XX 10 11 9. 0156 XXXXXXXXX 11 0 0. 0000 221 In addition to having a le s s c o m p lica te d p ro so d y than the other poets in m a tte r s rela tin g to e lis io n , in so m e ways C ow per a ls o has a l e s s co m p lica ted p rosod y in m a tter s rela ted to p la cem en t of s t r e s s and s t r e s s m a x im a than do eith er M ilton or Young. It has b een d e m on strated e a r lie r in th is d is c u s s io n that C ow per has fe w er co n flictin g or counterpointing s t r e s s e s e a r ly in the lin e than do any of the other poets d isc u s se d . He also h a s sign ifican tly fe w er lin e s with no or only one s t r e s s m a x im u m per lin e than do eith er M ilton o r Young, and sig n ifica n tly m o re lin e s w ith two or th ree s t r e s s m a x im a per li n e - - o r in other w o rd s, m o r e lin e s with a stron g se n se of the m e tr ic a l f r a m e w ork and few er lin e s w hich d iso r ie n t th is f r a m e w o r k .^ T h erefo re, s tr e s s and s t r e s s m a x im a provide l e s s d iso rien ta tio n to C owper 's prosod y than to th o se of M ilton or Y o u n g --o r , from a quantitative o v e rv ie w , The T a sk has a stro n g er se n se of the m e tr ic a l fr a m e w o rk than do P a r a d ise L<ost or N igh t T hough ts. In su m m a r y , a n u m b er of c o n c lu sio n s can be draw n fr o m this study about the nature of C o w p er's prosody. 1. C ow per tends to support the f ir s t half of h is lin e, and e s p e c ia lly p o sitio n 2, m o r e stron gly than the seco n d half, as r e fle c te d by s e v e r a l c h a r a c te r is tic s: 222 a. He favors str e s s m axim a patterns with a s tr e s s m axim um in p osition 2. b. He strongly rein fo rces p osition s 2 and 4 with patterns of asson an ce and alliteration . c. He lim its the counter pointing effects of asson an ce and alliteration in the f ir s t p osition and of adjacent stresses in the fir st and th ird p osition s. 2. In com parison with M ilton and T hom son, Cow per's s tr e s s m axim a support to the fourth, sixth, and eighth positions is relatively even and he has r ela tiv ely few er s tr e s s m axim a in position 8. 3. As does M ilton, Cowper se e m s to regard an early str e s s m axim um , e sp ec ia lly in position 2, as a reorientin g device after a m e tr ic a lly d isorientin g or m e te r -fix e d p a ssa g e or line. He also tends to place lin e s with th ree s tr e s s maxima after m e te r -fix e d lin e s to m ore firm ly esta b lish the m e tr i cal structure. 4. While m o st of C ow per's m e te r -fix e d lin e s tend to fall in sm all groups of at m o st two or th ree lin e s , four p a ssa g es are m arked by a concentration of these lin e s. Three of the p a ssa g es are heavily M iltonic, su ggestin g that perhaps Cowper identified a m o r e d isorientin g or m e te r-fix e d m e t rical fram ew ork with M ilton's sty le. 5. To a lim ited extent, C owper (like Thom son) tends to a s s o ciate certa in syntactic pattern s with h is handling of str e s s 223 m a x im a , a ten d en cy to fa v o r rep ea ted patterns see n again in C o w p er's freq u en t rep etitio n of a sin gle w ord w ithin a line or throughout a p a ssa g e . 6. C ow p er's u se of a sso n a n c e and a llite r a tio n ten d s to stro n g ly u n d e r sc o r e the s t r e s s m a x im a p attern falling on e v e n - n u m b ered sy lla b le s . 7. C o w p er's p ro so d y is l e s s co m p lex in s e v e r a l quantifiably supp ortable w a y s than T h o m so n 's or Y oung's o r , e s p e c ia lly , than M ilto n 's. a. C ow per u s e s few er e lis io n s and few er lin e s with m o re than one sca n sio n than do M ilton, Thom son or Young and fe w e r m e te r - fix e d lin es having no or only one s t r e s s m a x im u m per lin e than M ilton or Young. In th is s e n s e , The T ask g iv e s a stro n g er se n se of the m e tr ic a l fr a m ew o rk than do the other p o em s d is c u s se d . 8. C o w p er's p r a c tic e of e lis io n has s e v e r a l s im ila r itie s to and d iffe r e n c e s fro m M ilto n 's. a. B y u sin g w ord s with long R -c o lo r e d sch w a diphthongs, both p oets add a kind of m e tr ic a l c o m p lex ity or f u ll n e s s to the lin e r e la te d to sy lla b le count without a c tu a lly adding any e x tr a sy lla b le s . b. B oth s o m e tim e s u se th e se long diphthongs in the tenth p o sitio n w h ere they m a y h elp length en the lin e. c. B oth u se the poten tial co m p lica tin g e ffe c ts of the long R -c o lo r e d sch w a diphthong w ithin the lin e s to cre a te a ltern a te s c a n sio n s. 9. Som e oth er c h a r a c t e r is tic s of C o w p er's p ra ctice of e lis io n are: 224 a. While Cowper tend s to place potential com plicating e ffe cts of long diphthongs at the beginning and end of h is lin e s, he tends to place that of the e lis io n betw een vow els in the m id d le of the lin e. b. Cowper tends to place the e lis io n s of the past p a rticip ial endings a lrea d y ind icated in the text (as in charm 'd) in even -n u m b ered p o sitio n s, e sp e c ia lly in position 10. c. He tends to p lace those e lis io n s w ithin w ords and a l ready ind icated in the tex t (as in m u rm 'rin g) in e v en - nu m bered p o sitio n s, e s p e c ia lly in p osition s 2 and 8. In d escrib in g som e of the sound patterns - -th o se of s tr e s s and of a sso n a n ce and a llitera tio n and of e lis io n - - in the Cowper sam ple and th eir function in h is p rosod y, th is d is c u s sio n has d e scrib ed in one w ay the underlying v e r se pattern in The T ask and som e of the p rosodic l i m its within which Cowper ran ges in attaining th is pattern. This d is c u s sion has also noted som e of C ow p er's s im ila r itie s to and d ifferen ces fro m the other blank v e r se poets d is c u s se d . F u rth er data to support the g e n e ra liza tio n s m ade in th is chapter are included in Appendix D, "Computer Data fro m the C ow per Sam ple." 225 Note s ^The s t r e s s m a x im a d en sity as d efin ed by J o se p h B e a v e r and a lr ea d y d is c u s s e d in C h ap ters III and IV r e p r e s e n ts the n u m b er of s t r e s s m a x im a ap p earin g in a g iv en p o sitio n throughout a sa m p le as a p er ce n ta g e of the total n u m ber of o c c u r r e n c e s of that p o sitio n . 2 T w e n ty -fiv e p e r c e n t of Y oung's sec o n d p o sitio n s had an a d ja cen t sy n ta ctic b rea k w h ile on ly nine p e r ce n t of C o w p er's did. 3 In th is ch a p ter , the c ita tio n s fr o m The T a sk are by book and lin e nu m ber; e . g. , lin e 68 fr o m B ook III w ould be c ite d a s (III, 68). 4 S ey m o u r C hatm an in A T h eory of M eter (L ondon, P a r i s , The H ague, 1965), p. 133, h a s su g g e ste d that if it w e re not fo r the co n tex t su rrou n d in g su ch lin e s and p a s s a g e s , a r e a d e r m igh t n e v e r p e r c e iv e th em a s ia m b ic at a ll, that th ey are p e r c e iv e d as ia m b ic on ly b e c a u se the su rrou n d in g c o n te x t 'fix e s' the ia m b ic p attern in th e r e a d e r 's c o n s c io u s n e s s . T hus, he a r g u e s, th e se lin e s a r e m e t e r - f ix e d (they have th eir m e te r fix e d by the co n tex t), and th o se lin e s p ro v id in g the ia m b ic co n tex t a re m e t e r - f ix in g . 5 In the fo llo w in g p a s s a g e s , s t r e s s m a x im a a r e u n d erlin ed . £ W ith the e x c e p tio n of abandon'd (III, 731), a ll of the in tr o d u c to ry tr is y lla b ic w o rd s in th is and the fo llo w in g lin e s a r e e ith e r a d je c tiv e s or a d je c tiv a l p a r tic ip le s . 7 T h ere w e re 80 e lis io n s in the 1 ,0 2 8 lin e s of the C ow per s a m p le , w hich is 77 e lis io n s per 1 ,0 0 0 lin e s , a s r e p o r te d in the ch a rt above. g The lin e s con tain in g the ir e diphthongs are: Or havin g lon g in m ir y w a y s b een fo ile d C onvened fo r p u r p o se s of e m p ir e l e s s , D e s ir o u s to r etu r n and not r e c e iv e d H is co u n try , or w a s sla c k w hen she req u ired Or n e g lig e n t e n q u ir e r , not a spark. With elo q u e n c e th at a g o n ie s in sp ire A t e v e n in g , and at night r e t ir e se c u r e N ot t ir e , d em an d in g rath er s k ill than fo r c e D is c o v 'r in g m u ch the te m p er of h er s ir e . To h is young h o p e s , r e q u ir e s d is c r e e t d elay. D ir e d isa p p o in tm en t that a d m its no cu re (HI, 4) (HI, 62) ( m , 81) (in , 89) (in , 276) (in , 330) (in , 344) (h i , 407) (in , 434) (in , 504) (in , 557) 226 are: (a) (b) (c) (d) (e) (f) (g) The sp iry m y rtle with unw ith'ring lea f (III, 570) By m agic sum m on s of th' O rphean ly r e . (Ill, 587) P lan t behind plant asp irin g, in the van (III, 593) The dw arfish, in the rear r e tir e d , but still (III, 594) C onspiring, m a y a ttest his b righ t d esig n . (Ill, 654) Some m ore asp irin g catch the neighbour shrub (III, 665) What we adm ire we p r a ise. And when we p r a ise (III, 702) A cknow ledg'd, oth ers m ay ad m ire it too. (Ill, 704) A d m ir e r s, and be destin'd to divide (III, 726) That n ever t ir e , soon fans th em all aw ay. (Ill, 763) The w orld of w and'ring knights and sq u ir e s to town. (Ill, 815) Much that I lo v e , and m ore that I a d m ire. (Ill, 838) Save th eir own painted sk in s, our s ir e s had none. (I, 9) Long tim e ela p s'd or e 'er our rugged s ir e s (I, 68) The nu rse sle e p s sw eetly , h ir 'd to w atch the sick . (I, 89) R esp irin g fr e e ly the fr e sh a ir , that m a k e s (I, 138) And w e ll-tr ie d v irtu es, could alone in sp ir e (I, 148) T all sp ir e, fro m w hich the sound of ch eerfu l b e lls (I, 174) 9 The lin es containing e lis io n betw een two adjacent vow els Still wants a g ra ce, the lo v e lie s t it could show, Was b liss r e s e r v 'd for happier days. So slow L arge fo lia g e, overshadow ing golden flo w e r s, P eep through their polish'd fo lia g e at the storm D e p r ec ia te s and undoes us in our own? And which no c a re can obviate. It w e re long, And fa ir ly la id the Zodiac in the dust. Long since; with m any an a rro w deep infixt E lse unadorn'd, with m any a gay festo o n Is fe d with m an y a v ictim . L o, he c o m e s - - That he has touch'd, retouch'd, m any a long day L abor'd, and m any a night pu rsu ed in d r e a m s, But genuine, and art partner of them a ll. L arge fo lia g e, overshadow ing golden flo w e r s , The om nipotent m agician , B row n , a p p ears. A m in e to sa tisfy the en o rm o u s cost. He sig h s, d ep arts, and le a v e s the a c co m p lish 'd plan The lin e s containing e lis io n over / l / , / n / , and / And p erilo u s lightnings from the angry clo u d s, And th e se the G recian in ennobling str a in s The p arallax of yonder lum inous point E ach opening b lo sso m , fr e e ly b rea th es abroad Slow gath ering in the m id st, through the square m a s s (III, 782) (I, 83) (III. 535) (HI, 574) (III, 284) (IH, 558) (III, 647) (IH, 109) (HI, 667) (III, 765) (III, 786) (III, 787) (I, 1 53) (III, 535) (IH, 766) (HI, 783) (HI, 785) / are: (IH, 212) (HI, 454) (IH, 215) (IH, 622) (HI, 492) 227 The num ber of lin es per thousand lin es containing no, one, two, or three s tr e s s m axim a per line in the th ree poets i s as follow s: Num ber of S tress M axim a per Line M ilton Young Cowpe 0 49 54 32 1 203 252 200 2 384 373 396 3 295 266 315 CHAPTER VII A DESCRIPTION OF WORDSWORTH'S PROSODY This chapter d e s c r ib e s the p ro so d y of W illiam W ordsw orth in The P relu d e in te r m s of h is handling and p la cem en t of s t r e s s and s t r e s s m a x im a , h is u se of a sso n a n c e and a lliter a tio n , h is handling and p la cem en t of e lis io n s , and h is u se of v a rio u s techniq ues to create lin e s with m u ltip le s c a n sio n s. T h is d e scr ip tio n illu m in a te s som e of W ordsw orth 's p rosod ic s im ila r it ie s to and d iffe r e n c e s fr o m M ilton and, to a l e s s e r exten t, h is p ro so d ic d iffe r e n c e s fro m T hom son, Young, and C ow per. The W ordsw orth sam p le w a s c h o se n fr o m the f ir s t 1 ,0 1 2 lin e s of The P r e lu d e , the 671 lin e s of Book I, and the f ir s t 341 lin e s of Book II. The text w as p rem a rk ed as d e sc r ib e d in Chapter II to ind icate u n u su al c h a r a c te r is tic s such as the s t r e s s on a n o rm a lly u n s tr e s s e d pronoun, as in Thus far, O F rien d ! did 1(1), not u sed to m ake (I, 55)* or the s t r e s s on a v erb al p a rticle w hich d istin g u ish e s it fr o m a p r e p o sitio n , as in C om e fa st upon m e; it i s shaken off(5) (I, 21) 228 W ordsw orth's treatm en t of s t r e s s and str e s s m axim a has sev era l d istin ctive c h a r a c te r istic s, a s su ggested by the follow ing chart com paring the s tr e s s m a x im a d en sities for the five poets studied. S tress M axim a D en sities in the Five P o e ts Line P osition Milton Thom son Young Cowper W ordsworth 2 51% 50% 48% 57% 52% 4 56% 61% 48% 54% 50% 6 43% 50% 50% 50% 47% 8 58% 68% 52% 53% 49% S tatistically, W ordsw orth's lin es are rela tiv ely even ly supported (as are Young's and C ow per's) with a sligh tly stronger support to the fir st half of the lin e. Unlike M ilton or T hom son, W ordsworth does not p r e dominantly support h is lin e s on the fourth and eighth p osition s. In fact, he g iv e s a r ela tiv ely ligh t support to the second half of the line and e sp e c ia lly to p osition 8, as com pared with Milton and Thom son. This rela tiv e light support to position 8 is r eflected in W ords worth's ch oice of s t r e s s m axim a patterns. While all fiv e poets chose the pattern 2, 4, 8 as the m o s t frequently occu rring s t r e s s m axim a pattern, W ordsworth and Young w ere the only poets in which the pat tern 4, 8 did not rank second. W ordsworth's second -ranked pattern was 2 ,6 , w hich ranked only fifteenth in M ilton. W ordsworth's r e la tively light support to the en tire second half of the line is also reflec te d in h is choice of s tr e s s m a x im a patterns in co m p a riso n with M ilton. 230 W hile th ree of M ilton 's eight m o s t freq u en tly o c cu rr in g s t r e s s m a x im a p attern s have a s t r e s s m a x im a in both p o sitio n s 6 and 8, none of W ord sw orth 's do. S tr e s s M axim a P a tte rn s O ccu rrin g M ore Than Thirty T im e s in the W ordsw orth Sam ple N um ber of O c cu rr e n c es P a tte rn Rank in the Sam ple 2 4 8 1 101 2 6 2 91 4 8 3 82 4 6 4 75 8 5 71 6 6 64 2 4 7 61 2 8 (7) 61 2 9 56 2 4 6 (9) 56 2 6 8 11 55 4 12 50 Null 13 44 4 6 8 14 41 6 8 15 38 2 4 6 8 16 32 H o w ev er, in sp ite of th e s e d iffe r e n c e s, W ordsw orth h as im p ortan t p r o so d ic s im ila r it ie s to M ilton. The f ir s t of th e s e s i m i la r it ie s c o n c e r n s th eir handling of the la s t two p o sitio n s in the line. In c o m p a r iso n with the th ree e ig h te e n th -c en tu r y p o e ts, both M ilton and 231 W ordsworth have sign ifican tly few er s tr e s se d sy lla b les in the tenth position and m ore s tr e s s e d sy lla b le s in the ninth position, as illu s trated by the follow ing com parison. Number of S tre sse d Syllables in L in e -T e rm in a l P osition P osition M ilton Thom son Young Cowper W ordsworth 9 85 45 60 62 81 10 917 956 922 975 895 Both M ilton and W ordsworth have a lm o st twice as m any s tr e s s e d s y l la b les in the ninth p osition a s does Thom son and about on e-th ird m ore than do Young or C ow per. This su g g ests that in com p arison to the eigh teen th -cen tu ry p oets, W ordsworth (and Milton) give m ore p ro m i nence to the ninth position. This s e e m s to be true. W ordsworth u se s the ninth p osition in se v e r a l ways to co u n ter point his predom inant s tr e s s m axim a pattern falling on even -n u m b ered p osition s. F ir s t, a s su g g ested by the above com p arison , s tr e s s e d s y l lab les fallin g on the ninth p osition provide an im portant sou rce of m e t rica l counter pointing. Not only do 81 lin es per 1,000 in the sam ple ca rry s tr e s s e d sy lla b le s in the ninth position, but in alm ost on e-th ird of th ese lin e s (25 lin e s ), th is s tr e s s e d syllable fa lls within a s e r ie s of three or m o r e s tr e s s e d sy lla b le s in a row, giving the ninth position added prom in en ce, a s in the follow ing lin es. The s e r ie s of s tr e s se d sylla b les have been underlined. 232 Of bon d age, fr o m yon C ity 's w a lls s e t fr e e , (I. 7) Shall I take up(5) m y h o m e, and w h at(l) sw eet s tr e a m (I. 13) To drink w ild w a ter, and to pluck g r ee n h erb s, (I. 37) Of h u m b ler in d ustry. B u t(l), O dear F rien d ! (I, 144) No o th e r w ise than as it la s ts too long. (I, 156) R om an tic ta le , by M ilto n le ft unsung; (I, 180) With w hat stran ge u ttera n ce did the loud dry w ind (I. 348) In c a d e n c e , and m y little Boat m ov'd on{5) (I. 386) Of m ou n tain e c h o e s did m y Boat m ove on(5), (I. 390) But huge and m igh ty F o r m s that do not liv e (I. 425) T h ese lin e s not only illu str a te the counter pointing e ffe c t of a s t r e s s e d sy lla b le in the ninth p o sitio n , but a lso that of an a sso n a tin g a n d /o r a llite r a tin g sy lla b le in that p osition . F o r in sta n c e , in lin e 13 above, sw e e t both a s so n a te s and a llite r a te s with str ea m in p osition 10; in lin e 180, un in p o sitio n 9 a s s o n a te s with sung in p o sitio n 10; in lin e 348, dry in p o sitio n 9 a llit e r a te s with did in p o sitio n 6; in lin e 386, m ov'd in p o sitio n 9 a llite r a te s w ith m y in p o sitio n 5; in lin e 390, m o v e of p o sitio n 9 a llite r a te s w ith m ountain in p o sitio n 2; and in line 425, not of p o sitio n 9 a s so n a te s w ith F o r m s of p osition 6. S in ce in a ll of th e se in s ta n c e s (ex cep t lin e 386) the ninth p o sitio n not o n ly c a r r ie s s t r e s s but a ls o a s s o n a te s and a llit e r a te s with m a jo r w ord s in e v e n -n u m b e r e d p o s itio n s , it p ro v id es a stron g counter pointing to th e predom inant s t r e s s m a x im a pattern fa llin g in e v en -n u m b ered p o sitio n s. 233 The follow ing lin e s a lso contain a s e r ie s of th ree s tr e s se d s y l la b le s fallin g at the end of the line in which the s tr e s s e d syllab le in the ninth p osition a sso n a te s a n d /o r a llite r a te s with another syllable in the lin e. This a sso n a n ce and a llitera tio n is u n d ersco red . E ven w hile m ine eye h as m ov'd o 'e r th ree long le a g u e s (I. 605) D e se r t m e not, I w ill forthw ith bring down(5), (I, 666) We ran a b o istero u s race; the y ea r span round(5) (II. 48) And I w as taught to fe e l, perhaps too m uch, (II, 77) H ence ru stic dinners on the c o o l g reen ground, (II, 94) A holy Scene ! along the sm ooth g reen turf (II, 114) In uncouth r a c e , and le ft the c r o s s - le g g 'd Knight, (II, 124) E ven as an agent of the one g r ea t m ind, (II, 272) Other lin es containing a p rom in en tly s t r e s s e d sy lla b le in the ninth p osition w ithin a s e r ie s of three s tr e s s e d sy lla b le s include: Shall b e (l) m y harbou r? U nderneath w hat(l) grove (II, 12) How in tyrannic tim e s som e unknown M an, (I, 202) 2 And ask no r ec o r d of the h o u rs, given up(5) (I, 254) Of danger and or d e s ir e , and thus did m ake (I, 498) Or round the naked tab le, sn ow -w h ite d eal, (I, 541) D e c a n te r s, G la s s e s , and the b lo o d -r ed W ine. (II, 151) Of perm anent r ela tio n s, e ls e unknown, (II, 312) In addition to placing it in a s e r ie s of th ree s t r e s s e d syllables as illu stra ted above, W ordsw orth a lso m a k es the ninth p o sitio n a 234 p rom in en t m e t r ic a l co u n ter poin ter by s o m e tim e s p la cin g it in a s e r ie s of only two s t r e s s e d s y lla b le s . A gain , th is ninth p o sitio n m ay con tain an a sso n a tin g o r a llite r a tin g s y lla b le , as illu str a te d by the u n d erlin ed sounds in the fo llo w in g e x a m p le s: I se ttle on s o m e B r itis h th em e, so m e old (I, 179) Of W allace to be found lik e a w ild flo w e r , (I, 214) That flo w 'd alon g m y d r e a m s ? F o r t h is ( l) , didst th o u (l), (I, 276) Into m y m in d , should e v e r have m ad e up(5) (I, 3 59) B y day or s t a r - lig h t th us_from m y _ first dawn (I, 432) A lo n e ly sc e n e m o r e lo n e so m e ; am ong w ood s (I, 445) The ex ten t of W o r d sw o r th 's p rom in en t u se of a sso n a n c e and a llit e r a tion , in add ition to h is u s e of s t r e s s , to u n d e r sc o r e th e cou n ter pointing of the ninth p o sitio n i s su g g e ste d in the fo llo w in g ch art show ing th e lo c a tio n of W o rd sw o rth 's s y lla b le s con tain in g sounds b oth a sso n a tin g and a llite r a tin g w ith in the lin e . O b viou sly, th e p red om in an t e f f e c t of th is a sso n a n c e and a llite r a tio n is to u n d e r s c o r e the s t r e s s m a x im a pattern fa llin g in the e v e n -n u m b e r e d p o sitio n s. H o w ev er, a sso n a n c e and a llite r a tio n a ls o p lay a sig n ifica n t counterpoin ting r o le , e s p e c ia lly in p o sitio n s 1 and 9. P o s itio n 1 co n ta in s about as m u ch a sso n a n c e and a llite r a tio n as do p o sitio n s 4, 6, and 8. W hile p o sitio n 9 co n ta in s l e s s than th is , it c o n ta in s m u ch m o r e than do p o sitio n s 3, 5, or 7. In oth er w o r d s, W o rd sw o rth p la c e s m o r e in s ta n c e s of counter pointing by a s s o - 235 nance or a llitera tio n in the ninth p osition than in any other p o sitio n but the fir st. L ocation of Com bined A sso n a n ce and A llitera tio n in the W ordsworth Sam ple P o sitio n Value P ercen ta g e 1 48 10.5216 XXXXXXXXXX 2 71 15. 5632 x x x x x x x x x x x x x x x 3 24 5. 2608 x x x x x 4 51 11. 1792 x x x x x x x x x x x 5 28 6. 1376 x x x x x x 6 51 11.1792 x x x x x x x x x x x 7 20 4. 3840 x x x x 8 49 10.7408 XXXXXXXXXX 9 39 8. 5488 x x x x x x x x 10 75 16.4400 x x x x x x x x x x x x x x x x 11 0 00.0000 12 0 00.0000 T his tendency in W ordsworth to u se the ninth p o sitio n as a co m p lica tin g p osition within the lin e is an im p ortant c h a r a c te r istic of h is p rosod y and one not w ell-id en tified by the H a lle -K e y se r th eory. B eca u se the tenth p osition does not n o rm a lly c a r r y a s tr e s s m axim u m , the H a lle -K e y se r th eory, which is after all o rien ted about the s t r e s s m a x im u m , tends to ignore or d im inish the im p ortan ce of cer ta in m e t r ic a l e ffe c ts such as a s tr e s s e d syllab le in p osition 9. F u rth er, w hile the o c cu rr e n c e of a s t r e s s m axim um in p o sitio n 8 depends on the c o n dition of p o sitio n 7 as w e ll as that of p o sitio n 9, co n sid erin g the 236 co m b in ed e f f e c t s of p o s itio n s 7 and 9 o b s c u r e s th e in d ivid u al e ffe c t s e a c h o d d -n u m b e r ed p o s itio n m a y h ave w hen c o n s id e r e d a lo n e. F o r t h e s e r e a s o n s , the e f f e c t s of the ninth p o sitio n a r e not d r a m a tic a lly r e v e a le d by a c o m p a r is o n of s t r e s s m a x im a d e n s it ie s or s t r e s s m a x i m a p a tte rn s. A n o th er w ay in w h ich W o r d sw o r th 's p r o s o d y r e s e m b le s th a t of M ilto n 's that i s not w e ll-id e n tifie d by the H a lle - K e y s e r th eo r y in v o lv e s h is tr e a tm e n t of p o ly s y lla b ic w o r d s (d efin ed h e r e a s w o r d s having th r e e or m o r e s y lla b le s ) . L ike M ilton , W o rd sw o rth w r it e s so m e p a s s a g e s w ith few if any p o ly s y lla b ic w o r d s and o th e r s w ith a c o n c e n tr a tio n of su ch w o rd s. F o r in s ta n c e , in the fo llo w in g p a s s a g e fr o m B ook II of The P r e lu d e , the f i r s t te n c o m p le te l i n e s con tain only the th r e e u n d erlin ed p o ly s y lla b ic w o r d s. B l e s s ' d the infant B ab e, (F o r w ith m y b e s t c o n je c tu r e s I w ould tr a c e The p r o g r e s s of our being) b le s t the B a b e, N u r s'd in h is M o th e r 's a r m s , the B abe who s le e p s U pon h is m o th e r 's b r e a s t , w h o (I), w hen h is so u l C la im s m a n ife s t k in d r ed w ith an e a r th ly so u l, D oth ga th er p a s s io n fr o m h is M o th e r 's e y e ! Such f e e lin g s p a ss into h is to r p id life L ik e an aw akenin g b r e e z e , and h en ce h is m in d E v en (in the f ir s t t r ia l of its p o w e r s) Is p ro m p t and w a tch fu l, e a g e r to co m b in e In one a p p e a r a n c e , a ll the e le m e n t s A nd p a r ts of the s a m e o b je c t, e l s e d eta ch 'd A nd lo th to c o a le s c e . (II, 2 3 7 -2 5 0 ) In c o n tr a s t to th e r e la t iv e ly s p a r s e u s e of p o ly s y lla b ic w o rd s at the b eg in n in g of the ab ove p a s s a g e , lin e 348 n e a r the en d c o n ta in s 237 two of th e se w ord s in one line and is fo llo w ed by a p a ssa g e con tain in g a r e la tiv e ly h eavy co n cen tra tio n of them ; sev e n tee n such w o rd s in its fo u rteen c o m p lete lin e s: T hus, day by day, 250 Subjected to the d iscip lin e of lo v e , H is o r g a n s and r e c ip ie n t fa c u ltie s A re quicken'd, a r e m o re v ig o r o u s , h is m ind sp r ea d s, T en aciou s of the fo r m s w hich it r e c e iv e s . In one b elo v ed P r e s e n c e , nay and m o r e , 255 In that m o s t ap p reh en siv e habitude And th o se se n sa tio n s w hich have b een deriv'd F r o m th is b elo v ed P r e s e n c e , th ere e x is t s A virtu e w hich ir r a d ia te s and e x a lts A ll o b jec ts th rou gh all in te r c o u r se of se n se . 260 No o u tca st h e ( l) , b ew ild er'd and d ep ress'd ; A long h is infant v e in s are in terfu s 'd The g ravitation and the filia l bond Of n atu re, that co n n ect h im w ith the w orld. (II, 2 5 0 -2 6 4 ) In addition to m ak ing h is p o ly sy lla b ic w o rd s ob viou s by co n cen tra tin g th em , W ordsw orth (lik e M ilton) a lso m a k e s them ob viou s by req u irin g e lis io n s w ith in so m e of the w ord s of such a p a s s a g e . H e re , r e c ip ie n t (1 .2 5 2 ), v ig o r o u s (1. 253), ir r a d ia te s (1. 259), and filia l (1. 263) a ll req u ire in tern a l e lis io n . H ow ever, in co n tra st to M ilton, W ord sw orth d oes not tend to m ake h is p o ly sy lla b ic w ords ob viou s by p la cin g th em in unusual sy n ta ctic c o n str u c tio n s. T his and h is co n cen tra tio n of th e s e w o rd s is fu rth er illu str a te d in the follow in g p a ssa g e s: Som e im p e r fe c tio n in the c h o se n th em e, Or see of a b solu te a cco m p lish m en t M uch w anting, so m u ch w anting, in m y s e lf, That I r e c o il and droop, and see k r e p o se In l i s t l e s s n e s s fr o m vain p e r p le x ity , U np rofitably tr a v e llin g tow ard s the g r a v e, (I, 2 6 4 -2 6 9 ) 238 The sc e n e s which w ere a w itn ess of that joy R em ained, in their substantial lin eam en ts D epicted on the brain, and to the eye W ere v is ib le , a daily sight; and thus By the im p r e s siv e disciplin e of fea r, By p lea su re and repeated h a p p in ess, So frequently rep ea ted , and by force Of obscure fe e lin g s rep resen tative Of jo y s that w ere forgotten , th ese sam e sc e n e s , So beauteous and m a jestic in th e m se lv e s, (I, 627-636) Society m ade sw eet as solitude By silen t inobtrusive sym pathie s , F ro m m anifold d istin ctio n s, difference P e r c e iv e d in th in gs, w here to the com m on e y e , No differen ce is ( l) . . . . (II, 315-320) The lis t s of s tr e s s m axim a patterns p resen ted in Appendix E rev ea l two other w ays in which W ordsw orth's prosody r e s e m b le s that of M ilton. F ir s t , W ordsworth tends not to a s so c ia te certa in patterns of s t r e s s m a x im a with particular patterns of s t r e s s p lacem en t. F or in sta n ce, the 50 lin e s sharing the s tr e s s m axim u m pattern 4 actu alize this pattern through all of the four p o ssib le p attern s of in itial s t r e s s p lacem en t ( " ou ", and and the two m o st f r e quently o ccu rrin g of th ese, and account for only fifteen and eigh teen in sta n ce s, resp e c tiv e ly , of the lin e s . M ilton also tends not to a sso c ia te patterns of s tr e s s p lacem en t with his patterns of s tr e s s m axim a; in the exam ple to support th is g en era liza tio n p resen ted in Chapter III, M ilton's 31 lin es sharing the s t r e s s m axim u m pattern 6 actu alize this pattern through elev en d ifferent pattern s of in itial s t r e s s placem ent. 239 Second, n eith er W ordsw orth nor M ilton tend to a s so c ia te p a r ticu la r syntactic p attern s with th eir pattern s of s t r e s s m axim a. F o r in sta n ce, the 50 lin es sharing the s tr e s s m axim a pattern 4 in the W ordsw orth sam p le a ctu a lize th is pattern through 45 d ifferent in itia l sy n ta ctic patterns. Only two lin e s sh are the in tial s t r e s s pattern \J s \ j and the in itial syn tactic pattern d isy lla b ic p rep o sitio n accen ted on the fir s t sy lla b le plus definite a r tic le plus d isy lla b ic ad jective a ccen ted on the fir s t sy lla b le plus m o n o sy lla b ic noun: O ver the sandy fie ld s , leaping through g r o v es {I, 297) O ver the dusky L ake, and to th e beach (II, 172) Two other lin es sh are the in itial s t r e s s pattern and the in itial syn tactic pattern m o n o sy lla b ic v erb plus m o n o sy lla b ic p rep o sitio n plus definite a r tic le plus d isy lla b ic noun a ccen ted on the fir st s y lla b le : Hath, like the L o v er, his u n ru ly tim es; (I, 146) G leam s lik e the flash in g of a shield; the earth (I, 614) V ' O Four lin es sh a re the in itia l s t r e s s pattern and the initial s y n ta ctic pattern m o n o sy lla b ic p rep o sitio n or definite a r tic le plus t e t r a sy lla b le noun a ccen ted on the th ird s y lla b le : The adm iration and the liv e , the life (I, 117) Of independence and stern lib e r ty . (I, 219) F r o m c irc u m sp ec tio n , infinite d elay. (I, 244) Of exultation, fe a r , and joy, h is m ind (II, 271) 240 A few other lin e s share related initial s t r e s s and syn tactic patterns. Two lin es share the initial s tr e s s pattern w and the in itia l syntactic pattern m on osyllab ic conjunction plus p erso n a l pronoun (in the n om in a tive c a se ) plus m on osyllab ic auxiliary v e r b plus m on osyllab ic v e r b : And I was taught to fe e l, perhaps too m uch, (II, 77) And thou w ilt doubt with m e, le s s aptly sk ill'd (II, 227) Four lin es sh are the in itial s t r e s s pattern ° and begin with a d is y l labic adjective accen ted on the fir s t sy lla b le followed by variou s s y n tactic grou p in gs: Joyous, nor sca r'd at its own liberty (I, 16) Gently, with c a r e le s s steps; and com e erelon g, (I, 70) E astw ard, w e re sparkling c lea r , and in the w est (I, 472) Midway b etw een the h ills , as if she knew (II, 199) Of the rem aining 36 lin e s , none sh ares an initial syntactic pattern with any oth er. The follow ing lis t of th ese rem ainin g lines illu str a te s the range and v a riety of syntactic patterns W ordsworth u ses to actu alize a given str e ss m axim a pattern; a sim ila r lis t could be co n stru cted for any other s tr e s s m axim a pattern. The lin e s are arranged according to the pattern of in itia l s t r e s s placem ent. 1. Initial s tr e s s pattern : O w elco m e M essen g er! O w elco m e Friend! (I, 5) Not m ine, and such as w e re not made for m e. (I, 25) Found all about m e in one neighborhood, (I, 120) 241 T im e, p la c e , and m a n n ers; t h e s e I s e e k , and th e s e M ore often restin g at so m e g e n tle p la ce Oh! m any a tim e have I, a fiv e y e a r s ’ Child, H ence ru stic dinners on the c o o l g reen ground, Made all the m ountains ring. But ere th e fall Hard task to a n a ly se a sou l, in which * \ j \ J * t j 2. In itial s t r e s s pattern : Reading or thinking, eith er to la y up How in tyrann ic tim e s so m e unknown M an, Shouldering the naked crag; Oh! at that tim e , P roud and exulting, lik e an u n tired h o r s e , Planting m y snow drops am ong w in ter sn ow s Such is the sh e lte r that is th e r e , and su ch E ven as an agent of the one g r e a t m ind O x iSx U 3. Initial s t r e s s pattern : And, la s tly , u tter s ile n c e . " B e(l) it s o , That one, the fa ir e s t of all R iv e r s , lo v 'd The w o o d s, and distan t Skiddaw’s lofty height, R e g r e ts, v ex a tio n s, la s s it u d e s , that a ll And th er e , through h a lf an aftern oon , w e play'd 4 . In itial s t r e s s pattern : To d isap p ear by a slo w grad u al death 'T w as at an e a rly a g e , e r e I had seen I, 169) I, 181) I, 291) II, 94) II, 170) II, 232) I, 125) I, 202) I, 346) I, 359) I, 644) II, 120) II, 272) I, 107) I, 272) I, 299) I, 357) II, 168) I, 193) I, 310) 242 That w as among th em . S om etim es it b efell (I, 324) Can I forget you, being as ye w ere (I, 528) And to the com bat, Lu or W hist, led on (I, 543) It w as the p a stim e of our afternoons (11, 57) U napprehensive or rep roof, that hence (II, 75) But as a su ccedan eu m , and a prop (II, 219) To our in firm ity. Thou art no sla v e (II, 220) And th ose sen sa tio n s w hich have been deriv'd (II, 257) And yet the building stood, as if sustain'd (II, 295) And intellectu al life; but that the soul (II, 334) Another c h a r a c te r istic of W ordsw orth's handling of s t r e s s is that he strongly tends to place his verb al p a rticles (such as the s t r e s s ed adverbial fo rm in bu rst fo r th ) in even-nu m bered p o sitio n s, and e sp ec ia lly in p osition 10. As illu stra ted by the following chart, a lm o st half of his p a r tic le s fall in the tenth position. In this chart, the s e r ie s of Xs m ark the r e sp e c tiv e p e r cen ta g es, one X for each two p ercen tage poin ts. Location of V erbal P a r tic le s in the P o sitio n 1 2 3 Value 1 2 2 W ordsworth Sample _________________ P ercen tage 1.8518 3. 7036 X 3.7036 X 243 P o sitio n V alue P e r c e n ta g e 4 6 1 1 .1 1 0 8 XXXXX 5 1 1 .8 5 1 8 6 9 1 6 .6 6 6 2 XXXXXXXX 7 0 0 .0 0 0 0 8 6 1 1 .1 1 0 8 XXXXX 9 0 0 .0 0 0 0 10 25 4 6 .2 9 5 0 x x x x x x x x x x x x x x x x x x x x x x x 11 1 1 .8 5 1 8 12 1 1 .8 5 1 8 A nother c h a r a c t e r is tic of W o rd sw o rth 's handling of s t r e s s m a x im a is that lik e M ilton and Young, h e m a rk s c lim a c tic p a s s a g e s in h is n a r r a tiv e by a s e r ie s of lin e s having no or only one s t r e s s m a x im u m p er lin e . F o r in s ta n c e , a fter W ord sw orth h a s d e s c r ib e d in s o m e d eta il h is s e n s e of p o etic p u rp o se and in sp ira tio n e a r ly in Book I, the fo llo w ing p a s s a g e ap p ea rs su g g e stin g the fo r c e s in h im s e lf , the "unruly tim e s " and "unm anageable thoughts" a g a in st w h ich the poet m u st o c c a sio n a lly str u g g le . S tr e s s m a x im a h ave b e e n u n d erlin ed . U n m an ageab le th oughts. The m in d its e lf The m e d ita tiv e m in d , b e s t p le a s e d , p er h a p s, W hile s h e ( l) , a s duteous a s the M other D ove, S its b rood in g, liv e s not a lw a y s to that end, But h a th (l) l e s s q u iet in s tin c ts , goad in gs o n (5) That d r iv e h e r as in tro u b le th rou gh the g r o v e s . W ith m e is now su c h p a s s io n , w h ich I b la m e No o th e r w ise than a s it l a s t s too lon g. (I, 1 4 9 -1 5 6 ) S ix of the eigh t lin e s in this p a s s a g e h ave no or only one s t r e s s m a x i m u m per lin e , su g g e stin g that W ord sw orth is r e fle c tin g h is d is o r ie n ta - 244 tion, the "goadings on" and the "passion" w hich torm en t h is m ind, in the m e te r -fix e d and d iso rien ted m e tr ic a l fra m ew o rk of the p a ssa g e d escrib in g th o se "goadings on. " Two other p a s s a g e s so m arked by th eir d iso rien ted m e tr ic a l fra m ew o rk appear n ea r the end of Book I. In the f ir s t of th e se , W o r d s w orth d e s c r ib e s one of his "joys of subtler origin": . . . how I have felt, Not se ld o m , even in that te m p estuous tim e , Those h allow 'd and pure m otion s of the s e n s e W hich s e e m , in th eir s im p lic ity, to own An in telle c t ual ch a rm , that ca lm delight W h ich (l), if I e r r not, su r e ly m ust belong To th ose fir s t-b o r n affinitie s that fit Our new ex i s t ence to ex is t ing things, A n d (l), in our dawn of being, constitute The bond of union betw ixt life and joy. (I, 5 7 6 -5 8 5 ) The secon d of th ese p a ssa g e s contains W ordsw orth's fin al su m m ation 4 of hope, in sp ira tio n and determ ination at the end of Book I: One end h ereb y at le a st hath been attain'd, My m ind hath b een rev iv ed , and if this m ood D es e r t m e not, 1 w ill forthw ith bring dow n(5), Through la te r y e a r s , the sto r y of m y life. The road lie s plain before m e; 'tis a them e Single and of det e r m ined bounds; and hence I ch u se it ra ther at this tim e , than w ork Of am p ler or m o r e v a ried a r g um ent. (I, 6 6 4 -6 7 1 ) In s e v e r a l quantifiably supportable w ays identified by the H a lle -K e y s e r th eory, W ordsw orth's lin es a re n e a r er to the m e tr ic a l c o m p lex ity of M ilton's lin es and are m e tr ic a lly m o r e co m p lex than are th o se of the eig h teen th -cen tu ry p oets. F ir s t, W ordworth req u ired a rea d er to m a k e m o re e lisio n s per 1, 000 lin es than did any other p oet 245 but M ilton: 212 e lis io n s for the M ilton s a m p le , 163 fo r the T h om son sa m p le , 144 fo r the Young sa m p le , 77 fo r the C ow per s a m p le , and 202 for the W ordsw orth sa m p le . W o rd sw o rth 's e lis io n s fa ll into s e v e r a l g ro u p s. F ifty -f iv e of the e lis io n s r eq u ir ed in the W ord sw orth sa m p le in v o lv e lon g diphthongs ending in an R - c o lo r e d sch w a (su ch a s that in d ir e ) w h ich has b een coded as two sep a ra te s y lla b le s . E ach of th ese diphthongs would n o r m a lly be c o n s id e r e d as one s y lla b le , though a long one. H o w ev er, as d is c u s s e d in the M ilton c h a p ter, by u sin g such dip hth ongs, a p o et m ay add a kind of m e t r ic a l c o m p le x ity to h is lin e s r e la te d to sy lla b le count w ithout a c tu a lly adding any e x tr a s y lla b le s . Of the lon g diphthongs W ord sw orth u s e s , 30 in v o lv e o u r s ( s ) , 12 in v o lv e h o u r ( s ) o r h o u r ly , and 13 in v o lv e su ch ir e diphthongs as th ose in tire - s o m e , e n tir e (ly ), or d e s ir e . The s y lla b ic f u lln e s s th ese diphthongs im p a r t to a line is ob viou s in: M e quit the tir e so m e s e a and d w ell on s h o r e , (I, 35) E n t ir e ly , se e in g nought, nought h e a r in g , sa v e (1,91) Of d an ger or d e s i r e , and thus did m ak e (1,498) W ith only one e x ce p tio n , th e ir e diphthongs f a ll in e v e n -n u m b e r e d p o s i tio n s , and p red o m in a n tly on p o sitio n 10 w h e r e th ey h elp len gth en the lin e . A s e x p e c te d , the s t r e s s e d diphthong in h o u r(s) or h ou rly fa lls in e v e n -n u m b e r e d p o sitio n s throughout the lin e , and the u n s t r e s s e d 246 diphthong in our ( s ) fa lls predom in antly on odd -nu m bered p osition s throughout the lin e, e s p e c ia lly in p osition s 5 and 7. The chart below p r e se n ts the exact lo cation of th ese diphthongs. Location of the R -C o lo red Schwa Diphthongs in th e W ordsw orth Sam ple Line O ccu rren ces of the O ccu rren ces of the O ccu rr e n c es of the P o sitio n ir e Diphthong hour(s) Diphthong ou r(s) Diphthong 1 3 2 . 2 2 2 3 4 4 1 3 5 7 6 2 1 7 . 9 8 2 9 1 4 10 8 4 1 In addition to the ir e diphthongs w hich help to lengthen the end of h is lin e s , W ordsw orth o c c a sio n a lly p la ces e x tr a -m e tr ic a l sy lla b le s in p osition 11, as in the follow ing lin e s: A tim o ro u s cap acity fro m p ru dence; (l, 243) P u ll at its rein , lik e an im p atien t C ours e r , (I, 521) A v is ib le sce n e , on w hich the sun is shining ? (I, 663) In addition to th ese th re e e x a m p le s, W ordsw orth a lso u s e s the final sy lla b le s of p ow er, flo w e r , to w e r (s), sh o w er, and b o w ers as ex tra - 247 m e t r ic a l s y lla b le s . In fa c t, the s t r e s s e d s y lla b le s of th e s e w ords o ccu r v e r y p r e d o m in a tely in the 10th p o sitio n ; 13 o f the 22 in sta n c e s fa ll th e r e . The oth er in s ta n c e s f a ll w ithin th e lin e on e v e n -n u m b e r e d p o sitio n s and r e q u ir e the elid ed o r m o n o sy lla b ic v e r s io n of the w o r d s; tw o in s ta n c e s fa ll in p o sitio n 2, on e in p o sitio n 4, tw o in p o sitio n 6, and four in p o sitio n 8. In c o n tr a st, the 33 e lis io n s b etw een v o w e ls (or in th e H alle - K e y se r te r m in o lo g y , the dou b le occu p an cy of one p o sitio n by two ad jacen t v o w e ls) ten d str o n g ly to fa ll in a ll o d d -n u m b ered p o sitio n s but th e fir s t. One s u c h e lis io n f e ll in the f ir s t p o sitio n , th re e in the second p o sitio n , nine in th e third p o sitio n , sev en in the fifth p o sitio n , s e v e n in the sev e n th p o sitio n , an d s ix in the ninth p o sitio n . T h e se e lis io n s 5 b etw een v o w e ls o c c u r b etw een : 1. the / i : / and /I / of b ein g 2. the tw o / I / sou n d s of hurrying 3. the / I / and / 3 / of su p e r io r 4. the / I / and / e i / or ir r a d ia te s 5. the / I / and / a / of m a n y a 6 . the / a i / and / 3 / of h ig h er 7. the / a i / and / a / of d ialogu es 8. the / U : / and / a / of grad u al and to a 9. the / U : / and / 3 / of sa n c tu a r ie s 248 10. the /U : / and / I / of to im p regn ate 11. the / O / and / I / of shadow y and bellow ing 12. the /O / and / 3 / of fo llo w e r s and m ellow er 13. the and the / i / and / o / sounds of the im p e rfect the h o r izon the inhum an the Indian the oppr e s s o r the Orphean the e tern ity the im p a ssio n 'd the invisib le Another c la s s of elid a b le w ord s in W ordsworth includes those w ord s in w hich two u n a ccen ted adjacent sy lla b le s elide over / r / , / l /, fnl, or / m / (or in the H a lle -K e y se r term in o lo g y , in w hich two u n a c cented v o w els sep arated only by / r / , / I / , / n / , or / m / m ay occupy a sin g le p osition ). The sa m p le contains 46 such e lisio n s over /r /, fifteen over / l / , sev e n over / n / and one over / m / . T h ese fall p r e dom inantly in the od d -n u m b ered p o sitio n s, e sp e c ia lly in p osition s 3 and 5, and in volve su ch w o rd s as th o se underlined in the follow ing l i n e s : 249 Be nothing b etter than a w an d erin g cloud, (I, 18) That burthen of m y ow n unnatural s e lf , (I, 23) B en ea th a t r e e , sla ck en in g m y thoughts by c h o ic e , (I, 72) P ro u d sp r in g -tid e s w e llin g s fo r a r e g u la r s e a , (I, 178) The p aram ou n t A ce, a m oon in her e c lip s e , (I, 559) In the la s t e x a m p le , the r eq u ired e lis io n could o c c u r acco rd in g to the H a lle -K e y s e r C o rresp o n d en ce R u les o v e r either th e / r / or the frrxf of param ou n t. T he ex a ct lo c a tio n s of th e se e lis io n s is p r e se n te d in the follow in g chart. L o ca tio n of E lis io n s O ver / r / , / n / , / m / , and / ! / in the W ord sw orth Sam ple Line E lis io n E lis io n E lisio n E lisio n P o s itio n O ver / r / O ver / n / Over / m / Over / ! / T otal E lis io n s 1 1 1 2 5 1 6 3 11 2 1 2 16 4 0 5 17 1 6 24 6 2 2 7 8 1 9 8 1 2 3 9 4 1 4 9 10 A nother c la s s of e lid a b le w ord s in the W ord sw orth sa m p le in clu d es th o se in sta n c e s of h e a v e n , ev en , and g iv e n in w h ich the 250 sy lla b ic / n / elid es w ith the s t r e s s e d sy lla b le over / v / to fo rm heav'n, ev'n and giv'n. Of the sev en teen in sta n ces of such e lis io n s , fiv e fa ll in p osition 1, four in p osition 4, one in p o sitio n 6, two in p osition 7, one in p osition 9, and four in p osition 10. In addition to the e lisio n s d e scr ib e d ab ove, the W ordsw orth sa m p le a ls o contained eight lin es in w hich v is ib le m u st be read as d isy lla b ic and in v isib le as tr is y lla b ic , su ggestin g that W ordsworth allo w s e lis io n over the /z /- s o u n d . I m ight endue, m ight fix in a v is ib le hom e (I, 129) Invisible w orkm anship that r e c o n c ile s (I, 353) With v is ib le m otion her diurnal round; (I, 486) Their hues and fo rm s w e re by in v isib le links (I, 639) A v isib le sce n e , on w hich the sun is shining ? (I, 663) So sw e e tly 'm id the gloom the in v isib le Bird (II, 132) And thus the com m on range of v is ib le things (II, 182) Seeking the v is ib le w orld, nor knowing why. (II, 293) Like M ilton, W ordsw orth tends to place the e lisio n s of the past p a rticip ia l ending alread y ind icated in the text (as in ch arm 'd and v ie w 'd ) in even -n u m b ered p o sitio n s, e s p e c ia lly in p osition 10. H ow e v e r , w hile 9. 9 p ercen t of th e se e lis io n s in M ilton appear in the f ir s t p o sitio n , only 3. 7 p ercen t of th em app ear in W ordsw orth's fir s t p o s i tion . Both poets p la ce ap p roxim ately o n e-th ird of th ese e lisio n s in the tenth p osition . The exact distrib u tion of th e se e lis io n s [ c a lle d "Ortho - g rap h ically Im itated E lisio n s (8 -Count)"] in the W ordsw orth sam p le 251 a p p ea rs in the fo llo w in g ch art. L o ca tio n of O rth o g ra p h ica lly Im ita ted E lisio n (8 -C ount) in the W o rd sw o rth Sam p le P o s itio n V alue _____________________P e r c e n ta g e __________ 1 6 3 .6 5 8 2 2 22 1 3 .4 1 3 4 3 10 6 .0 9 7 0 4 10 6 .0 9 7 0 5 8 4 .8 7 7 6 6 17 10. 3649 7 9 5 .4 8 7 3 8 20 1 2 .1 9 4 0 9 10 6 .0 9 7 0 10 52 31. 7044 11 0 0. 0000 12 0 0. 0000 S in ce the n u m b er of e lis io n s o c cu rr in g w ith in w o rd s and already- in d ica ted in the te x t (as in m u r m 1 ring and p o w 'r ) is v e r y s m a ll in the W ord sw orth s a m p le , lit tle can be sa id about th e ir d istrib u tio n . T h e se few e lis io n s [ c a lle d " O r th o g ra p h ic-P h o n etic E lis io n (9-C ou nt)"] o c c u r r e d throught the lin e as in d ica ted by the follo w in g ch art. W o rd sw o rth 's e lis io n s , th en , a r e not only c o m p a r a tiv e ly f r e quent; th ey a r e a ls o , lik e M ilto n 's, of so m ew h a t g r e a te r v a r ie t y and c o m p le x ity as c o m p a r e d w ith the e lis io n s of the e ig h te e n th -c e n tu r y L ocation of O rth o g ra p h ic-P h o n etic E lisio n (9 -C ount) in the W ordsw orth Sam ple P o sitio n V alue P e r ce n ta g e 1 3 1 3 .6 3 6 2 XXXXXXXXXXXXX 2 2 9 .0 9 0 8 XXXXXXXXX 3 2 9 .0 9 0 8 XXXXXXXXX 4 2 9 .0 9 0 8 XXXXXXXXX 5 1 4 .5 4 5 4 x x x x 6 4 1 8 .1 8 1 6 x x x x x x x x x x x x x x x x x x 7 4 1 8 .1 8 1 6 x x x x x x x x x x x x x x x x x x 8 1 4 .5 4 5 4 x x x x 9 1 4 .5 4 5 4 x x x x 10 2 9 .0 9 0 8 XXXXXXXXX 11 0 0. 0000 12 0 0 .0 0 0 0 p o e ts. As do T h om son , Young, and C ow per, W ordsw orth e lid e s b e tw een the a r tific ia lly sp lit diphthong of the R -c o lo r e d sch w a w o r d s, b etw een ad jacent v o w e ls and o v e r / r / , / l / , / n /, / m / , and / v / . H ow e v e r , the W ord sw orth sa m p le r e q u ir e s m o re of the r e a l e lis io n s (as op p osed to the a r tific ia l e lis io n s b etw een the sp ilt diphthong of the R - c o lo r e d sch w a w o rd s) than do the eig h teen th -cen tu ry p o e ts, as w e ll as e lis io n o v er the /z /- s o u n d of v is ib le and in v isib le. The seco n d w ay in w h ich W ord sw orth 's lin e s a r e m o r e c o m p le x than T h o m so n 's, Y ou n g's, or C ow p er's is that m o r e of W o r d s w o r th 's lin e s have m o r e than one p o s s ib le m e tr ic a l sca n sio n . T his 253 factor is related to W ordsw orth's la r g er num ber of lin es requiring e lisio n , for alternate sca n sio n s of a line u su ally a r ise when elev en or tw elve sy lla b les m ay be reduced to fill the ten positions of the line in m o re than one way. W ordsworth u se s a ll of the sim p le d ev ices to crea te m e tr ic a l com p lexity found in the other poets. He u se s elidable w ords such as tow ers and flo w ers in the tenth p osition w here they can either be con sid ered d isy lla b ic or m o n osyllab ic as in: W hen(l) having left his M ountains, to the Tow ers (I, 286) (Though wind of rou ghest tem p er) tr e e s and tow ers (II, 117) Of W allace to be found lik e a w ild flow er, (I, 214) New p le a su r e, like a bee among the flo w ers. (I, 608) If tow ers and flow er ( s ) are read as d isy lla b ic, all of th ese lin es have an e x tr a -m e tr ic a l unaccented eleventh sy lla b le. H ow ever, tow ers and flow er ( s ) can a lso be read as the m on osyllab ic tow ’rs and flow 'r ( s ) in w hich c a se th ese lin es have no e x tr a -m e tr ic a l sy lla b le. The p r e se n c e of th ese two p o ssib le m e tr ic a l sca n sio n s g iv es a certain sen se of c o m p lexity to the lin e s. In addition to this com plexity, W ordsworth a lso u se s the R -co lo red schwa diphthong in the tenth p osition w here the diphthong could e a sily sp lit in a perform an ce of the lin e to fo rm an e x tr a -m e tr ic a l sy lla b le. This o ccu rs in such lin es as: Thoughtfully fitted to the Orphean lyre; (I, 234) The e a g er n e ss of infantine d e s ir e ? (II, 26) 254 A gain, the s e c o n d of th ese lin e s contains ten sy lla b le s if d e s ir e is rea d as d is y lla b ic , although it could a lso be read as tr is y lla b ic in a p e r fo r m a n c e of the lin e, crea tin g an e x tr a -m e tr ic a l sy lla b le . The f i r s t of the la st two lin es e x e m p lifie s a sec o n d w ay in w h ich W ord sw orth (and the oth er p o e ts, e s p e c ia lly M ilton) c r e a te d lin e s with a lte r n a te m e tr ic a l sc a n sio n s. They red uced an e le v e n - s y l la b le line by m o r e than one p o s s ib le e lis io n . F or in sta n c e , e v en if ly r e (I, 234) is rea d as m o n o sy lla b ic , an unelided v e r s io n of th e lin e contain s e le v e n s y lla b le s . The line can be red uced to ten s y lla b le s in two w ays g iv e n the two p o s s ib le s tr e s s in g s of Orphean, O 'rphean and O rp h e'an : Thoughtfully fitted to the O rphean ly re; Thoughtfully fitted to the O rphean ly re; O ther e x a m p le s of th is techniq ue for creatin g lin es w ith a lte r n a te sca n sio n s in clu d e: Of m ed ita tion on the inhum an deeds Of m ed ita tio n on the inhu m an d eed s (I, 206) Of the f ir s t Conq u erors of the Indian I s le s , Of the f ir s t C onquerors of the Indian I s le s , (I, 207) W o rd sw o rth a lso u s e s the p o s s ib le co m p licatin g effects o f the long R -c o lo r e d sch w a diphthong o ccu rrin g within the lin e in a m e tr ic a lly am biguous en v iro n m en t, in an en viron m en t in w hich the diphthong could p o s s ib ly s p lit into two sep a ra te s y lla b le s . E x a m p les of th is in c lu d e : 255 Who knows the individual hour in which Who knows the individual hour in w hich (II, 211) Along the m argin of our te r r a c e w alk Along the m argin of our te r r a c e w alk (I, 289) In both of th e se lin es above, considering the long diphthong as d isyllab ic (which it could e a sily be in a p erform an ce of eith er line) c re a te s alternate sca n sio n s of the lin e. In one, the two sy lla b les of the sp lit diphthong occupy the sam e position; this is the fir s t v ersio n p resen ted for each lin e. In the second v e rsio n of the fir s t exam ple, the secon d syllab le of hour could also occupy p osition 9 with in. In the second v e r sio n of the second exam ple, the two sy lla b le s of the split diphthong our could a ls o occupy positions 6 and 7 w hile gin and of both occupy p osition 5. W ordsworth u s e s the com plicating effects of the long diphthongs along w ith other e lisio n s w ithin lines to create a v e ry strong sen se of syllab ic fu lln ess as w e ll as a sen se of m e tr ic a l com p lexity w ithin lin es as in: And ask no record of h ou rs, given up(5) (I, 254) When we had given our bodies to the wind, (I, 479) In each of th ese exam p les, the long diphthong of hours or our is butted up against the elisio n required to reduce given to giv'n , making the sy lla b ic fu lln ess even m o r e obvious. In other lin es W ordsworth req u ires two e lisio n s not involving a long diphthong as in: 256 I m igh t endue, m ight fix in a v is ib le h om e (I, 129) Withering the Oppr e s s o r : how Gustavus found (I, 211) Of m ela n ch o ly , not unnoticed, w hile the s ta r s, (I, 471) In all of th ese c a s e s , W ordsw orth butts the e lisio n s agains each other, m aking th em even m o re obvious and com p licatin g. In still other lin e s , W ordsworth c r e a te s m ultiple sca n sio n s accordin g to the H a lle -K e y se r th eory by com bining the effects of needed e lisio n s and of n eu tralizin g s t r e s s e s as in: And to such beings te m p er a te ly deal forth(5) (I, 132) R em em b erin g the sw e e t p r o m ise of the p a st (I, 138) In the f ir s t of th e se lin e s , two different e lisio n s are p ossib le: And to such beings te m p e r a te ly deal forth(5) And to such beings tem p era tely deal forth(5) The secon d v e r s io n of the lin e is p o ssib le only b ecau se eliding beings brings its s tr e s s e d sy lla b le next to that of tem p erately, thus n e u tr a liz ing the potential s t r e s s m axim a on p o sitio n 5 on tem p erately. S im i la rly , lin e 131 of Book I has two v e r s io n s : R em em bering the sw e e t p r o m ise of the p a st R em em b erin g the sw e e t p r o m ise of the p a st The e lis io n on r em em b erin g in the fir s t v e r s io n brings sw eet into p osition 5. H ow ever, the adjacent s tr e s s on p r o m ise n e u tra lizes the p oten tial u n m etrica l s t r e s s m axim u m on p o sitio n 5. In the seco n d v e r sion of the lin e, the s t r e s s on p r o m ise w hich fa lls in p osition 7 is n e u tr a liz ed by the adjacent s t r e s s on sw eet. This la s t way of creatin g 257 lin e s w ith a lte r n a te s c a n sio n s as w e ll as the red u ctio n of tw e lv e s y l la b le lin e s by two in ter n a l e lis io n s a re u n u su al and c o m p lic a te d e x a m p le s of m e t r ic a l ia m b ic p en ta m eter lin e s . T ogeth er th ey m a r k the exten t to w h ich W o rd sw o rth 's p ro so d y con tain s a c o m p le x ity s im ila r to M ilto n 's. In s u m m a r y , a n u m b er of c o n c lu sio n s can be draw n fr o m th is study of W o rd sw o rth 's p r o s o d y - - f ir s t , about the u s e fu ln e s s and a p p lic a b ility of H alle and K e y s e r 's d e sc r ip tio n of ia m b ic p e n ta m e ter v e r s e a s W o rd sw o rth w r o te it and, seco n d , about W o rd sw o rth 's p r o so d ic p r a c tic e s in th is v e r s e a s r e p r e s e n te d by B ooks I and II of The P r e lu d e . 1. A s for th e M ilton s a m p le , the H alle and K e y se r th eo r y is in s o m e w a y s a d eq u ate, in oth er w ays inad eq uate. a. H a lle and K e y s e r 's th eo r y a d eq u ately d e s c r ib e s the m e t r i c a l fr a m e w o r k of W o rd sw o rth 's lin e s : a ll of h is lin e s m a y be r e g a r d e d as m e tr ic a l w ith in the th eo ry w ith ou t e x te rn a l a d ju stm en ts of the th eo ry . b. H alle and K e y s e r 's th eo r y is inad eq uate to d e s c r ib e W o r d s w o r th 's s p e c ia l tr e a tm e n t of p o sitio n 9. B e c a u s e the tenth p o sitio n d o es not n o r m a lly c a r r y a s t r e s s m a x im u m , the th eo r y (w hich is o rien ted about the s t r e s s m a x im u m ) ten d s to ig n o r e or d im in ish the im p o rta n c e of th o se m e t r ic a l e ffe c ts r e la te d m o s t d ir e c tly to p o sitio n s 9 and 10. W ordsw orth's handling of s t r e s s and s t r e s s m a x im a has s e v e r al c h a r a c te r is tic s. a. W ordsw orth's lin es a re r e la tiv e ly even ly supported by s tr e s s m axim a w ith a slig h tly stro n g er support to the fir s t half of the lin e. In co m p a riso n w ith M ilton and Thom son, W ordsw orth g iv e s a r ela tiv ely light support to the la s t half of the lin e, and e s p e c ia lly to p osition 8. b. W ordsworth u s e s the ninth p osition in s e v e r a l w ays to counterpoint h is predom inant s tr e s s m axim a pattern falling on ev en -n u m b ered p o sitio n s. He p la ces m o re s t r e s s e d sy lla b le s in the ninth p osition and m any of th ese fa ll in a s e r ie s of th ree s t r e s s e d sy lla b le s in a row, giving th em added p ro m in en ce. Many of the sy lla b le s in the ninth p osition a sso n a te a n d /o r a llite r a te w ith m ajor w ords in even -n u m b ered p o sitio n s. c. W ordsw orth does not tend to a s s o c ia te p articu lar s t r e s s or syn tactic patterns w ith h is s t r e s s m axim a p attern s. d. W ordsw orth stron gly tends to p la ce h is v erb a l p a r tic le s in even -n u m b ered p o sitio n s, e sp e c ia lly the tenth p osition . e. Like M ilton and Young, W ordsw orth tends to m ark his c lim a c tic p a s s a g e s by a s e r ie s of lin e s having no or only one s t r e s s m a x im u m per lin e. W o rd sw o rth 's u s e of a sso n a n c e and a llite r a tio n ten d s to u n d e r s c o r e the s t r e s s m a x im a p attern fa llin g on e v en -n u m b e r ed p o s itio n s. W o rd sw o rth 's u s e of p o ly s y lla b ic w o rd s r e s e m b le s that of M ilton in that he tend s to m a k e th e se w ord s obviou s by c o n c e n tratin g th em and req u irin g o c c a s io n a l e lis io n s in th em . H ow e v e r , u n lik e M ilton, W ord sw orth tend s not to m ak e h is p o ly s y lla b ic w o rd s ob viou s by placin g th em in u n usual sy n ta c tic c o n s tr u c tio n s . In s e v e r a l qu antifiably su p p ortab le w a y s, W o rd sw o rth 's lin e s a r e n e a r e r to the m e t r ic a l c o m p le x ity of M ilton 's lin e s and a r e m e t r ic a lly m o r e c o m p le x than th o se of the e ig h te e n th -c e n tu r y p o e ts . a. The r ea d er m u st m a k e m o r e e lis io n s p er th ou san d lin e s in the sa m p le fr o m The P r e lu d e than in any oth er sa m p le but that fr o m P a r a d is e L o s t . b. M ore of W o rd sw o rth 's lin e s h ave m o r e than on e p o s s ib le m e t r ic a l s c a n sio n than the lin e s of any p oet stu d ied but M ilton. c . W ord sw orth u s e s m o r e of the r e a l e lis io n s (as o p p o sed to th e a r tific ia l e lis io n s b etw een the sp lit diphthong of the R -c o lo r e d sch w a ) than do the e ig h te e n th -c e n tu r y p o e ts. d. W ordsw orth cre a te d lin e s w ith m u ltip le sc a n sio n s by c o m bining the effects of need ed e lis io n s and of n eu tralizin g s t r e s s e s as w e ll as by reducing tw elv e sy lla b le lin es by two in tern al e lis io n s . Both of th e se m eth od s produce u n u su a l and co m p lica ted e x a m p le s of ia m b ic p en ta m eter lin e s . W ord sw orth 's p r a c tic e of e lis io n has s e v e r a l s im ila r itie s to the p r a c tic e s of the other p o ets. a. By u sin g w ords with long, R -c o lo r e d sch w a diphthongs, W ordsw orth adds a kind of m e tr ic a l c o m p le x ity or fu lln e ss to the lin e rela ted to sy lla b le count w ithout actu a lly adding any extra sy lla b le s . b. He s o m e tim e s u s e s th e s e long diphthongs in the tenth p o s i tion w h ere they m ay help to len gth en the lin e . c. He s o m e tim e s u s e s the co m p lica tin g e ffe c ts of th e se long diphthongs w ithin the lin e to c r e a te a lte r n a te s c a n sio n s. W ordsw orth tend s to p la ce the e lis io n s of the p a r tic ip ia l ending a lrea d y in d icated in the te x t (as in c h a r m 'd ) in ev en -n u m b ered p o sitio n s, e s p e c ia lly in p o sitio n 10. He h as few of th o se e lis io n s w ithin w ord s a lr ea d y in d icated in the tex t as in m u rm 'rin g or p ow 'r. In d e scr ib in g so m e of the sound p a ttern s in the W ordsw orth 261 sam ple, p articu larly th ose of s t r e s s , of asson an ce and alliteration and of elision , this chapter has d e scrib ed in one way the underlying v e r s e pattern of The P relu d e and so m e of the prosod ic lim its within w hich W ordsworth ranges in attaining this pattern. Further data to support the generalization m ade in this chapter are included in Appendix E, "Computer Data fr o m the W ordsworth Sam ple. " » 262 N otes The r e f e r e n c e s to The P relu d e w ill be by book and lin e num ber. Line 1 of Book I would be cited as (I, 1). 2 In th is lin e , given m u st be read a s m o n o sy lla b ic , c rea tin g the s e r ie s of th ree s t r e s s e d s y lla b le s at the end of the lin e , h o u r s, given up(5). 3 In th ese and the follow in g s t r e s s p a ttern s, u n accen ted sy lla b le s are r e p r e s e n te d by and s t r e s s e d s y lla b le s b y ( '). The s t r e s s p a t tern fo rm ed by th ree u n s tr e s s e d sy lla b le s fo llow ed by one s t r e s s e d sy lla b le is '. 4 The o th er c lim a c tic p a s s a g e s m a rk ed by a s e r ie s of lin e s h a v ing no or only one s t r e s s m a x im u m per lin e are: II, 20-37; II, 98-107; II, 166-172; II, 2 1 2 -2 2 7 ; II, 249-261; II, 270-275; and II, 2 8 4 -2 8 9 . Other p a s s a g e s containing som e of th ese m e t e r - f ix e d lin e s are: I, 1- 10; I, 185-190; I, 202-208; I, 2 1 9 -223; I, 294-301; I, 359-363; I, 497-504; and II, 150-155. 5 The lin e s containing th ese e lis io n s b etw een vo w els are: (a) W hereat, b ein g not unw illing now to g iv e (I, 68) (b) M y anxious v isita tio n , h u rryin g on. (I, 320) S till h u rry in g , h u rrying onward; m oon and sta r s (I, 321) (c) And the v a in -g lo r y of su p erio r sk ill (II, 70) (d) A virtue w h ich ir r a d ia te s and e x a lts (II, 259) (e) The heavy w eig h t of m any a w e a ry day (I, 24) Oh! m any a tim e have I, a fiv e y e a r s ' C hild, (I, 291) W as set, and v isib le for m any a m ile (I, 453) Such m in is tr y , when Ye through m any a y ea r (I, 494) But husbanded through m any a long cam paign . (I, 547) (f) Still h ig h er, that with a fra m e of outw ard life. (I, 128) (g) I h e ld m ute d ia lo g u es with m y M o th er's heart (II, 283) (h) To d isa p p ea r by a slo w gradual death; (I, 193) To a s e r v ile yoke. What n eed of m any w o rd s? (I, 113) (i) H er natural s a n c tu a r ie s, with a lo ca l sou l (I, 218) (j) To im p reg n a te and to elev a te the m ind. (I, 624) (k) Shadowy and u n su b stan tial. Then, la s t w ish , (I, 228) A nd all the shadow y banks, on eith er s id e , (I, 480) Of shadow y exultation: not for th is, (II, 332) The P ack lou d b ellow in g, and the hunted h are. (I, 464) (1) And F o llo w e r s of S e r to r iu s, out of Spain (I, 190) That m e llo w e r y e a r s w ill b ring a rip er m ind (I, 237) 263 (m) Internal echo of the im p er fe c t sound; (I, 65) Had a lm ost touch'd the h orizon , bidding then (I, 97) Of m editation on the inhuman deeds (I, 206) Of the f ir s t C onquerors of the Indian I s le s , (I, 207) W ithering the O ppressor: how Gustavus found (I, 211) Thoughtfully fitted to the Orphean lyre; (I, 234) Thou Soul that art the E tern ity of T hought! (I, 429) And, interrupting oft the im p a ssio n 'd gam e, (I, 565) So sw eetly 'mid the gloom the in visib le B ird (II, 132) In shadowy (I, 228), bellow in g (I, 464), fo llo w e r s (I, 190), m ellow er (I, 237), and horizon (I, 97) in the above lin e s , the required elisio n could occur over the lit or / r / separating two v ow els, as w ell as b e tw een the two naked v o w els as indicated. CHAPTER VIII CONCLUSION The pu rp ose of th is study has b een to d e scr ib e and d iscrim in a te am ong the blank v e r s e p r o s o d ie s of John M ilton, J a m e s T hom son, E dw ard Young, W illia m C ow p er, and W illia m W ordsw orth by an a c c u rate and c o n s iste n tly app lied th eo ry of p rosod y. F o r th is p u rp ose, 1 ,0 0 0 -lin e sa m p le s w e re c h o se n fr o m P a r a d ise L o st, The S e a s o n s , Night T h ou gh ts, The T a s k , and The P r e lu d e and w ere d e sc r ib e d a c cord ing to the th eo r y of p ro so d y p r e se n ted by M o rris H alle and Sam uel Jay K ey ser in E n g lish S tre ss: Its F o r m , Its Growth and Its R ole in V erse.^ V ariou s m e tr ic a l and s ty lis tic f e a t u r e s - - s u c h a s the o c c u r ren ce and lo ca tio n of s t r e s s m a x im a , of a sso n a n ce and a lliter a tio n , and of e lis io n s - -w e r e id en tified and tabulated through a s e r ie s of c o m puter p ro g ra m s d ev elo p ed by R ob ert D illig a n and b a sed on the H a lle - K e y se r th eo ry . A nu m ber of c o n c lu sio n s can be drawn fr o m th is study. The f ir s t part of th is ch ap ter s u m m a r iz e s the sp e cific c o n c lu sio n s p r e sen ted in the ind ividual c h a p te r s. The secon d part p r e se n ts som e g en era l c o m m e n ts on the u s e fu ln e s s of the m ethod. 264 265 The five poets differ m arkedly in their o verall treatm en t of s tr e s s m axim a. The difference can be su m m arized by the follow ing com p arison of the s tr e s s m axim a d en sitie s and the line ch arts locating the h igh est s tr e s s m axim a support to the line for the five poets. M ilton 2 4 6 8 51% 56% 43% 58% T hom son 2 1 4 6 1 8 50% 61% 50% 68% Young 2 1 4 6 1 8 48% 48% 50% 52% Cowper 2 4 1 6 1 8 57% 54% 50% 53% W ordsworth ! 2 1 4 6 1 8 52% 50% 47% 49% t — T A s th ese charts illu stra te, Thom son is the poet m o st n early r e s e m bling M ilton in h is distribution of s tr e s s m axim a throughout the line; both support th eir line m o st strongly in the fourth and eighth p osition s. In con trast, Young and W ordsworth and, to a certain extent, Cowper, give rela tiv ely even s tr e s s m axim a support to th eir lin e s, with Young supporting the second half and W ordsworth and Cowper the fir s t half of the line slightly m o re strongly. In addition, each author exhibits s p e cific c h a r a c te r istic s in h is handling of s tr e s s m axim a which h elp s to d iscrim in ate h is prosody from that of oth ers. M ilton 's handling of s tr e s s m a x im a has se v e r a l of th ese c h a r a c te r is t ic s . (1) He c h a r a cter istic a lly w r ite s lin es having th ree, two, or only one s tr e s s m a x im a per line. (2) H is three m o st frequently o c c u r ring s tr e s s m axim a patterns are 2, 4, 8; 4 ,8 ; and 2 ,8 . (3) In h is quieter and m o re d escrip tiv e p a s s a g e s , M ilton tends to p lace h is s tr e s s e d sy lla b le s reg u la rly in even -n u m b ered p o sitio n s and to allow th ese s tr e s s e d sy lla b le s to be actu a lized as s tr e s s m axim a. This handling of s t r e s s and s t r e s s m a x im a is a probable so u rce of the forw ard d r iv ing rhythm often noted in M ilton. (4) M ilton frequently u n d e rsc o re s c lim a c tic points in the n arrative of the fa llen a n g el's reb ellio n again st God and the chaos th is in trod u ces into the u n iv erse by phrasing such c lim a c tic points in lin e s with no or only one s tr e s s m axim um per line. It is as if M ilton c h a r a c te r is tic a lly and v ery sp e c ific a lly m a rk s e s p e c ia lly sign ifican t lin e s and p a ssa g e s with sp ecia l m e tr ic a l e ffe c t s , as if he fra m ed the m o st d esp erate parts of the n arrative in the p rosod ic str u ctu res m o st sp e c ific a lly reflectin g such d esp eration . (5) In such p a s s a g e s , M ilton tends not to allow h is s t r e s s e s to becom e s t r e s s m a x im a , and he tend s to slow and w eight h is lin e s by the p r e se n c e of s t r e s s e s in odd -nu m bered p o sitio n s which n eu tra lize the potential s t r e s s m a x im a in even -n u m b ered p o sitio n s. (6) M ilton tends to w rite lin es with a s t r e s s m a x im u m e a r ly in the lin e, that is , in p o sitio n s 2 or 4. The freq u en cy of th is c h a r a c te r istic in h is w ork su g g e sts that M ilton reg a rd ed the m e tr ic a l phenom enon r ep resen ted by the con cep t 'early s t r e s s m axim u m ' as a p rosod ic touchstone to which he c o n stantly r e fe r r e d . T his 'touchstone' is e s p e c ia lly im portant as a reo rien tin g d evice after lin e s or in p a ssa g e s with no or only one s tr e s s m a x im u m per lin e. (7) Although one does not u su a lly find lin e s with a 267 s tr e s s m axim u m in p osition 10, M ilton o cca sio n a lly w rites lin es with a str e s s m axim um or a potential s tr e s s m axim um in this position. M ost frequently, the potential s tr e s s m axim um is caused by the p resen ce in position 10 of a long diphthong ending in an R -co lo red schwa, such as the diphthong in f i r e , d ir e , or i r e . M ilton tends to r e s e r v e h is u se of fire(s) for this term in al position. In h is handling of s tr e s s m axim a, Thom son sh a res som e but not all of M ilton ’s c h a r a c te r istic s. While T hom son's (like M ilton's) stro n g est s tr e s s m a x im a support is to position s 4 and 8, h is s tr e s s m axim a support is m uch stronger all through the lin e, and e sp ec ia lly stronger in the la st half of the lin e. As a co rr e la ry to th is, Thom son p refers s tr e s s m a x im a patterns with a high number of s tr e s s m axim a per line and with late s tr e s s m axim a. He u se s asson ance and a llite r a tion to rein fo rce strongly h is underlying s tr e s s m axim a pattern, and he lim its those fa c to r s which m ight com p licate or ob scure the u n d er lying s tr e s s m a x im a pattern late in the lin e, such as s t r e s s e s or a s s o nance or allitera tio n fallin g in odd-num bered p osition s. T hom son is le s s lik ely than M ilton to n eu tralize h is potential s tr e s s m axim a by adjacent s t r e s s e s in odd-num bered p o sitio n s, e sp ec ia lly in the la st half of the lin e. H is lin es having no or only one s tr e s s m axim um per line (his m e te r -fix e d lin es) tend to fall together in certain p a ssa g es d e s c r ib ing the te r r o r s and p ow ers of nature during or right after sev e r e winter sto r m s. T hese p a ssa g e s provide excep tion s to som e of T hom son's 268 m o r e u su a l p ro so d ic p r a c tic e s , fo r they contain fe w er s t r e s s m a x im a than m o s t of h is lin e s , they contain heavy a sso n a n ce and a llitera tio n (although T hom son u su a lly s e p a r a te s h is m e te r -fix e d lin es fr o m th ose lin e s with the h e a v ie s t a sso n a n c e and a llitera tio n ), and they contain h ig h le v e ls of en jam b m en t. In th ese r e s p e c ts , the p ro so d y of T hom so n 's m o r e co m p lex lin e s m o r e n ea rly r e s e m b le s M ilton 's p rosody than d o es that of T h o m so n 's le s s c o m p le x lin e s . H o w ev er, in som e a s p e c t s , the p rosod y of e v e n th ese m e te r -fix e d lin e s c o n tr a sts with M ilton 's and h e lp s define T h o m so n 's p rosod ic un iqu en ess: h is te n d e n c ie s to support m o st stro n g ly the la s t h alf of h is lin e , to u se p at te r n s of a sso n a n c e and a llite r a tio n to rein fo r ce the u n d erlyin g s tr e s s m a x im a p attern rath er than to counterpoin t it, and to n e u tra lize h is s t r e s s m a x im a p red om in an tly by adjacent syntactic b rea k s rath er than by ad jacent s t r e s s e s . In co n tr a st to M ilton 's and T h om son 's support of the fourth and eighth p o s itio n s, both Young and W ordsw orth and, to a cer ta in extent, C ow per, give a r e la tiv e ly e v en support to th eir lin e s . H ow ever, w hile Y oung's supp ort f a lls slig h tly m o re stro n g ly on the la s t half of the lin e , both C ow per and W ordsw orth support the f ir s t half of th eir lin e s slig h tly m o r e stro n g ly . C o w p er's support to the f ir s t half of the lin e i s seen in s e v e r a l c h a r a c t e r is t ic s of h is p rosod y. He favors s t r e s s m a x im a p at te r n s with a s t r e s s m a x im u m in p o sitio n 2; he stron gly r e in fo r c e s p o s i tio n s 2 and 4 with pattern s of a sso n a n c e and alliteration ; and he lim its 269 the counter pointing effects of asson an ce and alliteration in the fir s t position and of adjacent s tr e s s in the f ir s t and third p osition s. As does M ilton, Cowper see m s to regard an early s tr e s s m axim um , e sp e c ia lly one in position 2, as a reorientin g device after a m e te r - fixed (or m etrica lly disorienting) p assage or lin e. He also tends to place lin es with three str e s s m axim a after m e te r-fix e d lin es to m ore fir m ly e sta b lish the m e tr ic a l structure. While m o s t of C ow per's m e te r -fix e d lin es tend to fall in sm all groups of at m o st two or three lin e s , four p a ssa g es in this sam ple are m arked by a concentration of th ese lin es. Three of th ese p a ssa g es are heavily M iltonic, suggesting that perhaps Cowper identified a m ore disorien tin g or m e te r-fix e d m etrica l fram ew ork with M ilton's style. W ordsw orth's rela tiv ely light support to the la st half of the line is reflected in h is ch oice of s tr e s s m axim a patterns. He and Young are the only poets studied in whom the pattern 4, 8 did not rank second, and of W ordsw orth's eight m o st frequently occu rrin g str e s s m axim a pattern s, none has s tr e s s m axim a in both position s 6 and 8. Further, W ordsworth u se s the ninth position in s e v e r a l w ays to counterpoint h is predom inant s tr e s s m axim a structure fallin g on even -n u m b ered p o s i tion s. He p laces m any str e s se d sy lla b les in the ninth position and m any of th ese fall in a s e r ie s of three s tr e s s e d sy lla b les in a row, giving th em added prom inence. F u rth er, m any of the sylla b les in the ninth position asson ate and/or allitera te with m ajor words in even - 270 num bered p o sitio n s. Like M ilton, T h om son , and Young, W ordsw orth tends to m a rk h is c lim a c tic p a s s a g e s by a s e r ie s of lin e s having no or only one s t r e s s m a x im u m per lin e. W hile Y oun g's blank v e r s e d o es show so m e s im ila r it ie s to M ilton 's in its p la cem en t of s t r e s s and its tr ea tm en t of im portant lin e s , Young's o v e r a ll handling of h is lin e is v e ry d ifferen t fro m all of the other poets studied. Y oung's lin e s c h a r a c te r is tic a lly r e f le c t the m e t r ic a l style of the h er o ic cou p let w ith its a n tith e sis, its b a la n ce, and its en d -sto p p ed lin e s , a style u n d e r sc o r e d by Y oung's u se of a sso n a n ce and a llitera tio n . H is ev en s t r e s s m a x im a support for the lin e d ep arts stron gly fr o m that on p o sitio n s 4 and 8 p r a c tic ed b efo re him by M ilton and T hom son. H o w ev er, Y oung's ev en support m a k es se n se with a v isio n of h im a s a w r ite r of blank v e r s e c o u p lets. In th is v isio n , it is the h alf lin e, not the individual p o sitio n , that is m o s t im portant; the poem ad van ces th e m a tic a lly m o s t often by h alf lin e s , and in it half lin e s th em a tica lly b alan ce and c o n tr a st. It s e e m s ap p rop riate, th e r e fo r e , that th ese sa m e half lin es p rovid e the m e tr ic a l as w e ll as the th em a tic base and that no one p o sitio n in the h alf lin e ta k es p r e ce d e n c e . The f ir s t half b a la n ces the secon d half. F a r fro m se e m in g an a r b itr a r y and m e a n in g le ss dep artu re fro m h is tra d itio n a s e x em p lified by M ilton and T hom son, Y oung's e v en support of the lin e r e f le c ts a c o n s is te n c y in h is p rosod y and th em atic tr ea tm en t as rem a rk a b le as it is d ifferen t. Young d oes share with M ilton and T h om son , h o w e v e r , an im p ortant c h a r a c 271 te r istic in h is handling of s tr e s s m axim a. He habitually sign als e sp e c ia lly im portant them atic lin es by an unusual m e tr ic a l set within them . He g iv es such lin es no or only one s tr e s s m axim um per line. M ilton, W ordsworth, and Young share an im portant c h a r a c te r istic in th eir handling of s t r e s s m axim a as opposed to Thom son and Cowper. M ilton does not a sso c ia te s tr e s s or syntactic patterns with his s t r e s s m axim a pattern s. While W ordsworth and Young do a s s o ciate s tr e s s patterns with th eir s tr e s s m axim a patterns, they do not a sso c ia te syntactic patterns with them . In con trast, Thom son and Cowper a sso c ia te both s tr e s s and syntactic patterns with th eir s tr e s s m axim a patterns. To the extent that they do th is, it m ay be argued that they u se a m odified form u laic approach to w riting poetry akin to the o r a l-fo r m u la ic approach a sso c ia te d with A nglo-Saxon poetry or with H om er's grea t e p ic s. F or in stan ce, it was noted that Thom son's lin es without a s tr e s s m axim um in position 2 often share a sim ila r line opening, the s tr e s s pattern ' u°' form ed by one of the follow ing c o m m on syntactic patterns: 1. m o n osyllab ic adjective plus m on osyllab ic p rep osition plus m on osyllab ic noun, as in: Wide o'er the B rim , with m any a T orrent sw ell'd (1. 94) F r e s h fro m the P lo w , the dun d iscolou r'd F lo c k s, (1. 64) 2. m on osyllab ic verb plus m on osyllab ic p rep osition plus d eterm in er plus noun, as in: 272 W heels fr o m the D eep , and s c r e a m s along the Land. (1. 145) R ush on h is N e r v e s , and c a ll th eir V igor forth (1. 287) T h o m so n 's and C o w p er's u s e of a n a rro w er range of p ro so d ic p o s s i b ilit ie s , illu str a te d h e r e by th eir m o re lim ite d u se of the p o ssib le s y n ta ctic p attern s a s s o c ia te d w ith s t r e s s m a x im a p a ttern s, is r e fle c te d in other a s p e c ts of th eir p r o so d ie s in c o m p a r iso n w ith M ilton and W o rd s w orth. T h om son and C ow per (and Young) u se fe w er e lis io n s and few er lin e s with m u ltip le sc a n sio n s than do M ilton or W ordsw orth. In th eir handling of e lis io n , the p o ets all sh are c er ta in c h a r a c t e r is t ic s . T hey all s o m e tim e s u se the long R -c o lo r e d sch w a diphthong in the tenth p o sitio n w h ere the diphthong m ay eith er be read as elid ed or as sp lit to fo r m an e x tr a -m e tr ic a l sy lla b le . F u rth e r, they all elid e b etw een ad jacent v o w els and o v er the con son an t sounds / r / , 111, and / n / , and all but C ow per elid e o v er / v / . H o w ev er, in spite of th ese s im ila r it ie s , the p o ets va ry in th eir handling of e lis io n in th e se s a m p le s . Only M ilton e lid e s o v er / h / , only T hom son o v e r / f / , only M il ton and W ordsw orth o v e r / m l , and on ly W ordsw orth o v e r / z / . F u r th er , the num ber of req u ired e lis io n s per 1,0 0 0 lin e s d im in ish e s c h r o n o lo g ic a lly fr o m M ilton to C ow p er, su g g estin g that in the e a r ly and m id -e ig h te e n th cen tu ry blank v e r s e p ro so d y , e lis io n b eca m e l e s s im p o rta n t as a m e tr ic a l c o m p ilea to r . W ith W ordsw orth , th is trend is r e v e r s e d . H is sa m p le r e q u ir e s m o r e e lis io n s per 1 ,0 0 0 lin e s than any 273 other sam ple but that fr o m M ilton: 212 e lis io n s for the M ilton sam p le, 163 for the T hom son sa m p le, 144 for the Young sa m p le, 77 for the Cowper sa m p le, and 202 for the W ordsw orth sam p le. In addition to th eir handling of s t r e s s m a x im a and e lis io n , the g rea ter co m p lex ity of M ilton 's and W ordsw orth 's lin e s d iscrim in a te th em from the lin es of T hom son, Young, and C ow per. A ll five poets use certa in m eth od s to add co m p lex ity to th eir lin e s . By using w ords with long R -c o lo r e d sch w a diphthongs, w hich m ay poten tially be sp lit into two sep arate sy lla b le s in a p erfo rm a n ce of a lin e , the poets add a kind of m e tr ic a l co m p lex ity or fu lln e ss to the line rela ted to syllab le count without actu ally adding any e x tr a sy lla b le s . They so m e tim e s use th ese long diphthongs in the tenth p osition w here the diphthongs m ay lengthen the line as w e ll as p oten tially fo r m an e x tr a -m e tr ic a l syllab le. They so m e tim e s use the co m p licatin g e ffe c ts of th ese long diphthongs within the line to c r e a te altern ate sc a n sio n s of a lin e. And they all u se e lis io n s within the lin e as a co m p lica tin g fa cto r. In spite of th e se s im ila r it ie s , M ilton 's and W ordsw orth's lin es are m o re co m p lex in se v e r a l w ays than a re the lin e s of the eigh teen th - century p oets. F ir s t, as a lrea d y stated, both M ilton 's and W ord s w orth 's lin e s req u ire m o r e e lis io n s per 1 ,0 0 0 lin e s than do the lin es of the eig h teen th -cen tu ry p o ets. Second, M ilton and W ordsw orth u se m o r e of the r e a l e lis io n s (as opp osed to the a r tific ia l e lis io n s betw een the sp lit diphthong of the R -c o lo r e d schwa) than do the eigh teen th - 274 cen tu ry p o e ts. T hird, both M ilton and W ordsw orth h a v e m o r e lin e s w ith m o r e than one p o s s ib le m e tr ic a l sc a n sio n than do the oth er p oets: 179 lin e s in the W o rd sw o rth sa m p le with m o r e than one s c a n sio n , 133 lin e s in the T h o m so n s a m p le , 123 lin e s in the Young sa m p le , 67 lin e s in the C ow per s a m p le , and 173 lin e s in the W ordsw orth sa m p le . F ou rth , W ord sw orth and M ilton c r e a te m o r e lin e s of a g r e a te r c o m p lex ity than do the o th er p o e ts, m o r e lin e s allow in g m u ltip le s c a n s io n s through a co m b in a tio n of r e q u ir e d e lis io n s w hich m ay o c cu r in m o r e than one way and m o r e lin e s w hich m a y be r ea d as t e n - s y lla b le n o r m a l lin e s or as nine - s y lla b le c a ta le c tic lin e s . One m a y a lso d is c r im in a te am ong the p oets on the b a s is of su ch s ty lis tic fe a tu r e s a s the o c c u r r e n c e and p la c e m e n t of v erb a l p a r tic le s (su ch as the a d v e r b ia l fo r m in b u rst fo r th ), of the e lis io n s of the p a st p a r tic ip ia l endin g a lr e a d y in d ica ted in the tex t (as in c h a r m 'd ), and of oth er e lis io n s w ith in w o r d s a lr ea d y in d icated in the tex t (as in m u r m 'r - ing or p o w 'r ). In th eir u se and handlin g of v e rb a l p a r tic le s , M ilton and T h o m son a r e s im ila r . B oth h ave about 41 p a r tic le s per 1, 000 lin e s and th e se fa ll p red o m in a n tly in p o sitio n s 2, 8, and 10. Young and C o w p er, on the oth er hand, u s e fa r fe w e r p a r tic le s , only about 21 per 1 ,0 0 0 lin e s . C o w p e r ’s p a r tic le s tend to fa ll in p o sitio n s 2, 8, and 10, a s did M ilto n 's and T h o m s o n 's , w h ile Y ou n g's tend to fa ll in all e v en - n u m b ered p o s itio n s , e s p e c ia lly in p o sitio n s 2 and 4. W ord sw orth u s e s 275 m ore p a r tic le s than the o th ers, about 53 per 1,0 0 0 lin e s , and th ese tend to fall in ev en -n u m b ered p o sitio n s, e sp e c ia lly in p osition 10. In co n tra st to M ilton, Young, and C ow per, W ordsworth d oes not e s p e c ia lly favor p o sitio n s 2 and 8 for the p lacem en t of h is p a r tic le s. In th eir u se and p lacem ent of e lis io n s of the p ast p articip ial ending alread y indicated in the text (as in ch a rm 'd ), M ilton, C ow per, and W ordsw orth are sim ila r . They tend to place th ese e lis io n s only in ev en -n u m b ered p osition s and e sp e c ia lly in p osition 10. In con trast, T hom son and Young tend to place th eir e lis io n s in all p o sitio n s, though both favor p osition 10 and Young also fa v o r s p osition 6. With the e x cep tion of T hom son, the num ber of th ese e lis io n s per 1, 000 lin es d e c r e a s e s ch ro n o lo g ica lly in the poets fro m the 216 such e lis io n s in the M ilton sam ple to the 162 in the W ordsw orth sam p le. In th eir u se and p lacem en t of oth er e lis io n s w ithin words alread y ind icated in the text (as in m u rm 'rin g and p ow 'r) , the p r a c tic e s of the poets v a r ie s w idely. The o c cu rr e n c e of th e se e lis io n s per 1, 000 lin e s v a r ie s fro m 124 for M ilton and 119 for C owper to 76 fo r Young and 66 for Thom son to only 22 for W ordsworth. M ilton tend s to place such e lis io n s in ev en -n u m b ered p osition s and about half of such e lis io n s in h is sam p le involve fo r m s of heav'n, h e a v 'n 's , h ea v 'n ly , and h ea v 'n s. T hom son tends to place h is e lis io n s in p osition s 2, 6, and 8, w hile Young tends to p la ce h is e a r ly in the lin e, e sp e c ia lly in p o sitio n s 1, 2, or 4. Cowper tend s to p lace h is e lis io n s in ev en - 276 n u m b ered p o sitio n s and, lik e T h om son , he fa v o r s p o sitio n s 2 and 8. T h e se in tern a l e lis io n s in the W ord sw orth sa m p le tend to fa ll in p o s i tio n s 1, 6, and 7, but the v a lid ity of th is g e n e ra liza tio n i s stro n g ly lim ite d by the v e r y s m a ll nu m b er of th e s e e lis io n s o c c u r r in g in h is sa m p le . T his stu d y , th en , has h elp ed to d is c r im in a te am on g the fiv e blank v e r s e w r it e r s . The o v e r a ll th ru st of the data is to s u g g e st that in s o m e im p o rta n t w a y s W ordsw orth and M ilton sh are m o r e p r o so d ic c h a r a c t e r is t ic s with e a c h oth er than w ith the th re e e ig h te e n th -c e n tu r y p o e ts. This stu d y a lso s u g g e s ts som e q u a n tita tiv ely su p p ortab le w a y s in w h ich the c o m p le x ity of T h o m so n 's, Y o u n g 's, and C o w p er's p r o so d y d e c r e a s e s c h r o n o lo g ic a lly fr o m the le v e l e sta b lis h e d by M ilton , a le v e l w hich W ord sw orth n e a r ly r e - a tta in s . T h is study h elp s is o la te on e e l e m en t co n trib u tin g to th e lo w er c o m p le x ity of T h o m so n 's and C o w p e r's v e r s e , th eir ten d en cy to c o m p o se lin e s by u sin g sy n ta ctic fo r m u la s , by freq u en tly r ep ea tin g th e sa m e sy n ta ctic p attern to a c tu a lize a g iv en s t r e s s pattern. T his stu d y a lso s u g g e s ts that the H a lle -K e y s e r th eo r y h a s s e v e r a l a d v a n ta g es over th e tra d itio n a l f o o t - s t r e s s th eo r y o f p ro so d y (the 'five iam b ic f e e t plus a llo w a b le d e v ia tio n s' th eo ry ). F i r s t , the H a lle - Key s e r th eo ry r e q u ir e s fe w er e x c e p tio n s and e m en d a tio n s to d e s c r ib e the lin e s of the fiv e p o e ts stu d ied . As a lr e a d y d is c u s s e d in C hap ter I of th is study, H a lle and K e y se r have in c o r p o r a te d the allo w a b le 277 d eviations of the traditional th eory into the o rigin al form u lation of th eir th eory. Thus, in the te r m s accepted by m a th em a ticia n s and sc ie n tists to evaluate com p etin g th e o r ie s, Halle and Key s e r 's theory is p referab le to the trad ition al d escrip tion b ecau se th eir th eo ry r e q u ires few er e x cep tio n s to explain the data at hand. In other w ord s, H alle and K ey ser have provided a th eo retica lly m o re com p lete and eleg a n t way to d e scr ib e iam b ic poetry than the trad ition al d escrip tio n . Another advantage of H alle and K e y se r 's th eory, w hich they do not point out, is that th eir th eory p rovid es a sp ecified p roced ure for ch o o sin g among altern ative read ings of a lin e, a proced u re that is r a tion al, definable, and rep eatab le. They sim ply ch oose the v e r sio n of a given line having the lo w e s t H a lle -K e y se r com p lexity num ber as the p r e fe r r e d v e rsio n . E m p ir ic a lly , th is procedure p rod u ces lin e s which a read er e a sily p e r c e iv e s as m e tr ic a l and m ight w ell ch o o se h im se lf or h e r s e lf as the p r e fe r r e d v e rsio n of the lin e. In co n tra st, the tr a d i tion al theory p ro v id es no such p roced u re. Given a ll of th e se advantages of the H a lle -K e y ser th eo ry , then, what i s one to m ak e of the apparently straightforw ard co n clu sio n s p r e sen ted h ere ? One m u st f ir s t note that in spite of th ese v a rio u s advan ta g es of the H a lle -K e y s e r th eory over the traditional f o o t - s t r e s s theory, th ere are im portant lim ita tio n s to H alle and Key s e r 's con cep tion of a d escrip tiv e p rosod y and th er e fo re of any study, including th is one, b ased on it. F i r s t , as d is c u s se d at length in Chapter III, the th eory 278 d e sc r ib e s a lin e 's com p lexity in purely phonetic te r m s. It does not con sid er syntactic com p lexity, the com p lexity resu ltin g fro m such purely syntactic fa cto rs as: 1. Syntactic in v e r sio n s, as in "Mee though ju st right, and the fixt law s of heav'n" (P a ra d ise L ost, II, 18). 2. The interruption of parenthetical e x p r e ssio n s, as in "With w hat(l) b e sid e s, in cou n sel or in fight, / Hath bin achievd of m e r it . . . " (P a ra d ise L o st, II, 20-21). 3. The tem p orary am biguity of syntactic function, as e x e m p li fied by m ore in "Yet this lo s s / . . . hath m uch m o re / E stab lish t in a safe unenvied throne . . . " (P a ra d ise L o st, II, 2 1 -2 3 ), w here m ore at fir s t appears to function as an adverb m odifying esta b lish t but which actually functions as a noun, the d irect object of lo s s . . . hath . . . e sta b lish t. Such com p lexity m ak es a line of poetry difficult to understand and is an im portant part of the p erceived com p lexity of a line which the H a lle- K eyser th eory does not deal with at all. There i s , h ow ever, an even m o re serio u s lim itation to the H a lle-K ey ser th eory, another im portant kind of com p lexity with which the theory does not deal. This con cern s the com p lexity which m ak es lin es 'hard to hear' rather than hard to understand. Many of the sign als a read er r e c e iv e s as he or she read s a line of poetry are e x tr em e ly subtle and d elica te. W. H. Auden su g g ests to som e degree the problem this r a is e s for a read er with a l e s s than p e r fectly sen sitiv e ear: 279 E v e r y p oet h a s h is d ream read er: m in e k eep s a lo o k -o u t for cu rio u s p ro so d ic fauna lik e b a c c h ic s and c h o r ia m b s. (One of m y m in o r p le a s u r e s in life is tryin g to m ake G eorge Sain tsbury turn in h is g r a v e . ) W hen, fo r e x a m p le , he rea d s the lin e H iatus in your voluble biography I im a g in e h im saying: "Wait a m om en t. S u rely, th is line i s a fo o t too lon g. Oh, now I see ! M r. Auden is scanning the la s t th ree s y lla b le s of biography as a d actyl, so that it would rh y m e not w ith be^ but w ith g eo g ra p h y . D arin g in an un rh ym ed p o em , but le g a l." A ge d u lls m an y fa c u ltie s , but it should grant an in c r e a s e d s e n sitiv ity of e a r , and to be frank, I am rath er vain about m in e.^ In th is p a s s a g e , M r. Auden su g g e sts that a r ea d er without the n e c e s sa ry " in c r e a se d s e n s itiv ity of ear" would not be able to rea d h is p o etry p rop erly. T his tru e not only of A ud en 's p oetry, but a lso of M ilto n 's, T h o m so n 's, Y o u n g 's, C o w p e r 's, and W ord sw orth 's. One of the m o s t im p ortan t a r e a s for w hich a r ea d er m u st have a se n sitiv e e a r is rh yth m , for m u ch of a lin e 's c h a ra cter and u n iq u e n e s s c o m e s fr o m its rhyth m . This is su g g e ste d by no l e s s a poet than Auden: W hatever e ls e it m a y or m ay not b e, I want e v e r y p o em I w rite to be a hym n in p r a is e of the E n g lish language: h en ce m y f a s c in a tion w ith c e r ta in sp e e c h rhythm s w hich can on ly o ccu r in an u n in fle c te d lan gu age r ic h in m o n o sy lla b le s. . . . ^ The im p o rta n ce of th e s e " sp eech rhythm s" in our p ercep tio n of a lin e as M ilton ic or Y oungian or W ordsw orthian (or A uden esqu e) is d e m o n stra ted in th e fo llo w in g p a s s a g e s fr o m M ilton, Young, and W o r d s w orth. S t r e s s m a x im a in the p a s s a g e s have b een u n d erlin ed , and the s t r e s s m a x im a p a ttern s fo r ea ch lin e have b een noted on the right m a rg in . 280 . . . to be deem 'd Equal in strength, and rather then be le s s 6 C ar'd not to b e(l) at all; with that ca re lo st 4 Went all h is fear: of God, of h ell, or w o rse null He reck 'd not, and th e s e (l) w ords th ereafter spake. 8 M y(l) sen tence is for open warr: of w ile s, 6 M ore unexpert, Ib o a st not: th em (l) let th o se (l) null Contriv e who need, or when( 1) they need, not now. 2 ,6 (P a ra d ise L o st, II, 46-53) E arth 's a cto rs change E arth's tra n sito ry s c e n e s , null And m ake C reation groan with human guilt. 2, 4, 6, 8 How m u st it groan, in a new deluge w helm 'd, null But not of w aters ! At the destined hour, 2 , 4 , 8 By the loud trum pet sum m on'd to the ch arge, 6 See, all the form idable sons of F ir e , 4, 8 E ruptio n s, E arthquakes, C om ets, L ightnings, play 2 T heir variou s en gin es. . . . (Night T houghts, IX, 154-161) U nm anageable thoughts. The m ind itse lf 8 The m e ditative m ind, b est p leased , perhaps, 2 While s h e (l), as duteous as the M other D ove, 4 ,8 Sits brooding, liv e s not alw ays to that end, null But hath(l) l e s s quiet in stin cts, goadings on(5) 6 That drive her as in trouble through the g r o v es. 2, 6 (The P r e lu d e , I, 149-156) A s a com p arison of th ese p a ssa g e s in d ic a te s, s e v e r a l of the lin es share com m on s tr e s s m axim a p attern s, but their sp eech rhythm s are v ery different. F o r in stan ce, in the M ilton p a ssa g e, the two lin e s without s t r e s s m axim a (the null lin es) have very different rhythm ic effects: "Went all h is fear: of God, of h e ll, or w o rse" (P a r a d ise L o s t, II, 48) and "More unexpert, I boast not: th em (l) le t th o se (l)" (P a ra d ise L ost, II, 52), F u rth er, the two lin es in th ese p a s s a g e s sharing the s t r e s s m a x im a pattern 2 ,6 also have different rhythm ic effects: "Con trive who n eed , or w hen(l) they need, not now" (P arad ise L ost, II, 53) 281 and "That d riv e her a s in trou b le through the g r o v e s" ( The P r e lu d e , I, 156). A lthough th e s e two s e t s of lin e s ju st p r e se n te d sh are th e sam e s t r e s s m a x im a p a ttern s and th e r e fo r e h ave so m eth in g in c o m m o n acco rd in g to the H a lle -K e y s e r th eo ry , in con text th is r e a d e r is m o r e stru ck by th e ir d iffe r e n c e s r a th e r than by th eir s im ila r it ie s . T h is d ifferen ce r e s u lt s p r im a r ily fr o m th eir d iffe re n t rh yth m s and d ep en d s on syn ta x , not s p e c ific a lly on th e handling of s t r e s s or s t r e s s m a x im a . A th orou ghly adequate th eo ry of p ro so d y ought to d e s c r ib e th ese d if f e r e n c e s , but the H a lle -K e y s e r th eo ry a s it is now p r e se n te d cannot do so. (N eith er, in c id en ta lly , can the tr a d itio n a l f o o t - s t r e s s th e o r y of p rosod y.) To push the m a tte r of rhythm a lit tle fu r th e r , m u c h of a lin e 's se n se d c o m p le x ity and c h a r a c te r s te m s fr o m th e te n s io n s c r e a te d b e tw een the m e tr ic a l and rh yth m ic str u c tu r e s of th e lin e. F o r in s ta n c e , in the fo llo w in g lin e s fr o m the Young p a s s a g e c it e d ab ove, the m e t r ic a l stru ctu re a s fix ed by th e u n d erlin ed s t r e s s m a x im a contin ually b u tts a g a in st the m o v e m e n t c r e a te d b y the s p e e c h rhythm s: And m ak e C rea tio n groan w ith hum an guilt. How m u st it groan, in a n ew deluge w h elm 'd , But not of w a te r s ! A t the d e stin ed h o u r, (N ight T h o u g h ts, IX, 1 5 5 -1 5 7 ) The H a lle -K e y s e r th e o r y d oes not c o n s id e r at a ll th is te n s io n b e tw e en rhythm and m e te r , w h ich s e e m s c e n tr a lly im p ortan t. T he th eo ry sim p ly ta k es for its p r o b le m "what is th e p r o so d ic str u c tu r e ? " r a th e r 282 than "how d oes the p rosod ic structure function w ith other e lem en ts of the poem to produce an ultim ate effect?" It is , of c o u r se , n e c e s s a r y to d e sc r ib e the p rosod ic structure before one can d e sc r ib e how it r e la te s with other e lem en ts of the poem , but one m u st not m istak e the d escrip tio n of the structure for a d escrip tio n of its r o le. One m u st, th e r e fo r e , keep in m ind the lim itation s of the th eo ry its e lf-- th a t in dealin g with p rosod y it d ea ls with only a sm a ll p art of a p oem 's or a lin e 's total e ffe ct and that it d eals sim p ly with the e ffe c ts of s t r e s s , s t r e s s m a x im a , syntactic b ea k s, and e lis io n s without con sid erin g th eir syn tactic b ase or th eir b ase in sp e ec h rhyth m s. F u rth er, one m u st note certa in lim ita tio n s of the m e th o d o lo g y -- e s p e c ia lly the dangerous sed u ctiv en ess of quantitative data such as that on w hich th is study is b ased . We liv e in a cu ltu re p erm ea ted by the v alu es and m eth od ologies of m od ern sc ie n c e . T hese valu es and m eth odology dem and the sim p lifica tio n of r ea lity , the reduction of a s y ste m to v a ria b les w hich m ay be studied in iso la tio n fr o m the u su a lly in coh eren t co m p lex ity of rea lity . This m eth od ology does allow one to le a r n som eth in g about the individual v a ria b les w hich have thus been iso la te d and studied, but one m u st con stan tly r em em b er that on e's know ledge is only of a sy ste m , not of r ea lity . A s has b een stated ab ove, one m u st not m istak e an in co m p lete d escrip tio n of a prosody for a d e scr ip tio n of its ro le in producing a poetic effe ct. F u rth er, the v a lu es and m ethodology of the p h y sica l s c ie n c e s s t r e s s the validity of 283 q u an tification and r e p e a ta b ility a s m eth o d s of p ro o f, and s c ie n c e f o l lo w s such m eth od s w ith r ig o r . M ost h u m a n istic stu d ies have tr a d i tio n a lly n ot adopted th is r ig o r o u s m eth o d o lo g y and the r e s u ltin g sen se of cu ltu ra l and in te lle c tu a l sc h iz o p h r e n ia in th is cen tu ry h as b een noted by such c o m m e n ta to r s a s C. P . Snow in The Two C u ltu r e s. The e x te n siv e u se of qu an tifiab le data such a s that on w hich th is study i s b a sed a llo w s the h u m a n ist's m eth o d s of proof to adopt so m e of s c ie n c e 's m eth o d o lo g y . T his is not o n ly r e la tiv e ly in freq u en t in lite r a r y stu d ies; it is a lso d e s ir a b le to the ex ten t to w hich our m e th od s of p roof co n fo rm to the c u ltu r a lly and m o s t accep ta b le sta n d a rd s. But such p sy c h o lo g ic a l and p h ilo so p h ic a l p r e d isp o sitio n s m u st not m ake one too rea d y to a c c e p t and attrib u te too m u ch w eigh t to quantitative fin d in gs s im p ly b e c a u se th ey a r e q u an titative. C o n v e r se ly , one m u st not r e je c t su ch q u an titatively b a sed fin d in g s fr o m an op p osite p h ilo sop h ical p r e d isp o sitio n , fr o m a fe e lin g that 'n u m b ers have no place in lit e r a r y s tu d ie s .' W ith th is s e e m in g m u ltitu d e of s e r io u s r e s e r v a tio n s about the fin din gs of th is study, le t u s r etu r n to the q u estio n p osed e a r l i e r - - what is one to m ake of the c o n c lu s io n s p r e se n te d h e r e ? The f i r s t point to m ake is that w h a tev er the lim ita tio n s , the H a lle -K e y s e r th eo r y and the m eth o d o lo g y behind th is stu d y s e e m to be the b e s t that s c h o la r s now have fo r d ealin g w ith p r o so d ic i s s u e s . The tra d itio n a l f o o t - s t r e s s th eory h as a ll of the lim ita tio n s ju st ou tlin ed for the H a lle -K e y s e r 284 theory: It too d eals only with a sm a ll part of a poem 's or a lin e 's total effect and it too deals sim p ly with the effects of s tr e s s , syntactic breaks and e lis io n s without considering th eir syntactic base or their base in sp eech rhythm s. H ow ever, it la ck s som e of the c r itic a l and th eo retica l advantages of the H a lle -K e y ser theory: the in sig h ts r e vealed by the concept of the s tr e s s m axim um , the inclusion of the t r a ditional 'exceptions' to the fo o t -s t r e s s th eory in the original fo r m u la tion of the H a lle-K ey ser theory, and the rea d ily quantifiable c h a r a c ter of the H a lle-K ey ser data. The H a lle -K e y ser theory i s not only the b est one a c r itic has at this m om en t, it has also provided strong counterargum ents for som e previous c r itic a l con clu sio n s about the blank v e rse prosody of M ilton, the eigh teen th -cen tu ry p o e ts, and W ordsworth. Such previous con clu sions include Enid H a m er's d iscu ssio n of the prosody of n on -d ram atic blank v erse: With Cowper ends the unbroken and unm ixed Miltonic tradition. Signs of w ider influence are h eard even in h is blank v e r s e , and with W ordsw orth and C olerid ge a definitely new period b eg in s, in the h isto ry of blank v erse a s in other a sp ects of poetry.^ Such a statem en t is d ir e ctly contradicted by the con clusions of this study, which find W ordsworth to be the m o s t M iltonic of the blank v e r s e poets studied and Young and Cowper to be in sev e r a l ways the m o st un- M iltonic. S im ilarly, th is study p rovid es data to question M iddleton M u rray's c r it ic is m of M ilton, sin ce all four of the later p oets studied, 285 and e s p e c ia lly T h o m so n , Y oung, and C o w p er, are quite unM iltonic: To p a s s under the sp e ll of M ilton i s to be co n d em n ed to im ita te h im . It is quite d ifferen t w ith S h a k e sp ea r e . S h a k esp ea re b a ffles and lib e r a te s ; M ilton in p e r sp ic u o u s and c o n s tr ic t s .^ F in a lly , th is study s u g g e s ts w a y s in w hich th e p ro so d y of W ordsw orth and, to a c e r ta in ex te n t, that of T h o m so n and Young c o n tra d ict E lio t's fa m o u s statem en t: "in c o m p a r is o n w ith M ilton , h a rd ly any su b seq u en t w r ite r of blank v e r s e a p p ea r s to e x e r c is e any fr e e d o m at all." ^ While th e s e p r o so d ic a r g u m e n ts are only s m a ll p a r ts of a la r g e r c r it ic a l r e s p o n s e to the p la ce of th e se p o ets in h is t o r ic a l and in te lle c tu a l c o n te x t s , the a r g u m en ts h ave th e ir p la ce. F u r th e r , o th er stu d ies done under th is th eo r y and by th is m e th o d o lo g y are r e a d ily c o m p a ra b le and ap p lica b le to la r g e r s a m p le s fr o m th e s e p o e ts and to s a m p le s fr o m oth er p o e ts. It would be in t e r e stin g to s e e how the p r o so d y of th e s e p oets w ritin g n o n -d r a m a tic blank v e r s e c o m p a r e s w ith the p ro so d y of d ra m a tic blank v e r s e as w r itte n by M arlow , S h a k e sp e a r e , J o n so n , W e b ste r, and o th er E liz a bethan d r a m a tists as w e ll a s th eir sev e n tee n th and e ig h te e n th -c e n tu r y c o u n te r p a r ts su ch as Sam u el John son . S a in tsb u ry , fo r in sta n c e , f e e ls that d r a m a tic blank v e r s e s o lilo q u ie s str o n g ly in flu en ced Y oung's p r o so d y in N ight T h o u g h ts, a h y p o th e sis w h ich a study such as the one co n d u cted h e r e could e a s il y su p p ort or attack . The e ig h te e n th -c e n tu r y h e r o ic c o u p le t p r o v id e s an other ob v io u s body of v e r s e on w hich th is m e th o d o lo g y could p ro v id e in te r e s tin g data. It is a c r it ic a l c o m m o n 286 place that the p ro so d y of the cou p let is m u ch m o re s tr ic tly defined and p r a c tic ed than is that of blank v e r s e . A study of the p r o so d y of D ryd en , P o p e, and J oh n son w ould p rovid e an in ter e stin g co m p a r iso n to and co m p lem en t of th is study of blank v e r s e . One m ight w e ll be able to p ro v e, for in s ta n c e , that P o p e 's p ro so d y is in so m e w a y s as c o m p le x or ev en m o r e c o m p le x than the p ro so d y of som e of his eig h teen th - cen tu ry co u n ter p a r ts who w rote blank v e r s e . E ven m o r e d ir e c tly r e l e vant to the c o n c lu s io n s of th is study about Y oung's and C o w p er's p r o s ody m igh t be a study of th eir e a r lie r cou p let v e r s e , sin c e both w rote p r o lific a lly in c o u p lets b efo re they turned to blank v e r s e . H o w ev er, b efo re attem p tin g one of th ese stu d ies, one m ig h t w e ll ch eck c a r e fu lly the data p r e se n te d in the appendixes of th is study. T here is a g r e a t d eal of data th e r e and d ifferen t co n c lu sio n s than m in e could probably be draw n fr o m th em . H o w ev er, they s u g g e st the range and type of c o n c lu s io n s w hich can be draw n fro m such a study as th is. They a lso co n tain good c a ta lo g u e s of the w ays the v a rio u s p o ets handle s t r e s s , a sso n a n c e and a llite r a tio n , syn tactic b rea k s, and e lis io n s . T h e se , fin a lly , a re the fou ndations upon w hich any th eo ry of p ro so d y m u st build. 287 N otes ^M orris H alle and Sam uel Jay K e y se r , E n g lish S tress: Its F o r m , Its Growth and Its R ole in V erse (N ew Y ork, 1971). 2 W. H. Auden, "On 'A Change of A i r , 1 " in The C ontem p orary A r tis t as P o e t and C r itic , ed. by Anthony O stroff (B oston and Toronto, 1964), p. 186. ^Auden, "On 'A Change of A ir,' " p. 186. 4 Enid H a m er, The M etres of E n g lish P o etry (N ew Y ork, 1930), p. 113. 5 M iddleton M urray, quoted by T. S. E liot in Milton: Two Stud ie s (.London, 1968), p. 28. ^T. S. E lio t, Milton: Two Studies, p. 48. B I B L I O G R A P H Y 288 BIBLIOGRAPHY A tkins, J. W. H. E n glish L itera ry C riticism : 17th and 18th C entu r i e s . New York: B arn es & N oble, Inc. , 1950; London: M ethuen, 1951. Auden, W. H. "On a 'Change of A ir,' " The C on tem p orary P oet a s A r tist and C r itic , ed. Anthony O stroff. B oston & Toronto: L ittle, Brown and Com pany, 1964. B e a v e r , Josep h . "A G ram m ar of P ro so d y ," C o lle g e E n g lish , XXIX, No. 4 (January 1968), 310-321. ____________ . "C urrent M etrical Iss u e s," C ollege E n g lish , XXXIII, No. 2 (N ovem b er 1971), 177-197. B eu m , R obert. "So Much G ravity and E a se," Language and Style in Milton: A Sym posium in Honor of the T er c en te n a r y of P a r a d ise L o s t, ed. Ronald D avid E m m a and John T. S h aw cross. N ew York: F r e d e r ic k U ngar, 1967. B inyon, L au ren ce. "A Note on M ilton 's Im agery and Rhythm ," Seventeenth Century Studies P r e se n te d to S ir H erb ert G r ie r so n . Oxford: C larendon P r e s s , 1938. B lis s , Isa b el St. John. Edward Young. New York: Twayne P u b lis h e r s , 1969. B r id g e s, R obert. M ilton 's P r o s o d y , rev . ed. London: Oxford U n i v e r s ity P r e s s , 1921; Oxford: C larendon P r e s s , 1966. B roadbent, J. B. "M ilton's R h etoric," M odern P h ilo lo g y , LVI (M ay 1959), 2 2 4 -2 4 2 . R eprinted in Milton: M odern J u d g m en ts, ed. Alan R undrum . London: M acm illan , 1968. Brow n, W allace C. The Trium ph of F o r m . A Study of the Later M a s te r s of the H eroic C ouplet. C hapel Hill: U n iv e r sity of North C arolin a P r e s s , 1948. 289 290 B y s s h e , E dw ard. The A rt of E n g lish P o e t r y , 4th ed. L ondon, 1710. C hatm an, S eym ou r. A T h eory of M e t e r . London, P a r i s , The Hague: M outon & Co. , 1965. __________ . " S ty listics: Q uantitative and Q u a lita tiv e," S ty le , I, No. 1 (W inter 1967), 2 9 -4 3 . __________ . "M ilton's P a r tic ip ia l S ty le," P u b lic a tio n s of the M odern L anguage A s s o c ia t io n , LXXXHI, No. 5 (O ctober 1968), 1386- 1399. C h o m sk y , N oam , and H a lle, M o r r is . The Sound P a tte r n of E n g lis h . N ew York: H arper & R ow , 1968.> C lark , D onald L em en . John M ilton at St. Paul's School: A Study of A n cien t R h eto ric in E n g lish R e n a is s a n c e E ducation . N ew York: A rch o n B o o k s, 1964. Cobb, C a r l W. "M ilton and B lank V e r s e in Spain," P h ilo lo g ic a l Q u a r te r ly , XLII, No. 2 (A p ril 1963), 2 6 4 -2 6 7 . C ohen, R alph. The A rt of D iscr im in a tio n : T h o m so n 's The S ea so n s and the L anguage of C r it ic is m . B e r k e le y and L o s A n g eles: U n iv e r sity of C a lifo rn ia P r e s s , 1964. _. "An Introduction to The S e a s o n s ," Sou thern R e v ie w (A de- la id e ), HI, No. 1 (1968), 5 6 -6 6 . C ook, A lb ert. "M ilton's A b s tr a c t M u sic ," U n iv e r sity of Toronto Q u a r te r ly , XXIX, No. 3 (A p ril I9 6 0 ), 3 7 0 -3 8 5 . R ep rin ted in M ilton: M od ern E s s a y s in C r i t i c i s m , ed. A rth u r E. B a rk er . N ew York: O xford U n iv e r sity P r e s s , 1965. C o r d a sc o , F r a n c e s c o . E dw ard Young: A H an d list of C r itic a l N o tic e s and S tu d ie s. N ew York: B urt F r a n k lin , I960. C ow p er, W illia m . "The Sofa," The T a s k . B ook I, ed . H um phrey M ilfo rd . 4th ed. London: O xford U n iv e r sity P r e s s , 1934. _. "The G arden," The T ask . B ook IV , E ig h teen th -C en tu ry L ite r a t u r e , ed. G eoffrey T illo tso n , P a u l F u s s e l l , J r. , and M a r sh a ll W aingrow . N ew Y ork: H a rco u rt B r a c e & W orld, 1969. 291 Danchin, P ie r r e . "W illiam C ow per's P oetic P u rp ose as Seen in His L etters," E n g lish S tu d ie s, XLVI, No. 3 (June 1965), 2 3 5 -2 4 4 . D avie, Donald. "The C r itic a l P r in cip les of W illiam C ow per," The C am bridge Jou rn al, VII (1953), 183-188. __________ . "Syntax and M u sic in P a r a d ise L o s t ." In The L iving M ilton, ed . Frank K erm od e. London: R outledge & Kegan P au l, Ltd. , 1960 . Kiekhoff, John S. "Rhyme in P a ra d ise L o s t," P u b lication s of the M od e r n Language A ss o c ia tio n , XLIX, No. 2 (June 1934), 539-543. "T erm inal P a u se in M ilton 's V e r s e ," Studies in P h ilo lo g y , XXXII, No. 2 (A pril 1935), 2 3 5 -2 3 9 . D illigan , Robert. "V erse D esig n in the P o e tr y of the H o p k in s-B rid g es C ircle: An E ssa y in Com putational M e tr ic s." Unpublished d isser ta tio n . U n iv ersity of W isco n sin , 1970. D illigan , R obert, and B en d er, T. K. "The L a p ses of Tim e: A C o m puter A s s is t e d In vestigation of E n glish P ro so d y ." In The C o m puter in L ite ra r y S tu d ie s, ed. A. J. A itken, R ich ard B a iley, and Neil H am ilton Sm ith. Edinburgh: U n iv ersity of Edinburgh P r e s s , 1973. D illigan , R obert, and Lynn, Karen. "C om puters and the H isto ry of P ro so d y ," C ollege E n g lis h , XXXIV, No. 8 (May 1973), 1103- 1120 . Dobson, E r ic John. E n g lish Pronunciation , 1 5 0 0 -1 7 0 0 . 2 v o ls. Oxford: C larendon P r e s s , 1957. E lio t, T. S. "A N ote on the V erse of John M ilton," Milton: Two Stud i e s by T. S. E lio t. London: F ab er and F ab er L im ited , 1968. E m m a, R onald D avid, and S h a w cro ss, John T ., ed s. Language and Style in M ilton: A S ym posium in Honor of the T ercen ten a ry of P a r a d ise L o s t . N ew York: F r e d e r ic k U ngar, 1967. E van s, R obert O. M ilton 's E lis io n s . G ain esville: U n iv ersity of F l o r id a P r e s s , 1966. F r e e , W illiam N o r r is . W illiam C ow p er. N ew York: Twayne P u b lis h e r s , 1970. 292 F r e e m a n , D onald C. "On the P r im e s of M e tr ic a l S ty le," L anguage and S ty le, I (1968), 6 3 -1 0 1 . R ep rin ted in L in g u is tic s and L ite r a r y S t y le , ed. D onald C. F r e e m a n . N ew York: H olt, R in eh a rt & W inston , 1970. F u s s e l l , P a u l. T h eo ry of P r o so d y in E ig h te e n th -C e n tu r y E ngland. N ew L ondon, C onnecticut: C on n ecticu t C o lle g e P r e s s , 1954. G ood, John W alter. Studies in the M ilton T r a d itio n . U n iv e r sity of Illin o is S tudies in Language and L ite r a tu r e . V ol. I, N o s. 3 and 4. Urbana: U n iv e r sity of Illin o is P r e s s , 1916. G r o s s , H a r v ey . The S tru ctu re of V e r s e . G ree n w ic h , C onn ecticut: F a w c e tt P u b lic a tio n s, I n c ., 1966. G u est, E dw in. A H isto r y of E n g lish R h y th m s, ed . W. W. Skeat. London: G. B e ll & S on s, 1882. H a lle , M o r r is , and K e y s e r , Sam uel Jay. "C hau cer and the Study of P r o s o d y ," C o lle g e E n g lis h , XXVIII, N o. 3 (D e c e m b e r 1966), 1 8 7 -2 1 9 . __________ • E n g lish S tr e ss: Its F o r m s , Its G row th, and Its R o le in V e r s e . N ew York: H arp er & R ow , 1971. __________ . " Illu stra tio n and D e fen se of the Iam b ic P e n ta m e te r ," C o l le g e E n g lis h , XXXIII, No. 2 (N o v em b er 1971), 1 5 4 -1 7 6 . H a m e r , E nid. The M e tr e s of E n g lish P o e t r y . N ew York: The M a c m illa n C om p an y, 1930. H a r tle y , L od w ick . W illia m Cowper: The C ontinuing R ev a lu a tio n . C hap el H ill: U n iv e r sity of N orth C a ro lin a P r e s s , I9 6 0 . H a rtm a n , G e o ffr e y . W o rd sw o rth 's P o e tr y , 1 7 8 7 -1 8 1 4 . N ew Haven: Y a le U n iv e r s ity P r e s s , 1964. H a s c a ll, D u d ley L. "Som e C ontrib ution s to the H a lle - K e y s e r T h eory of P r o s o d y ," C o lleg e E n g lis h , X XX, No. 5 (F e b r u a r y 1969), 3 5 7 -3 6 5 . H a v e n s , R a y m o n d D e x te r . The Influence of M ilton on E n g lish P o e t r y . C am b rid ge: H a rv a rd U n iv e r sity P r e s s , 1922; N ew York: R u s s e ll & R u s s e ll, Inc. , 1961. < 293 H ow e, M. I. "A napestic F e e t in P a r a d ise L ost," M odern Language N o te s , XLV, No. 5 (May 1930), 3 1 1 -3 1 2 . H unter, W illiam B. , Jr. "The S o u rces of M ilton 's P ro so d y ," Philo - lo g ic a l Q u a rterly , XXIII, No. 1 (January 1949), 125-144. J e s p e r s e n , Otto. "Notes on M etre." In The Structure of V erse: M od e r n H ssa y s on P r o s o d y , ed. H arvey G ro ss. N ew York: F a w cett World L ib rary, 1966. R eprinted from L in gu istic a . C open hagen: L evin & M unksgaard, 1933. The S elected W ritings of Otto J e sp e r se n . London: G eorge A lle n & Unwin, Ltd. , 1962. Johnson, Sam uel. "R am blers #86, 88, and 94." The Y ale E dition of the Works of Sam uel Jo h n so n , ed. W. J. Bate and A lb rech t B. S trau ss. Vol. 4. New H aven and London: Y ale U n iv ersity P r e s s , 1969. J o n es, D aniel. Outline of E n g lish P h o n e tic s , 9th ed. C am bridge: C am bridge U n iv ersity P r e s s , I960. K ellogg, G eorge A. " B rid ges' M ilto n ’s P r o so d y and R e n a issa n ce M etrica l T h eo ry ," P u b lication s of the M odern Language A s s o c ia tio n , LXVHI, No. 1 (M arch 1953), 2 6 8 -2 8 5 . K er, W. P . "W illiam C ow per." In On M odern L ite r a tu r e , ed. T e r ren ce Spencer and J a m es Sutherland. Oxford: Oxford U n i v e r sity P r e s s , 1955. K e y se r , Sam uel Jay. "The L in gu istic B a s is of E n g lish P ro so d y ." In M odern Studies in E n g lis h , ed. D avid A. R eib el and Sanford A. Schane. E nglew ood C liffs, New J ersey : P r e n tic e -H a ll, 1969. L e a v is, F . R. R evaluation: T radition & D evelop m en t in E n glish P o e tr y . New York: G eorge Stew art, P u b lish e r , Inc. , 1947. L evin , Sam uel R. L in gu istic S tru ctu res in P o e tr y . 'S-G ravenhage: M outon, 1962. L in d en b erg er, H erb ert. On W ordsw orth 's P r e lu d e . P rinceton: P rin ceton U n iv e r sity P r e s s , 1963. 294 Lynn, Karen. "Computational P rosod ies: The D ecasyllab ic Line from Chaucer to Skelton." Unpublished Ph. D. d issertation . U ni v ersity of Southern C alifornia, 1973. M agnuson, K arl, and Ryder, Frank G. "The Study of E nglish Prosody: An A lternative P roposal," C ollege E n g lish , XXXI, No. 8 (May 1970), 789-820. . "Second Thoughts on E nglish Prosody," C ollege English, XXXUI, No. 2 (Novem ber 1971), 198-216. M arshall, Donald G. "The D evelopm ent of B lan k -V erse P oetry from Milton to W ordsworth." Unpublished Ph. D. d issertation . Yale U niversity, 1971. M ilton, John. P a ra d ise L o st. In The Works of John M ilton, ed. Frank A llen P atterson . New York: Colum bia U n iversity P r e s s , 1931. N icholson, Norm an. W illiam C ow per. W riters and Their W ork, No. 121. London: L ongm ans, G reen & Co. , I960. O ras, Ants. "Echoing V erse Endings in P arad ise L o s t." In South Atlantic Studies for Sturgis E. L eavitt, ed. Thom as B. Stroup and Sterling A. Stoudem ire. Washington, D. C .: Scarecrow P r e s s , 1953. __________. Blank V erse and Chronology in M ilto n . U n iversity of Florid a M onographs, H u m an ities--N o. 20. G ainesville: U ni v ersity of F lorid a P r e s s , 1966. __________. M ilton's E ditors and C om m entators from P atrick Hume to Henry John Todd (1695-1801), rev. ed. New York: H askell H ouse, 1967. P e t e r s , Robert A. A L inguistic H istory of E n g lish . Boston: Houghton M ifflin, 1968. P o tts, Abbie Findlay. W ordsworth's "Prelude": A Study of Its L ite r ary F orm . Ithaca: C ornell U n iversity P r e s s , 1953. P rin ce, F. T. The Italian E lem en t in M ilton's V e r s e . Oxford: Clarendon P r e s s , 1954. 295 P r in c e , F . T. "Reply to M rs. M. W h iteley," R e v ie w of E n g lish Stud- i e s , n. s. , IX, No. 35 (A ugu st 1958), 2 7 8 -279- S ain tsb u ry, G eorge. A H isto ry of E n g lish P ro so d y fr o m the Twelfth C entury to the P r e s e n t D a y . London: M a cm illa n and Co. , 1 9 0 6 -1 9 1 0 . S chlauch, M argaret. E n g lish L anguage in M odern T im e s, Since 1400. W arszaw a: Pan stw ow e W ydaw nictw o N au k ow e, 1959- S h a w c r o ss, John T. M ilton: The C r itic a l H e rita g e . London and Boston: R outledge & Kegan P a u l, 1970. __________ . M ilton 1732-1801: The C r itic a l H erita g e. London and B oston: R outledge and K egan P a u l, 1972. 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W haler, J a m es. Counterpoint and Symbol. An Inquiry into the Rhythm of M ilton's Epic S ty le. A n g listica , 6. Copenhagen: R osenkilde and B agger, 1956. W heeler, T hom as. "M ilton's Blank V erse C ouplets," Journal of E n glish and G erm anic P h ilo lo g y , LXVI, No. 3 (July 1967), 359-368. W icker, C. V. Edward Young and the F ear of Death: A Study in R om antic M elan ch oly. Albuquerque: U n iversity of New M exico P r e s s , 1952. W im satt, W. K. "Verbal Style: L ogical and C ounterlogical," The Verbal Icon: Studies in the M eaning of P o e tr y . Lexington: U n iversity of Kentucky P r e s s , 1954. __________. "The Rule and the Norm: Halle and K eyser on C haucer's M eter," C ollege E n g lish , XXXI, No. 8 (May 1970), 774-788. W ordsworth, W illiam . The P relu d e: Or, The Growth of a P o et's M ind, ed. E de Selin cou rt and H elen D arb ish ire. 2d ed. Oxford: Oxford U n iversity P r e s s , 1959. 297 W right, B. A. " S tre ssin g of the P r e p o sitio n 'Without' in the V e r s e of P a r a d ise L o st," N otes and Q u e r ie s, n. s. , V, N o. 5 (May 1958), 2 0 2 -2 0 3 . Y a rd ley , E . "Cowper a s a P a ro d ist," N otes and Q u e r ie s , 9th s e r . , V (January 1900), 4 4 -4 5 . Young, E dw ard. "Night the F ir s t," The Com plaint: O r, N igh t-T h ou gh ts on L ife, D eath, and Im m o r ta lity . London: R. D o d sley , 1742, __________ . "Night the Ninth," The C o n so la tio n . London: G eorge H aw kin s, 1746. A P P E N D I X E S 298 A P P E N D IX A CO M PUTER DATA FOR THE MIDTON SA M PLE 299 APPENDIX A COMPUTER DATA FOR THE MILTON SAMPLE The Milton sam ple was chosen from the fir s t 1,026 lin es of P arad ise L o st, the 798 lin es of Book I and the fir s t 228 lin es of Book II. The com puter declared 21 of th ese lin es u n m etrical, a figure tw ice as large as the 1 percent u n m etrical lin es Halle and K eyser found in Chaucer. H ow ever, ten of these lin es in Milton w ere d e cla red un m etrical due to e r r o r s in coding and of the rem aining un m et rica l lin e s , all m ay be ultim ately reso lv ed as m e tr ic a l within the l im its of the H a lle-K ey ser theory. Eight of the lin es d eclared unm etrical contained in co rrectly m arked syllabic or s tr e s s doublets, words whose sy lla b les or s tr e s s can be d escrib ed in m ore than one way. In each c a s e , a wrong version of the doublet w as encoded, which reduced a p erfectly m etrica l line to an apparently u n m etrical one. The syllabic doublets include the on e- and tw o-syllab le v e rsio n s of singed and gra sp ed : And leave a singed bottom all involv'd (I, 236) A gainst the highest, and fie r ce with grasp ed a rm s (I, 667) The s tr e s s doublets include: 300 301 e x ' c e s s - - e x c e s s ' (I. 593) e ' x i l e - - e x i l e ' (I. 632) d i' sp ic a b le - -d isp i'c a b le (I. 437) ho s ' pitable - -ho s p i' table (I. 504) ob 'd u rate - -ob d u 'rate (I. 58) o 'v e r th r o w --o v e r th r o w ' (I, 135) The rem ain in g four lin es d ecla red u n m etrical in the M ilton sam p le are d is c u s se d at length in Chapter III of th is study. By c o r r e c tin g the coding e r r o r s , all of the lin e s in the M ilton sam p le can be co n sid e re d m e tr ic a l within the H a lle -K e y s e r th eory without extern a l ad justm ents of the th eory. < M O (A H + \ 2 3 - D -t- Ill.l.'! O r < l l A h U J J X C ■ * h i i - V a. G O 2 *2 < t/> 2 L _ i * A G A C V C x •— J-_ + i !.U V y > -> i-> . G C X U G U G G C D CJ +0 U C ~ 2 •* Vi Li H ~ 2 v; C •- Jti L 'J u", X _!*- C Q tO + • - U L t ~ s . E C >s u tO ’ « 1 I U . Q O U •+ 10 V CC* Z h < Z + < a < v x S 2 H U. > l i - a — d CJ + + + * * D IL 3 O (_ yz r* V ) v + Of < -3 •S ' X II S L ' U IZ H < J J " -J _i + a <o— nr > - U i C G - + 2 2 < — < V Uj 2 Cl • * O n.; r ; r j S. _J -j -.j.- X cl a Z 1 CJ + "3 5£ \ ♦ ''B + L uS_J V X - W H A r C L »_• H O 2 V Z Z Z D IL' A » -« 2 O G Z L ; J + T + » — * — L t_ l L '< G C yj — — O + V) '1 UJ 10 1 - 0 0 H .. J V O h ~ D + X O — H >£X 2 — — 55 G 3 v h a 2 r -+ o h M - h .-J vu+tn r = > 05 UJ H J C + JOU 3U-'j5 uJ u. 1> J V 0.t/) + V ) ** lb - - J X 2 _J X H + G- Z X A Z — H A UJ O <0 3: X I- Q I— Z H V ~ J + < - z r , x H ■ — 2 i I- < 3 . 3 1 Z l J t L li. A X V , o a _ + O z > ; \ z v u_ *-«< > - — o _i z c- > + : ~ o < * to * c c + XV xi — tO 00 cr V Z Z X |LU A 2 + to m o r C + < ■ 2 A - UJ Q. (J D V) 2 O Z I! 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M 3 2 < J V- X •J '." < Z 1 v. ii x c a l j to x x O >- -X < C «. 2 II 2 Z H a 2 + 0 3 2 •-■: ;! + tO + L " V • u a o o \ x — iu v a v tt q X A 05 . -3 2 z A h Z !i 2 — 0 > Z > S O J L I L H Z - + o + ZV - a a > v > ir o a x c c v - G — Q 3 < : L J a 2 0 — X 3 X - Z Z Z J I i . l l L L J o I I------ i S T I R D U P ( 5 > WITH FMVY AND REVENGE, D E C E I V ’ D STniZ + PD > / + P 5 V-'I ) ET+NVI <ND P I V F + N J , O I S I / + V 8 D THE! m o t h e r of- m a n k i n d , what t i m f h i s p p i d f (> M > / + ! a > / F | v M < N K A H N L i W| T TAi+M H I Z P R A ' + D HAD CAST HIM P U T ! 5 ) FPCM HE A V * N * WITH ALL H I S HOST HSD KA + ST HIM A = + T 5 F P > / M H E +V 9N , WI) | + L H I Z H P + + S T OF REBEL A N GE L S . BY WHJEF A ID A S P I R I N G J V P i n r i + L E * + N J _ L Z , B_v H U /Z E M C > S P A * + a / H IX TO SET H I M S E . f i n GLORY ALiCVE NTS P E E R S ; T U / 8 ;r +T H I M 5 F + L F IN GL | 4 F?_ > D > / + V H I Z P I = + R Z , HE TRUSTED TO HAVE E Q U A L *0 THE COST H I G H , H I / T R > / + S T I D T U / H > V I / 4 I ‘ W>LS0 (> ^i'.’M S T HA’ + , IC H- O P P O S ’ D; AND WITH A M B I T IO U S AIM I F H I / > P C * + Z B D J <ND WI ) <0-08 1 + S >S F ’ +M AGAINST THE THRO N F AND MONARCHY OF GOD > G r£'-+NST (> JECA' + M <ND m | + NST/ RK I |V G | +D R A i s ’ D I MPI rU’S WAR IN H F A V * N AND DAT T EL PROUD REv + ZtiD I+M PI- . S W |+ R IN HEM-VON <NP « < + T > L PRA = + C WITH VAIN A T TE M P T . H I I ' ( 1 ) THE Al.MIGHTY POWER WI) V F * +N > T E + M P T . HI+M (> |LMA>'+TI PA= + ti>/R HURt • D HE At: I. OMG FLAMING r R D M TH* ETHEREAL SK1E HS)/ + RLRO HE + DL. I A FLF.T+MIX F E > / M ( ' I ) I = + R I = L SKA- + WITH H ID E O U S P U l N F AND CCMHUSTI ON D O W M S ) WI) H T + D I = S RU+I N <ND K > M B > /+ S T Y > N DA= + M5 TO BOTTOMLESS P F f - D I T l C N . THERE TO DWELL T U / B| + T>ML IS P D / P D I + T > N , (F = R T U / DWE + L IN ADAMANTINE CH A IN S ANT PENAL F I R E , IN M < + N T A N T 3- E > + N Z <ND P I / + N > L C A * + _ / K , WHO DURST DF.EIL TH* OMNIPOTENT TO ARMS. H U / DS)/+RST D I F A'.- + {• | MM I + POT >NT T U / A+RMZ. NINE T IM F S THE SPACE THAT MEASURES DAY AND NIGHT NA*+N TAV+MZ (> SPF: ' + S ( < T M F + Q F /R Z DE» + <MD NAM-T TO MORTAL MEN, H E < 1 ) WITH H I S HORRID CREW T U / M |+ R T > L ME+N, H I / + WI) H I Z H l + R I D K RU /+ LAY VAN 1 U I S H T , ROWLING IN THF F IE R Y GULFF L F jr + V < + tf K W IT T , PC'' + L IX TN <> FA’ + _ / R I G > / 4 t . F CONFOUNDED THOUGH IMMORTAL: BUT H I S DOOM K> NF A = + NDID ( O " I M | + R T > L : B > / T H IZ OU/+M R E S E R V ' D HIM TO MC RE WRATH; FOR NOW THE THOUGHT RI ZHJ/ + P V8 P HIM T IJ/ M | +R R | + ) ; F | P NA = + ( > ) | + T BOTH OF L O ST H A P P I N E S S AND L A S T I N G P A I N B O * + ) |V L | + S T H < + P I N IS <NP L A + S T I X P F » + N TO RM E N T S! V ) HIM? R O U N D ! S ) HE THROWS H I S BALEFUL EYES TjRME + NTS H I M ; RA = + N!D5 H I / ) R 0 »+ Z H I Z B E :i+ L F U L A^ + Z THAT W I T N E S S ' D HUGE A F F L I C T I O N AND DISMAY ! < T W I + T N I S 8 T NY U/ + J > F L T + K $ > N AND DISMEV + MIXT WITH OBDURATE P R I D E AND S TE AD FAS T HATE: MI+KST W I ) l + R D Y U R I T PKA^+D <NC S T F + D F > S T HE*- + T : AT ONCE AS FAR AN ANGELS KENN HE VIEWS <T W>/ + NS <Z FA+P < N F » + N J > L 7 KE + M H I / VYU/ + Z THE DIS MA L S I T U A T I O N WASTE AND WIL DE , ! > DT+SM>L S I T Y U t : . - F 3 > N WE->+ST < ND WA-HLD, A DUNGEON H O R R I B L E , ON A I L S I D E S R O U N D ! 5 ) > D > / + N J > N H | + R I B > L , |N | +L S A* + C Z RA=+NDS AS ONE GREAT FURNACE: T L A M ' D , Y E T ! ) ) FROM THOSE Fl.AMFS <Z W>/ + N GR E '* • FT F ff i/ F P N I S F L » + M R D , YE+T FFO /M i O ‘ Z FLE NO L I G H T , BUT RATHER DARKNESS V I S I B L E NO++ L. A ■ * + T , H > / T R A + ( » / F DA+RKNIS V I + Z > B > L S E R V ' D ONELY TO D IS C O V E R S I G H T S OF WOE • SaI/ + RVSD O ' + N L I T U / D I SK > / + Vo>/R SAT + T S |V W 0 + + , REG IONS CF S O P R 0W , DOLEFUL S H A D E S, WHERE’ PEACE R I / + J > N Z JV S|+RIV-*. COI-+LFUL $ F * + D Z * WE = R P I / + S AND REST CAN NEVER DWELL, HOPE NEVER COMFS < ND RF + ST K < N NE + ViD/N DWE + L , H O M P N^+Vffi/R K > / + MZ THAT COMFS TO ALL*. BUT TORTURE WITHOUT END ! < T K > / + MZ T U / I+L ; B > / T T | + R T I 5 ) / P WI )A= + T E+ND S T I L L U R G E S , AND A F I E R Y D E L U G F , FED S T I + L a)/+ R J I Z , <ND > F A i+ / R I D E + L Y U J , F F + D 303 40 5 0 u> ' +MZ 304 WITH EVER -BU RNI NG SULPHUR UNCGNSUM'DS a'I I F + V D / R R B / + P N I X E > / + LFS)/P > / + NK> N S YU/ + MBD : SUCH PLACE ETERNAL J U S T I C E HAD P R E P A R ' D ' 7 0 S > / + T t PLF'r+S I T fi)/tPN >L J > / + S T I S H>D P R I P F = + P 8 D FOR THOSE R E B E L L I O U S , H E R E ( 1 ) THEIR PR ISO N O R D A I N ' D F | R ( 0 » Z R I OF +L Y>5 • H I = + P {F=R P P I + Z_N | RDF * + N8D IM UTTER DARKNESS* AND THIR PORTION SET IN > / + T h)/i< DA + R K N I S , <ND (E = R P |+R 3.> N SE + T AS FAR RFMDV'D FROM GOO AND LIG HT OF HEAV'N <Z r A + R P I M U / + V8D ~ R > / M G | + D <NO LA* +T |V HE+VON AS FRO M THE CENTER THRICE TC TH* UTMOST P O L E , <7. FR>/M (> SE + NTfiVP ) P A ' + S T U / ( ' > / + TMO>: ST PO->+L. 0 HOW UNLIKE THE PLACE FROM WHENCE THEY FELL O v+ HA = >/NLA=>+K (> PLL-'+S F F > / S' WENS ( E ‘ F E + L % THERE THF COMPANIONS OF H IS F A L L , O'R EW H EL M' D ( E - R {> K>MP<+NY>NZ |V HIZ F | +L , | 9 R1VE + LMR D WITH FLOODS AND WHIRLWINDS OF TEMPESTUOUS F I R E , WI) F L > / + D 7 < ND Wa/ + PLW INDZ |V TF. MPF +ST YU = S F A ^ + $ / P , HE SOON D I S C E R N S , AND WEL.TRIMG BY H I S SIDE H I / S U / + N DISS5/+KNZ, <NO WE + L T P R I X BA* H I Z SA + + D ONE NEXT H IM S E L F IN POWER, AND NEXT IN C RIM F ♦ W > / + M NE+KTS HIMSF + LF IN PA= + _ / R , <ND NF+KTS IN KR A» +M, LONG AFTER KNOWN IN P A L E S T I N E , AND NAM'D g0 L | + A < + FTffl/ P NfD + N IN P<FLlSTA-!-M, <ND NE* +M8D BEELZEBUB. TO WHOM T H ' ARCH-ENEMY, C B I / + S L Z I B > / B . T U / HU/M <* A+R T S-E + N I M_ , AND THENCE IN HFAV 'N C A L L 'D SATAN', WITH BOLD WORDS < ND (F.+ NS IN HF+V9N Kl+l.BD S E - + T > N , WI) B C r + L D W5V + RDZ BREAKING THE HORRID SIL.ENCF. THUS BEGAN. ORE + +KIX (> H | + R I D SA-v+L>NS ( > / + S B I G < + N . + IF T H D U ( l ) b E E S T HE( 1 ) 1 RUT O HOW F A L L • N HOW CHANG'D + I F (A= + R I / S T H I / + ? !’> / T 0--+ HA-- F | +L9N% HA= T3>E*.+NJ8D FROM H I M ( l ) , WHO IN THF HAPPY RFALMS OF L IGH T F P > / M HI+M, H U / IN ( > FK + PI RE + L M Z |v LA~ + T CL O T H 'D WITH TRANSCENDENT BRIGHT NES S D I D S T O U T - S H I N F KLO«+(fiD WI) T R < N S E + N D > N T BRAM + T M S D I + D S T A = T t / H N MYRIADS THOUGH B R IG H T : IF H E < 1 ) WHOM MUTUAL LEAGUE, M I + RI = D Z (D* B P A ^ + T : IF H I / + HU/M MYU/+TYU=L L I / + G , UNITED THOUGHTS AND CGUNSELS, EQUAL HOPE YIJ/NA + TI D ) | + T S <ND KA = + N S > L Z , I / + K V O L HflV +P AND HAZARD IN THE GLORIOUS E N T E R P R I Z E , <ND H< + Z5)/RD IN ( > GL 1 +k I =S F + NTif / R P R A* Z , JOYNO WITH ME ONCE, NOW MISERY HATH JOYND JO = + ND WI ) M l / W>/ + N S , NA =+ MI+Zffl/RI H> ) JO = +ND IN EQUAL R U I N : INTO WHAT P I T THC.U SE E S T IN I/+ KW> L r u / + _ m : I + N T U / W| T P I + T ( A= S I / + S T FROM WHAT HIGHTH F A L L ' N , SO MUCH THE STRONGER P P O V • D F R > / M W ( T H A f t ) F | + L 9 N , S0> M > / + T3> ( > S T P | + </G5)/P P R U / + V 6 D HE WITH H I S THUNDER: AND T I L L T H E N ( l ) W H O ( l ) KNEW H I / WI ) HIZ ) > / + N D S ) / R : <ND T I L (E+N H U / + N U / + THE FORCE OF T H O S E ! 1) DIRE ARMS? YET NOT FOP T H O S E ( l > » <> F | + R S |V ( 0 + + Z D A + + _ / R A + RMZ? YET N | + T F | R (O-x + Z, NOR WHAT THF POTENT VICTOR IN H IS RAGE N | R W | T (> PD++ T>NT Vl+KTo)/R IN HIZ R E 5 * -t-J CAN E L SE I N F L I C T , DO 1 ( 1 ) REPENT OR CHANGE, K <N E+L S I N F L I + K T , D U /+ A ' + R I P E +NT |R T5>EY + N J , THOUGH CHANG'D IN OUTWARD L U S T E R ! THAT FI XT MIND (O* TSE+ + NJBD IN A= + TWff/RD L > / + ST£)/R; (<T F I + K S T MA= +ND AND HIGH D I S D A I N , FROM SENCE OF I N J U R ' D M E R I T , < ND HA*+ DISDfc-:+N, FR > /M SE+NS |V I + N J a / R P D ME + P I T , THAT WITH THE MI GHT IE ST R A I S ' D ME TO CONTEND, ( <T WI) (> M A * +- T _ 1ST P E * + Z 8 D M I / T U / K>NTF + ND. AND TO THE F I E R C E CONTENTION BP OUGHT ALONG 100 <ND T U / (> F I = + R S K>NTE+NT>N B R | + T > L | + # INNUMERABLE FOF-CE OF S P I R I T S ARM'D 1 NU/+Miil/P>R>L F | +PS |V 5 P I = + R I T S A + RMQD THAT DURST D I S L I K E H I S R E I G N , AND ME P R E F E R R I N G , C <T Da) / +PS T D I S L A* +K H IZ RE* + N, <ND M I / P R I F 5 ) / + R I X , 305 H I S UTMOST POWER WITH ADVERSE POWER O P P O S ' D H I Z > / + TM n ' !ST PA = + _ / R W I) < + D V 3 / R S P A = + _ / R > P O * + Z S D IN D U BI OU S BATTEL ON T HO P L A I N S OF HEAV • N » IN DYU/ + PII=S D < + T >1. |K ( > P L E * + N Z |V H F + V 9 N . AND SHOOK H I S THRONE. W H A T ( l ) THOUGH THE F I E L D PE L O S T ? <NP U J + K H IZ I P D t t N . l-.'j+T (O' ( > F I / + L D 0 1 / L | + S T ? ALL I S NOT L O S T ; THE UNCCNOUERAPI F W I L L ( l ) , | +L IZ N | +T ^ l + S T J ( _ > / + N K | + K n) / Q > B > L W I + L , AND STUDY OF R E V E N GE . IMMORTAL HATE, <NO S T > / + D I |V R I V F + N J , I M | + P T > L Hfcv + T , AND COURAGE NEVFP TO SUBMIT OR Y I ^ L D : <ND K D / + - R I J N F t VS) / R T U / S>t3MI+T )R Y I / + L D : AND W H A T ( l ) I S F L S F NOT TO BE CVPRCOMF? <NO V/)+T IZ E + LS N | + T T U / 0 1 / 0> V SVP K > / + M ? THAT (1 ) GLORY NFIVFP SHAI L H I S WRATH OP MIGHT ftD ( < + T G L | + RI M E + V a / R 3-,>L H I Z Rj + ) |R MA--.+T EXTORT c^ROM vt (:’ ( 1 ) • TO BOW A NO SUE FOR GRACE I K S T j + R T p r. > / M M I / * . T U / B A - + < ND S U / + F | R G R E * + S WITH S U P P L I A N T K N E F , AND DE I F I E H I S POWER, W I) 5 > / + P l _ I = N T N I / + , <ND D I / + I F A 1' H I Z P A = + a / R , WHO ( 1 ) PFOM THE T F. PR OUR OF T H T S ( l ) ARM SO L A TE H U / * f-'P>/M ( > T E = + H ff! / P |V ( I + S A+RM SO^' L t' ^ + T DOUBTED H I S F M P l l i F , T HAT ( 1 ) WERE LOW I N D E E D , D A = + T I D HIZ E+MPA* / R , ( < + T WS>/R LO* + I N D I / + D . T H A T ( l ) WERE AM IGNOMINY AND SHAME BENEATH ( < + T Wfd/R < N l+ G N OM _N I <NO *E* +M E I N I / + ) T H I S ( 1 ) DOWNFALL.; S I N C E BY FATE THE STR ENGTH OF GODS ( i + s d a = + n f | l ; s t n s h a * f e v + t ( > s t r e + *t) | v g | + d z AND T H I S EMPYREAL SUBSTANCE CANNOT F A I L , <ND ( I S I MPA »■ +R I =L S > / + B S T > NS K< + N | T FE "*+L , S I N C E ( l ) THROUGH E X P E R I E N C E CF T H I S GREAT EVENT S I + N S ) R U / I K S P I = + R I - N S |V ( I S GAE*+T I VE + N T IN ARMS NOT WORSE, IN F O R E S I G H T MUCH A D V A N C ' T , IN A+RMZ N | + T W 8 / + R S , IN F | + P S A !t-T M > / + T $ >DVA + N S B T , WE M A Y ( l ) WITH MORE S U C C E S S F U L POPE R E S O LV E |2j0 W I / ME C + WI) M| + R s > k s e + s f u l h o h -p r i z | + l v TO WAGE BY FORCE OR GUILE: ETERNAL WARP T U / W E * + J BA* F | + RS |R GA*+ L I T D / + RN>L W| +F I R R E C O N C I L E A B L E , TO OUR GRAND F O E , I RE+K > N S A+L> B>L , T U / A=a)/R GP<+ND F O * + , WHO NOW T R I U M P H S , AND IN T H ' EXCESS OF JOY H U / NA = + TRA F + > M F S , < ND IN ( • E + K SE S |V JO = + SOLE R E I G N I N G HOLDS THE TYRANNY OF H E A V ' N . S O - H L R E Y + N IX H O d L O Z ( > T ] = + R>N I |V H E + V 9 N . + s o i l ) SPAKE TH* APOSTATE ANGEl , THOUGH IN P A I N , + SOY+ SPE*-+K ( • >P | + ST F * T E * + N J > L , ( 0 * IN PF + + N , VAUNTING ALOUD, RUT RACKT WITH DEEP D F S P A P F i ; V {+ NT I X > L A = + D , R > / T R < +K T WI ) D I / + P D I S P E = +K I AND H I M ( I ) THUS ANSWER'D SOON H I S BOLD C O M P E E R . <ND H I+ M ( > / + S < + NSS)/RBD S U / + N H I Z B O » + L D K | M P I = + R . + O P R I N C E , O C H I E F OF MANY T H R O N F C ( 1 ) P O W E R S , + D*+ P R I + N S , 0 * + T S I / + F |V MF+NI ) R O T + N I D P A = + _ / R Z , THAT LE D TH* IMUATTELD SER A PH IM TO WAHR ( < T LE + D ( • IMB< + T>LD 5 E + R > F I M T U / W| +R UNDER THY C C N D U C T ( N ) , AND IN DREADFUL DEEDS 13© > / + ND a)/R (AY K j + N D > K T , <ND IN DPF +DF UL D I / + DZ F E A R L E S S , EN D A N G E R' D H E A V ' N ' S P E R PE T U A L K I N G ; F I = + R L I S , I N D E *' + N J a / P OD HE+V9NZ P S / R P E + TYU = L K l + t f J AND PUT TO P RO OF H I S HIGH SUPREMACY, < ND PU + T T U / P P U / + F H I Z H A * + S Y U / P R E + M>SI , WHETHER UPHFL.D BY STR E NG T H , OR CHANCE, OR F A T E , W F + L S / R > / P H F + L D BA* S T R E + # ) , l R T S < + N S , | P F E * + T , TOO WELL I SEE AND RUE THE D IR E E V E N T . T U / + WE+L AB S I / + <ND R U / + (> D A * + _ / R I V E + N T , THAT WITH SAD OVERTHROW AND FOUL DEFEAT ( < T WI ) S< + D D v V a / R ) R O t + < ND F A = + L D I F I / + T MATH L I S T US H E A V ' N i AMD ALL T H I S MIGHTY HOST H > ) L | + ST > / S HF+V9M, <NO | + L ( I S MA-+TI HO*+ST IN H0K R T RL f; DESTRUCTION L AID THUS LOW, IN H | + R I B > L DI S T R > / + K3.>N LE ^+D ( > / + S LC-1 + , AS FAR AS GODS AND HE'AV'NLY ESSEN CES <Z FA t-f) <7 G | + D Z <ND HF+V9NLI F + S > N S I Z CAN P E R I S H : f o r THF MIND AND S P I R I T REMAINS K<N P “ + R I i : F | P (> MA * + MD <ND S P I = + R I T R_MF<+NZ I N V I N C I B L E , AND VIGOR SOON RETURNS, I MV I + NS>B>L. , <NP VI + G n) / R S U / + N R I T i ' / + P N Z , THOUGH ALL. CUR GLORY E X T I N C T , AND HAPPY STATF (0*. | + L _=ffl/P GL|+IV I K S T I + #K T , <ND H< + P I S T £ + + T HF.R F ( 1 ) SWALLOW'D U P ( 5 ) IN ENDLESS M I S E R Y . MI= + R SW|+LD*BD > / + P 5 IN F + N D L I S M I + Z D / P I . BUT WHAT IF HE OUR CONQUEROR, (WHOM I Nr v.' R> / T W | T IF H / A = ir/K K | + AK j ) / P _ / R , 3 HU/M A’- NA = + OF FORCE RELIEVE ALMIGHTY, S IN C E NO L E SS |V F | + R 3 B I L I / + V ( L M A ' + T I , S I N S NO- + L F + S THEN SUCH COULD HAV OREPOW'RC SUCH FORCE AS OURS) (EN S>/+TS> KJD H< V | 9 R P A = + P P D S > / + T T r | + R S <Z A - + S / R Z 4 HAVE L EFT US T H IS OUR S P I R I T AND STRENGTH INTIPf. H> V LE + FT > / S ( I S - a / R S P I = + R T <ND S T R E + # ) I N T A + + _ / R STRONGLY TO SUFFFR~AND SUPPORT CUR P A I N S , S T R | + # L I T U / S > / + F D / P < ND S > r | + R T _ = 5 ) / P PF» + N Z » THAT WE MAY SO S U F F I C F H I S VFNGFFUL I R F , ( <T W I / ME* SO* 5>F A,: + S HIZ VF + NJFUL Ak < + _/P. , OR DO HIM MI G HT IE R S E R V IC E AS H I S THRALLS |R DU/ + HIM MA' + T I - R Sb>/ + RV I S <Z H I Z )R|+L.Z BY RIGHT OF Wa R P , W H A I E ' E R H I S B U S I N E S S B E ( 1 ) 0A + RA*+T | V W | +R , W|TE= + 9R H I Z O I + Z N I S R J / + H F R F ( l ) IN THE HEART OF HELL TO WORK IN F I R E , H1--+R IN (> HA + RT | V HE+L T U / W5)/ + RK IN F A + + 3 / R , OR DO H I S ERRANDS IN THE GLOCMY D E E P ; jR DU / + H IZ t: + P > N D Z IN ( > GLIJ/ + MI D I / + P ; W H A T (l ) CAN IT THEN AVAIL THOUGH YET WE FEEL W | + T K< N IT (EN > V E + L ( 0 " YFT W I / F I / + L STRENGTH U N D I M I N I S H T , OR ETERNAL BEING S T R E + 0 ) > / + ND I M . I+N I J-T , |R I T © / + RN>L B I / + _ X TO UNDERGO ETERNAL PUNISHMENT? T U / >/ND51/PGQ*'+ I Tifl/ + R.N >L P > / + N I JM>NT? WHERETO WITH SPEEDY WORDS TH* A R C H - F I E N D REPLY • D . WE =RTU / + WT) S P I / + OI Wi>/ + ROZ (* A + R T $ F I / + N D RIPLA-^+RD. F A L L ' N CHERUBE, TO RE WEAK IS MISERABLE F | + L. 9 N T $E + R> R , T U / B 1/ WI/+K. IZ M I+ Za) /R >R _L DOING OR S U F F E R I N G : BUT o f T H I S ( l ) RE SU R E , D U / + I X | R S > / + FS>/R_X: R > / T |V ( I + S B I / *U = + R, TO DO O U G H T ( l ) GOOD NEVER WILL R t ’OUR TASK, T U / D _ / + | + T GU+D NF + ViA/R WIL P I / A = ffl/R TA +SK , BUT EVER TO DO ILL OUR SOLF D E LI G H T, JtO B > / T E + V6I/R TU/ D U / + I + L _ = S / R S 0 * + L DIL.A’i + T , AS BEING THE CONTRARY TO H I S ( l ) HIGH W I L L ( l ) <Z R I / + _X (> K | + NTPa>/ RI T U / H I + Z HA“ + WI+L WHOM WE( 1 ) R E S I S T . I F ( 1 ) THEN H I S PROVIDENCE HU/M W I / + R I Z I + S T . I + F (E N HIZ P P j + V I D > N S OUT( 5 ) OF OUR E V I L SEEK TO BRING F 0 P T H ( 5 > GOOD, A= + T5 | V A = _ / R T/ + V > L S I / + K T U / B R I + 0 F | + P ) 5 GU+D, OUR LABOR MUST P F ( 1 > TO P E R V E R T ( V ) THAT END, _ = 5>/R LS-' + B&)/P M> / + ST R I / + T U / P S/ P V S1 / + PT ( <T F+N D , AND OUT OF GOOD S T I L L TO FIND Mf A NS OF EVIL*, <ND A=T |V GU+D S T I + L T U / FA++ND M I / + N Z |V I / + V > L 5 WHICH OFT TIMFS MAY SUCCEED, SO AS PERHAPS WITS- | + F T 9 T A * + M Z ME--’ S > K S I / + D, SO-t <Z P S / R H < + P S SHALL GRIEVE HIM, I F I F A I L NOT, AND DIS TU RB T>>L C .P I/ + V HIM, IF A*- F F ■ » +L N | + T , <ND D I S T S / + R R H I S INMOST COUNSELS FROM THIR E F S T I N D A IM . H IZ I+NMO+ST KA= + NS>LZ F R > / M ( E~R DE + S T I N D F * + M . RUT SEE THF ANGRY VIC TOR HATH R E C A L L ' D R > / T S I / + ( > S+tfGRI VI + KTD/R H>) R I K j + L 6 D 307 H I S M I N I S T E R S OF VF NfiEAMCC AND P U R S U I T (10 H I Z MI + N I S T 5 V R Z | V V F + N J > N S < ND P S / P S U / + T BAC K(5> TO THE G A TF S OF H F A V * NI THE SULPHUROUS HAIL R < t K 5 T U / ( > G F ' + T S |V H C + V 9N : (> S > / + L F_ _/ R> S H F J +L SHUT AFTER US IN STORM, OPEBL.QWN HATH L A I D T.tFT < + FT6) /P > / S IN S T | + R M , | 9 R B L O * + N H> ) L E * + D THE F I E R Y SUR GE, THAT FROM THE P R E C I P I C E (> F A v. + /R I SE5/ + R J , ( <T F R > / M ( > P R E + S I P 1 S OF HEA V 1N R E C E I V ' D US F A L L I N G , ANO THE THUNDER, |V HC+VPN E I S I / + V P D > / S F j + L l X , < ND ( > ) > / + N D D / R , W I N G 'D WITH, RED L I G H T N I N G AND IMPETUOUS RAG E, W I + « S D WI ) PF. + U L A ' H T M I X <NO IM FE + T Y U = S R E - + J , PERHAPS H A T H SPE NT H I S S H A F T S , AND CEA S ES NOW Po)/RH< + PS H > ) S P E + N T H I Z S A + F T S , <ND S I / + S I Z NA = + TO BELLOW THROUGH THE VAST A ND BOUNDLESS D E E P . T U / BE + LO-i ) R U / ( > VAH-ST <ND B A = + N B L I S D 1 / + P . LET US NOT S L I P T H ' O C C A S I O N , WHETHER S C O R N , LET > / S N j + T S L I + P ( ' > K F « + Q > N . W E + t f t / R S h j + R N , OR S A T I A T E FURY Y I E L D I T FROM CUR F O E . |R S E ' + T E Y U = + R I Y I / + LD JT F R _ / M A^ol/P F P * + , SEEST THOU YON OREAPY P L A I N , F f :RL ORN AND W I L D E , IffO S I / + ST ( A = Y| + N D RI — + RI PLE --+ N , F | R L l + R N <ND W A I + L D , THE SEAT OF D E S O L A T I O N , VOYD OF L I G H T , ( > S I / + T | V DE SO L F +N , VO= + D |V L A * + T , SAVE WHAT THE GLIM.Vt.PlNG OF THF. S F L I V I D FLAMES S ^ * + V W | T ( > G L I + M _ / P IX | V ( I / Z L T + V I D F L. E V + MZ CASTS PALL: AND DREADFUL? TNI THF'P LET US TEND KA+-STS PE * +L <ND DRE + D-'-'UL? ) I + ( D / R LET > / S TE + ND FROM OF F ( 5 ) THE T O S S I N G OF T H E S E F I E R Y WAVES, F R > / M | + F 5 ( > T | + S I X |V ( I / Z F A » + _ / P t Wt. k+ V Z , T H F P E ( l ) R E S T , IF ANY RES T CAN HARBOUR T H F R E ( l ) , ( F = +R R S + S T , I F E + N I P F + S T K<N HA+FPol/R ( F: = + R . AND REASSE Mfc«_ I NG OUR A F F L I C T E D POW ERS , < NO R I / +>SE + MI3_ I X _ = a / R > F L I + K T 1 D P A - + _ / R Z , CONSULT (V ) HOv/ WE MAY HENCEFORTH MOST OFF END K > N S > / + L T HA- W I / M F r FIE 4 NSF | +R ) NO’- ’ +ST > F F + N D OUR ENEMY, CI'JR OWN L O SS H O W ( l ) R E P A I R , = a / R e + n _ m i , a = d / p. c p + n l | + s ha = + r i p e = + r , HOY/ ( 1 ) OVERCOME T H I S D I R E CA L A M IT Y , HA = + O* V 3 / P K P / + M ( I S D A E + S / R K_L< + M I T I , WHAT RE INFDPCF.MENT WE MAY GAIN FROM H O PE , tfO W | T R I / I N F 1 + P S M > N T W l / MF GF*+N F R > / M HO» + P , I F NOT WHAT R E S O L U T I O N FROM D E S P A R E . IF N | + T W| T R E 7 C " L U / + S>N F R > / M D I S P E = + R . + THUS SATAN T A LK IN G TO H I S NEAREST MATE + ( > / + S S E * + T > N T | + K I X T U / H I Z N t = + P I S T ME-*+T WITH HEAD U P - L I F T ABOVE THE WAVE, AND E YES W I) HE + D > / P L I + FT > B > / + V ( > V.'E' + V, <ND A ’ +Z THAT S P A R K L IN G B L A Z ' D , HTS OTHER P A R T S B E S I D E S ( < T SRA + R K L I X R L E * + Z S D , H I Z > / + ( o ) / R P A + R T S b l S A F + D Z PRONE ON THE F LO O D , EXTENDED LONG AND LARGE P R D - + N |N ( > F L > / + D , I K S T E + N D I D L . | + A <ND L.A + RJ LAY F L O A T IN G MANY A P O O D , IN BULK AS HUGE L E T + F L O ^ + T I X MEPNI R U / + D , IN B > / + LK <7. H Y U / + J AS WHOM THE F A B L E S NAME OF MONSTROUS S I Z E , <Z HU/M ( > F E * + p > L Z N F » ■ +M |V M | + N S T R > S E A - ' + Z , T I T AN I AN, OR E A R T H - D O R N , THAT WAPR'D ON J O V E , TA-p TF*- + NI = N , |R 5 ) / + R ) B | + R N , ( <T w | + r b d | n JO* +V , BR I A R E O S OR TYPHON, WHOM THE DEN B R I A + R I O ' S |R T A * + F > N , HU/M {> DF+N BY ANC IEN T TARSUS H E L D , OR THAT S E A - B E A S T 2JX> BAY! E + + NT > N T T A + E S > S H L + L D , | P ( < T S I / + R I / S T L E V I A T H A N , WHICH GOD OF ALL H I S WORKS L I V A v:+ > ) > N , WITT. G | + D | V | + L H IZ WD/ + PKS CREATED HUGEST THAT SWIM T H • OCEAN STREAM: K R I E + + T I D H Y U / + J I S T ( <T SWI+M (* 0"' + $>N S T P I / + M : H I M ( l ) HAPLY SLUMB RING ON THE NORWAY FOAM HI+M H < f P L I S L > / + MR9R IX |N ( > N | + R W E * FCH: + M I 308 THE P I L O T OF SOME SMALL N IG H T —FOUNDER' D S K I F F , (> PA = + L>T |V S > / + M S ma +L NA> + TFA =-«-NDa)/R BD S K I + F , DEEMING SOME ISL A N D. O F T , AS SFA-MEN T E L L. D i z + Mr x S>/+M As; + L. > ND » l + F T P , < 7 S I / + MEN T E + L , WITH FIX ED ANCHOR IN H I S SCALY PINO C K I ) F I+ K S T < + «KO /P IN HI 7 . SKf-»+LI RA'! +MD MOORS BY H I S S I D E UNDER THF L E F , WHILE NIGHT MU=+RZ If.*' HIZ S A" + • D >/+NDfi)/R ! > I I / + , WA=*L NA1 ' +T INVESTS THP S E A , AND WISHED MOPN DF L A Y*": S I C I N V M S T S (> S l / t , <ND WT+ST M|+RN D I L E > + Z : SO STRF.TTHT OUT ( 5 ) HUGE IN LE NGTH THF A R C H - F I ENT LAY SO * ■ S T P E + T J T A = + T F H Y U / + J IN L F + « ) (> A*h>Tf,FI/ + ND L F ‘ +- C H A I N ' O ON THF BURNING LAKE. NOP EVER THENCE -jln T :l. F +MAD I N (> 3 S / + BNIX LE---+K, N | P E+VW/R I E + N S HAD R I S ' N OR HEAV'D H I S HEAD, OUT THAT THE WILLI 1) H> 0 R I Z 9 _ N |R H I / + VSD H IZ H E + D , B > / T ( <T ( > WI + L AND HIGH P E R M I S S I O N OF A L L - P U L I NO HEAVFN <NO HA ;:+ Pn)/RMI+T>N V | + L R U / + L I X HE + V_N LEFT HIM AT _ARGE TO H I S OWN DARK D E S I G N S , LL + FT HIM. <T LA+HJ T U / HIZ O ’ + N DA + RK D I Z A * + N Z , THAT WITH REITERATED CRIMES HE MIGHT I < T WI) R I / H-TSJ/RF ;'T ID KPA-+MZ H I / MA^ + T HEAP ON HIMSLLF DAMNATION, WHILE HE SOUGHT H I / + P | N H1MSE + LF D<MNE> +J.>N , W'A^L H I / S | + T EVIL TO OTHFRS, AND ENRA G'D MIGHT SEE I / F V > L T U / > / + ! D / P Z , <ND I N P E " + J F D MAF. + T S I / F HOW ALL H I S MALICE S E R V ' D BUT TO BRING F O R T H ! S ) HA= | +1. H I Z M < + L I S SS)/+RVaO B > / T TU / BP I + ft F j +P.) 5 I N F I N I T E G O rD N E SS , GRACE AND MERCY SHOWN I + N F I N I T GLUONI S , GR F - + S < MD M&1/+RSI T.O-' + N ON MAN BY H I M ( l ) SF.DU C'T , OUT ON HIMSELF | N M< + N RAr- HI + M S I D Y U / + S S T , B > / T |N HIMSE+LF TREBLE CONFUSION, WRATH AND VENGEANCE P O U R ' D . 2 X 0 TRE+B>L K > N F Y U / + 0 > N , R | +) <ND VE+N J>N S P ) + R 8 D . FORTHWITH UPRIGHT HE REAPS FROM O F F ( 5 ) THE POOL F j K ) W I + ) > / + RRA"T H I / R I = + R Z F p >/M | + F5 ! > PU/+L. H IS MIGHTY STATURE; ON EACH HAND THE FLAMES HIZ M A '• > + TI ST< + T $ a / R ; | N I / + T S HC+ND (> F L E :'+MZ D R I V ' N BACKWARD SLOPE T H I R P O I N T I N G S P I F F S . AND ROWLD DRI+VD_N P< + <W5)/PD S L O - + P (F = P P E = + N T I X SPA* + / R Z , < ND IN BILLOWS, LEAVE I* T H ' M I D S T ! 1) A HORRID VALE. RD^+LD IN B I + L D T Z , L I / + V A ' (« Q M I +P S T > H | + F I D V E * + L . T H E N ( l ) WITH EXPANDED WINGS HE ST EARS H I S F L I G H T I F + N W I) IKS PC + NDIB WI+ft7 H I / S T I = + RZ H I Z FL AJ: + T ALOFT, INCUMBENT ON THE DUSKY AIR > L | + F T » I N K > / + MB>NT |N !> D > / + SK I E - HR THAT FELT UNJSUAL WEIGHT, T I L L ON DRY LAND !<T FE+LT > / N Y U / + ZU = L W E ' + T , T I L |N DRA'"+ L<+ND HE L I G H T S , IF I T WERE LAND THAT FVF.R BURN'D H I / L A * + T S , I F IT W»/R L< + ND ( < T E + VS)/R RS)/ + RN 80 WITH S O L I D , AS THE LAKE WITH L IOUID FIRE*. WI ) S | +L ID, < 7 <> L E ' + K W I ) LI+KV.'ID FA-H51/R! 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H l ' - U l ) FOLLCWFD H I S NEE X T MATE, |V > / + N B L E + S T F I / + T . HI+M r | + L G r n HI 7 _ NF + KTS M E ^ + T i ROTH GL'JRYING TO HAVE S C A P ' T THF STYG IAN F L ODD BO + +) GL | -+R I I X T _ / H> V SKF + PP T ( > S T I + J I = N F L > / + D AS G O DS . AND BY TUI R OWN R E C O V E R ' D STR E NG T H , £ 4 0 < 7 . Gi f O Z . <ND f.'Av ( L = R C ' + N F - I K > / + V «>/R BD ST R F+ tf > * NOT BY THE SUFFERANCE. 0T SUPETPNAL POWER. N | + T HA - O S > / + F _ / R> NS |V S Yl J / P n 1 / + PN>l_ PA = + / R . + I S T H I S ( 1 ) THE R E G I O N , T H I S t l ) THF S O I L , THE*” CL I N F , + 12 ( T + S <> R I / F J > N , ( I + S C> 50=+L , ( > KLAw+M, S i I P T H E N ( l ) THE L O S T ARC H- A NG EL , T H I S ( l ) THE S EA T s r + o < e + n o l | + s t a + p t t f - - n j > L i ( i + s o s i / + t THAT W~ MUST CHANGE F p P H b A V 1N , T H I S ( l ) MOURNFUL GLOOM ( <T W I / M > / + S T Tf-L-- + N J F l R H E + V 9 N , ( T +S M | +RNFUI. GLU/+M FOR T H A T ( l ) CE L E S T I A L L I G H T ? R E M ) IT S O , SINCE H E ( 1 ) F | R ( < + T S I L S + STY_L L A H T ? 0 I / + I T S 0 :i , S I N S H I / + WHO NOW I S SOVF-IAN CAN D I S P O S E ANC BID HU/ NA = + IZ S | + V f - > N K <N DISP0>; + 7 < ND R I + D WHAT( I ) SHALL BE F I G H T : FARDF S7 FROM HIM I S REST W | +T 5>l. R I / R A ’• + T : FA + P D I S T F R > / M HIM 1 7 RO + ST WHOM REASON HATH F Q U A L D , FORCE HATH MADF. SUPRFAM HU/M R I / + Z_N H> ) I / + K W > L D , F | + P S H > ) ME++D S Y U / P » I / + M ABOVE H I S EQUAL S. FAREWFL HAPPY F I E L D S >B > / + V H IZ I / + KYOL7. F F = RWF+L H < + P I F I / + LDZ WHERE JOY FOR EVER DWEL LS: HAIL HOWROURS, HAIL “ 2 ^ 0 WF = R J O = + F | f? 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OF F I R E , a-»t> G R | + V _ L I X <MD P R | + S T R E t T |N Y | + N L E - + K | V F A « + _ / R , AS WE ( 1 ) EREWHIL.E, ASTOUNDED AND A M A Z ' D , <Z W I / + E=RwA-> + L , > S T A = + N D I D < ND > M E ' + 7 . 8 D , NO WONDER, F A L L ' N SUCH A P E R N I C I O U S H I G H T H . 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HE WALKT WITH TO S U P P O R T U N i A S I E S T E P S H I / W | + KT WI > T 11/ S > P j + E T > / N I / + Z I S T E + P S OVER THE B U R NI N G M A P L E , NOT L I K E T HOS E S T E P S O H V a ) / R {> B » / + R N I X M A + R L , N | + T L A *K ( O < Z S T E + P S ON HEAVENS A Z U R E , AND THE T O P P I D C L I M E | N H E + V > N Z < + O i V R , < N D ( > T | + R I D KLA^+M SMOTE ON HIM SORE B E S I D E S . 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ESS W'ERt THOSE HAD ANGELS SEEN S O 1 N > / + MPa»/RL I S V'fl/R ( 0 * 7 J < + D E i +NJ>L7. S I / + N HOVERING ON WING UNDER THE CPPF CF HELL H > / + V _ / R I X | N WH-tf >/+ND<A/R (> K O y + P | v HE+L T W I X T ( l ) U P P E R , S.ETHEP, AND SURRCUNDING F I R E S ; 9TWIKST > / + P S / R , N E + ( o ) / R , <ND S >P A = +N D I X F A ' + f / P 7 I T I L L ( l ) , AS A SIG NAL G I V N . TH* U P L I F T E D SPEAR T I + L , <Z > S I I G N > L GI+V9__N, ( • > / P L I + F T I D S P I = + P OF THIR GREAT SULTAN WAVING TO DIRECT |V ( E - R GRFJ + T S> / + L T >N W F ' + V I X T U / D IR E + K T THIR COURSE, IN EVEN BALLANCt: DPWN(S) THEY LIGHT (F=p K ( + R S , IN I / + V> N R < + L > N S DA=-+NF ( E L A ' + T ON THF F IR S ’ BR IM ST O NE . AND F I L L ALL THE P L A I N ; 3 5?> | N {> Fn)/ + RM BRI+MSTDVN, <ND F I + L | + L ( > PLE* + N; A MULTITUDE, L IK E WHICH THE POPULOUS NORTH > M>/ + LTI T Y U / D , L A < ■ K WITT (> P | + P Y L > S N | + R ) P OUR 'D NEVER FROM HFP F F P Z F N LPYNS, TO PASS o 1 + 0 8 0 N E + V S / P F R > / S' HS)/R F R [ ’- +Z > N LO = +NZ, T U / PA + S RHFNF OR THE DANALv. WHEN HER BARBAROUS SONS R I / + N |R (> D < + N | , WEN HcO/R BA + RB _ R> 5 S > / + NZ CAME L I K E A DELUGE DN THE SOUTH, AND SPREAD KEv+M LA--K > DF+L YU J |N (> S « = + ) . <ND SPRE + D BENEATH GI BP ALT A R TC THE LYBIAN SA N D S. O I N I / + ) J I BP | +L T«i)/R T U / (> L I + B I = N S< + NDZ. FORTHWITH FROM EVERY SQUADRON AND FACH BAND F | R ) W I + ) FR>/M F + VPI SKW|+DR>N <TND I / + T $ B<+ND THE HEADS AND LEADERS THITHER H A S T ( 2 ) WHERE STOOD ( > HE + DZ <ND L . I / + D S / I <7. >I+(ffl/R H F * + S T WE = R STU + D T H IR GREAT COMMANDER; GODLIKE SHAPES AND FORMS (E = R GRE>+T O M A + NDoVP! C , |+DLA*'K $F*:+PS <ND F | + F M Z EXCELLING HUMAN, P R I N C E L Y D I G N I T I E S . - I K S F + L I X HY U/+M>N, P R I + N S L I D I + G N I T I Z , AND POWERS THAT FAKST IN HEAVFN SAT ON THRONES; 3tO <ND P A = + _ / p Z ( <T S / + FST IN H t + V>N S < + T |N >FO *+ N Z ; THOUGH OF TH IR NAMES IN HFAV'NLY RF.CDRDS(N) NOW ................ ( 0 * |V (E=R N F '• + M 7 IN HE + VRML I RE+KoJ/RDZ NA = + BE NO MEMORIAL, BLOTTED O U T ( B ) AMD R A S 'D B I / NO !" + MIM| + R I - L , F. L | + T I D A = + TE <ND RE++Z 8D BY THIR R E B E L L I O N , FROM THE BOOKS OF L I F E . BA l: (E = R R I BE + L Y> N , F P > / M (> BU + KS |V LA^ + F . NOR HAD THEY Y E T ( l ) AMONG THE SONS OF EVF N |R H> D <E* YE + T > w > / + * ( > S > / + NZ |V I / + V GOT THEM NEW NAMES, T I L L WANDPING 0 P E ( 2 ) THE EARTH, G | + T (EM NU/+ N E / + M 7 , T I L W j + N D 9 P IX | 9 P (> ffl/+R), THROUGH GODS HIGH SUFFERANCE FCP THE TPYAL CF MAN, ) R U / G |+D Z HA* + S > / + F _ / P > N S F | P (> TRA“ t _ L |V M<+n . BY F A L S I T I E S AND LYES THE GR F ATF.ST PART BA- F | + L S I T I Z < NO L A - + Z ( > G R E > + T I S T PA + PT OF MANKIND THEY CORRUPTED TO FORSAKE |V M<NKA* + ND ( F f- K > R > / + P T I D T U / F | R S F > + K GOD T H I R CREATOR, AND T H ' I N V I S I B L E .............................. G | +D (E=R K . R I F * + T n j / R , <ND ( ' I NV I+ Z> B > L GLORY OF HIM THAT MALE THEM, TC TRANSFORM 370 G L l + R I |V HIM ( <T ME*+D (EM, T U / T R < N S F | + R M OFT TO THE IMAGE OF A BRUTE, ADORN'D -................ I + F T 9 T U / ( > I + M I J |V > 8 R U / + T , > D | + R N 8 D WITH GAY R E L I G I O N S FULL OF P f M P AND GOLD, WI) GE*+ R I L I + J >NZ FU+L |V P | + M P <ND GO++LD, 313 AND D E V I L S TO ACCPt FOR D E I T I E S : < ND D E +V > L Z T U / > D | +P p I p D I / + I T I Z : THF N < 1 ) WEPF THFY 'KNOWN TO MFN BY V A RI OU S NA MES . (E+M Wot/R (C» NT* +N T U / MF + N R A 4 Vr£= + P I = S Nt ’ + M 2 . AND VA RIO U S I DE LS THROUGH THF. HfcATHFM WORLD. <ND V F - + P I = S A» + D> L Z ) R U / ( > H I / + O N WSI/+PLD. SAY, MUSE, TH I F NAMES THEN K NOWA', WHO F I R S T , WHC L A S T , MYII/ + 2 , ( E - P N E * + M2 (FM N C ' + N , H U / F O / + P S T , H U / LA+ST. R O U S ' D FROM THE SI UMBER ON THAT F I E R Y COUGH, 1 «A = +ZSD F R > / M ( > S L > / F M M i / F - |N ( < T F A * + _ / F ! l K | +F , AT T H IR GREAT EMPERORS CAL L, AS NEXT IN WORTH <T (F--R GR E + T F r + M P _ / Po' / P Z K | +1 , <Z MF + KTS IN WSV + P) CAME S IN G L Y WHERE HF STOOD ON. THE BARE S T P A N D , KE-t+M S I + WGLI WE = R H I / S T I H D | N <> U'S=+R S T F < + N D . WHILE THr PROMISCUOUS CROUD STCCE Y F T < 1 ) A L P f F ? JflO WA-'L ( > PP>A'I + SK YIJ-E KRA=+D STU + D YE +-T > L U / + T ? THE C H I E F WERE THOSt WHO FROM T HE P I T OF HELL ( > T J I / t F WS>/R (C'i'7 H U / F R > / N ( > P I + T | v H E+L ROAMING TO SEEK T H I R PR F Y CN EARTH, DURST F I X ROv + MI X T U / S I / + K <F = P PHP> + | N 0 . / + - M , D B / + R S T F I + K S T H I R SEATS LONG AFTER NEXT THE SEAT OF GOD, (E = R S I / + TS L | + tf < + F T 5 ' /R NE + k T S ( > S I / + T |V G | + D , T H i r H l I ALTARS BY H I S ( l ) ALTAI?, GCDS ADOR 'D (E = + R | + L T 5 ) / R Z RA • H 7 + Z | t l T a / P , G | +DZ > D | + P B D AMONG THE NATIONS ROUND( 1 ) , AND DURST A B I D E > M > / + ff (> NE'* + 3>NZ R A = + N D . <ND DSI /+ P ST > R A + + D JEHCVAH THUNDPING D U T ( S ) OF S I C N , T H R O N 'D J I H O ' ! + V> ) > / F ND9RI X A = + T 5 |V S A * + > N , )RO«+NftLl BETWEEN THE C H E P U B IM ; YEA, OFTEN P L A C ' D b i t w i / f n o t t f : + p > r i m ; y e v + , | + f > n p l f -; + s b t W I T H IN T H I S SANCTUARY I T S E L F T H I R S H R I N E S , WI ) I + N ( I S S< + *KTYU = P I IT F F + L F (L=l? $RA>' + MZ, ABO MI NA T IO N S ; AND WITH C U R S E D ( l ) T H I N G S >B | MINE t } > M Z J <ND W I) Ka)/R + S I D ) I + // Z H I S HOLY R I T E S , AND SOLEMN F E A S T S P R O F A N ' D , 390 H I Z H R + L I RA - f+ T S , < ND S | + L > M F I / + S T S P R > F E ' + N 8 D , AND WITH T H I R ( I ) DARKNESS DUPST AFFRONT H I S ( l ) L I G H T . <ND W I ) (E = + R D A + R K N I S D a / + R S T > F R > / + N T H l + Z L A ^ + T . F I R S T MOLOCH, HORRID KING BE S M E A R' D WITH BLOOD F 3 / + R S T MO++l | K , H l + P I D KT+tf B I S M I = + R 8 D WI) B L > / + D OF HUMAN S A C R I F I C E , AND PARENTS T E A K S ( N ) , |V HYU/+M>N S < + K R I F A P S , < ND P L = + K > N T S T I = + R 2 , THOUGH FOP THE NOYSE OF DRUMS AND T I M B R E L S LOUD (O* F | R (> NO= + Z |V L R > / + MZ <NC T I+MOR>L Z LA= + D T H I R C H I L D R E N S C R I F S UNHEARD, THAT P A S T THROUGH F I R E (E = P T t l + L. D R > N Z K R A ' + Z > /+ N H 5 > / + R D , ( <T PA + S T ) R U / F A ' + S ) / R TO H I S GRIM I D O L . H I M ( l ) THE AMMONITF T U / H I Z GPI +M A * + D > L . HI+ M ( > < + M>NA>-T WORSHIPT IN PABBA ANT HUP WATRY P L A I N , W 3 / + R S I P T IN P< + E> < ND Hal/P . W | + T R I P L E - + N, IN ARGOU AND IN BASAL., TC THE. STREAM IN A + RG |B < ND IN P F * + S < N , T U / (> S T R I / + M OF UTMOST APMON. NOP C C N T E N T ( A D J ) WITH SUCH |V > / + T M O ^ S T A + P N | N . N | P K>I'TF +N T V V I ) S > / + T I AUDACIOUS HE I G H b C D H O G C , THE W I S E S T HEART 4 0 0 | D E 5' + $> S NF* + Ea>/PHUD , <> W A ' + Z I S T HA + P.T OF SOLOMON HE LED BY FRAUD TF BUILD |V S | +L > M>N H I / LF+ D PA * F P | + D T U / B I + L D H I S TEMPLE RI GH T AG AI N ST THE TEMPLE QF GOD H I Z Tc + MP>L P A" +T > G F * + N S T ( > TE+MP_L |V G | + D ON THAT O P P R O B R I C U S H I L L , ANC MADE H I S GPOVE | N ( <T >OPO + + B P I - S H I + L , <ND ME*+D H I Z GRO=+V THE PLEASANT VALLEY CF HINNOM, TOPHET THENCE ( > P L E + Z > N T V < + L |V H I + N > M , T C - + F L T ( F + NS AND BLACK GEHENNA C A L L ' D , THE TYPE DP H E L L . <ND 0 L < + K G I H E + N> K | + L 8 D . (> T A * + P | V H E + L . 314 NEXT CHEMOS * T H ' rRSCFME DREAD OF MOABS SONS, NF+KTS K I / + W : s , ( • | L S I / + N DPE+F |V MO>+<RZ S > / + N £ , FROM AROAR TO Nc PO . AND THE WILL' C F R > / M > R | + R T U / M I / F L O •. <N0 (> WA'J+LD OF SOUT HMOS T ABARIM! IN HE £E ROM |V S A = + ) M()» ST < + L> RI M; TN B O L S H I N AND HORONAIM, SLONS KTAL.N1 * PFYCNP C <NO h | + P j N A > M, S I / + > N Z KE + l. m , BI Y | + N D THE FLOPPY DALE OF SIF’MA CLAP1 WITH V I N E S , 4(0 ( > FLA = + 9 R I DF • + L (V 5T+BM> KL< + F WI ) V A ' + NZ. AND ELEftLE TO TH* ASPH ALT IC POOL. <ND I / + LI <L> T U / (• < SF I + LT I K . P U / + L . POOR H I S OTHER NAPE, WHl.N HP E N T I C ' D PL ':■ + | R H IZ > / + < 0 / R N F ” +M, WEN H I / I N T A ' + S f ’ -D ISR AEL IN S I T T I M ON T HIR MARCH rF PM N IL E I + ZRF r'_L IN SI FT 1 M |N ( t =0 WA + RTS F R > /M NA’ +L TO DO HIM WANTON F I T E S , WHICH CCS! THEM WOE. T U / D U / + HIM w | + N T > N P A > + T ‘_, WITS K | 4 ST (EM W 0 ^ + . YET THENCE NTS LUSTFUL OR G IE S HF EN LARG'D YET (E+ N S H IZ L > / + STFIJL l + F J I Z H I / INI.A + P J 8 D EVEN TO THAT H IL L OF SCANDAL, F,Y TH? GPOVF I / + V N TU / ( <T HI 4 L |V S K < + N D > L , DA’ ( > RPO = + V OF MOLOCH H O M I C I D E , LUST HARD BY HATE; |V MC( 4 L | K H | + M 1 S A « D , L > / + S T HA + FD bA * HE> 4-T ; T I L L GOOD JOS I AH DRTVF THEM THE Mf F TO HELL.. T I L GUti.l JC i SAl +> D P O ’ + V ( FM ( E + K S T U / H E + L . WITH T H E S E ( l ) CAME T H F Y ( l ) , WHO FROM THE ROPDRING FLOOD WI) ( I / + Z KF*+N ( E ^ + t HU/ F*>>/M ( > 8 | +RD 9RI X F L > / + D OF OLD EUPHRATES TO THE BROOK THAT PARTS 4ZP (V 0 - + L 0 YU/FR F-> +TI Z T U / (> FPU + K ( < T PA + PTS EGYPT FROM SYPI AN GROUND, HAL GENERAL NAMFS I / + J I P T FR> /M S I + R I = M GRA--4NL', H>D- JF+NS>/R_L NF*+MZ DIF BAALIM AND ASHTAPCTH, T H O S E ( l ) MALE, |V B E *- + I L I M <NP C + J T n V P I ) , (0--+Z ME*+L, T H E S F ( l ) F E M I N I N E . FOR S P I R I T S WHEN THF Y PLEASE ( I / + Z F E + M I N I N . 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FOR T H O S F ( l ) THF RAC.L OF ISRAEL OFT FORSOOK F | R (0>4-Z ( > F F + + S |V I + Z R F ' , _L | + F T 9 F | R S U + K T H I P L I V I N G STRENGTH, AND UNF PF QU ENTF. D LEFT ( F = P L l + V I X S T P L + f f ) , <ND > / + N F P I K V L + MTID L E + F T H I S RIGHTEOUS AL TA R , FDWTNG LOWLY DOWN(S) H IZ R A - + T $ > S ( + L T S V R , BA= +I X L C r + L I DA=+N5 TO B E S T IA L GODS ; FOR WHICH T H I P HEADS AS LOW T U / BE+ STY>L G l + D Z ; F | R WIT3. < F = R HE + DZ <7 L.OV + BOW'D D 0 W N (5 ) IN BAT TE L, SUNK ELFCRE THE SPEAR RA=+SD DA=+NS IN B < + T > 1 , S > / + NK P I F | + R ( > S P I = + P OF D E S P IC A B L E F O E S . WITH T H E S f d ) IN TROOP |V DI SP I + K I E?>L F C H 7 . WI) ( I / + Z IN T O U / + D CAMO ASTORFTH, WHOM THE P H r L N I C I A N S C A L L ' D KE*4M < + S T ( r E ) , HU/M (> F O > M I / + i > N Z K |+ L O D ASTARTE, OUEFN OF H E A V ' N , WITH CRESCENT HORNS; > S r A f R T ? > , K W I / + N JV HE+VQN, WI) KPF + S>NT H | + R N Z ; 315 TO WHOSE BRIGHT I NA GE N IG H T L Y BY TH1 MnDN . T U / H U /Z BP A *+ T I + M I J N A - + T L I BA-' ( > l-'U/IN S I DON I AN V I R G I N S P AID T H I R VOWS AND SON GS » S IDO ’ - + N I = N V i / U J I N Z P S J +D (F = R VA = + Z <ND S | + * Z t IN S IGN ALSC NOT UNSUNG, WHEEL- STOOD IN S A M >N l + L S T ’i N | + T > / + K S > / + # , WB=R STU + D Hr. R T R I P L E ON TH* OFF FNSIVL. MOUNTAIN, B U I L T Hi^/R T-i + MP>L |N ( • >FT + t\iS IV MA=+NTIM, B I + L T OY THAT UXORIOUS K I N G , WHOSO HEART THOUGH LARGO, 8 A * ( <T > / K S | + R ] = S K I + # , H U / 7 HA + PT ( P ‘ L A + F J , B E G U I L ' D RY " A I R I D O L A T O F E S F 5 , RFLL B I G A + _ L 8 D BA* F F - + P A • D | 4 L > T RJ S I Z , FF. + L TO IDOLS F C U - . THAMFUZ C.AMF NEXT B E H I N D , T U / A M O > L Z C A - E L . ) < E f > Z K F ' + M N ' B K T S B I H A ’ END, WHOSE ANNUAL WOUND IN LF.PANON A L L U R 'D H U /Z <+NYU=L WU/+ND IN I. F + B > M |N >LYU=+R8D THE SYRIAN DAMSELS TO LAMENT H I S F ^ T F ( > S I + P I = N D < + M 7 > L 7 T U / L>M!£ + MT H IZ F E * + T IN AMOROUS D TTT Y ES ALL A SUMMERS DAY, IN < + M _ / P > S D I + T I Z | + L > S > / + ML/R Z D F J-+ , WHILE SMOOTH AD ON IS FROM H I S NATIVE ROCK W A * L S MU/+ ( > D | + N I S F P > / M . H I 7 N f f + T I V R | + K RAN PIJR PL PI TO THE S L A , S U P P O S ' D WITH BLOOD R O N P.',)/+RP>_ T U / ( > S I / + , 5 > P r - : + ZBD WI ) D L > / + D OF t h a m m u z y e a r l y w o u n d e d : t h l i c v f - t a l e |V )< + M>Z YS1/ + RL I WU/ + NDTD: <> L>'/+VTLj>L INFL CTE D S I O N ' S DAUGHTER WITH L I K C ( l ) HF A T , I N P f + K T I D P A r + > N Z C|+TST/F? W I) LA* +K H I / + T , WHOSE W ANT ON P A S S I O N S IN THE SACRED POPCH H U /Z W | + N T > N P > + 5- > N Z IN ( > SF*- + K F I D P j + R T * E Z E K I E L S A V * . , WHEN BY THF V I S I O N LFD I Z I / + K I = L S | + , WFN BA + ( > V I + 0 > N LF + O H I S EYE S U F V A Y ' O THE DARK I D O L A T R I E S H I Z A +-+ S 3 / P V E ? +PD (> DA + PK A * D | + L I T R I Z OF A L IF N AT F D JU D A H . NEXT CAME CNF | V F.» +L I =NE * TIE) J U / + D > . NF + KTS K F v + M W > / +N WHO MOURN'D IN E A R N E S T , WHEN THE C A P T IV E ARK HU/ M| + R N 8 D IN D / + R N I S T , WFN ( > K< + P T I V A + RK MAIM'D H I S BRUTE IMAGE, HEAD AND HANDS L. OPT O F F < 5 ) ME++M8D H I Z B R U / + T I + M I J , HE+D <ND H<+NDZ L | + P T | + F 5 IN H I S OWN T E M P L E , ON THE GRUNSLL EDGE, *H>0 IN H I Z Q*+N TE + M P > L , |N ( > GP > / + N S > L f + J , WHERE HE FELi. F L A T , AND SHAM' D H I S WCRSH I P P EP S : WE = R H I / FE + L F L < + T , <ND $F.’ +MBD H IZ WS)/ +R$ I P o ' / R Z t DAGON H I S NAME, SEA MONSTER, UPWARD MAN D E + + G | N H I Z N E ++ M , S I / + M | + N S T ffi/R, > / + P W a / R D M< + N AND DOWNWARD F I S H : YET HAD H I S TEMPLE HIGH < ND DA = + NWS;/RD F l + t : YET H>C H IZ T E + M P > L HA- + R E A R 'D IN A Z O T U S , DREADED THROUGH THF COAST RI = + R8D IN > Z O - ' + T > S , DRE+DTD ) P U / ( > KOv'+ST OF PALEST I F F , I N GATH AND ASCALON, |V P < + L. I S T A N , IN GA+ ) <ND < + S K > L | M , AND ACC ARON AND G A Z A ' S F R O N T I E R BOUNDS, <ND < + K > P | N <MD 6 A t Z > 7 FF- > / + NT Y ffi/R FA= + N O Z . HIM FOLLOW'D PIMMGN, WHOSE D E L I G H T F U L SEAT HIM F | +LP+ P D R I + M > N , H U / 7 0 I L A * + T F U L S I / + T WAS F A I R DAMASCUS. ON THE F E R T I L E BANKS W>Z FE = +fi D>M< + £K >S , |N ( > F 6 } /+ F T A * L R< + tfKS OF ABBANA AND P H A R P H A P , L U CI D S T R E A M S . |V <+B>N> <ND F A + R F A R , L U / + S I D S T R I / + M Z . HE ALSO AGAINST THE HCUSF OF GOD WAS BnLD ' H I / | +L S_* >GE»- + NST ( > HA=+S |V G | + D W>Z B O + + L D : A L E PE R ONCE HF LOST AMD G A I N ' D A K I N G , > LE + F jT /R W > / + N S H I / L. | +ST <ND GF>*+NBO > KT + W, AHAZ H I S S O T T I S H CONOUERQR, wHCM HE DREW F * + H<Z H IZ S | + T I $ K | + t f K a / P / F t HU/M H I / D R U / + 316 G O D • S ALT AR TO D I S P A R A G E AMD D I S P L A C E G l + P Z | f l T S / W T U / D I S P < + P I J < ND D I S P L E ^ + S FOR ONE OF S Y R I A N V O T E . WHEREON TO BURN F | R W > / 4- N |V 51 +R I=N M G ' + C , W E = P | + N T U / Bo)/+RN H I S O D I O U S D F F M N G S * AMO ADt'K F THE GODS H I / O -■» OY>S I + F 9 R I X Z , <ND >D | +F' ( > G f + D Z WHOM HE HAL V A N Q U I S H ! • AFTER T H L S F t 1 ) A P P E A R ' D HU/M H I / H >D V< + *KWl3-T. < + F T f / F - ( I / + Z > P I = + P 8 D A CREW WHO UN DE «? NAMES OF OLD FF.NUWN, > K P U / + H U / > / + NDffl/P N L - + M Z |V C‘ - + L D F-’INA = + N, OS I! I S , I S I S , CRUS AND THE IP T F A I M O S A J h-D/R__S , A + + 5 I S . | + P > S <NC ( F - F TPF->+M WITH MONSTROUS S H A P E S AND S O R C E R I E S A P U S ' C W I ) M | + N S T R > 5 -?■ F' H-PS <MD 5 | + PSS)/P I Z > B Y U / + Z 8 D F A N A T I C EGYPT AND HER P R I E S T S * TC S F F K 4*0 F> M <+ T I < I / + J I P T <ND Hij)/F P R I / + S T S , T U / S I / + K T H I P WANOPING GODS r i S G u r S ' D I N b r u t i s h f o r m s ( R - P W l + M D R R I X G I + r Z D I S G A - + Z P O IN B R U / + TI3- F | + P M Z RA THF.P THEN HUMAN. NOR D I D ISR AEL S C A P E R A + U l / B ( E N H Y U / + M > N „ N | R D I + D I + ZF<_*->L S K E * + P T H ' I N F E C T I O N WHEN T H I R BORRO W'D GOLD C O M P O S ' D ( • IMFf + k *>N V F N ( F = P 3 | + R O •" 8 D G O ^+ L D K > MPO « • + 7 8 D THE C A L F IN O R O B: AND THE PEREl. ( F ) K I N G ( > KA+F IN | + - R> B: <ND ( > RE + B M KI + ft D UIJRL'O THAT S I N IN P E T H F L AND IN D A N , D > / t r > L S D (<T S l + N IN r-(E+)>L <MD IN D< + N , L I K ' N I N G H I S MAKER TO THF G P A Z F O OX, C L A '-' + K 9 N I X H I Z MC*+Ko)/R T U / ( > GR E + + ZD | + K S , J E H O V A H , WHO IN ONE N I G H T W HON HE P A S S ' D J I H f E + V > , HU/ IN W> / + N NA •' + T WFN H I / PA + S 8 T FROM E G Y P T MARCHING,- EQUAL* D W I TH CNF ST R O K E F P > / M I / + J 1 P T ^ A + 1 - T t I X , T/+KW>1 ED W I ) W > / + N 5 T R O + K BOTH HER F I R S T BORN AND ALL HER P L E A T IMG G O DS . B O H ) HiS/R F i* / 4 P S T B | +R N <ND ( + L hH l/P B L I / + T 1 X G | + 0 7 . B F L I A l . CAME _ A S T , THEN WHOM A S P I R I T MORE LEWD B I / + L I = L K f H M L A + S T , ( FN HU/M > SP I = +P I T M { + R L Y J / + D F E L L NOT FROM H E A V E N , OR MORE GROSS TO LOVE F E + L N | + T F R > / M HE + V > N , |R M | 4-R G R O ^ + S T U / L > / + V V I C E F O P I T s e l f : TO HIM MO TE MPL E STOOD V A * +S F t P IT SE + L F : T U / HIM N C ' J T E 4 M P > L S T U + D OR ALTAR S M O A K 'D J YFT WH0(1 ) MOF-T: OFT THEN H F F ( l ) | R ( 4 - L T 3 / R S M 0 > + K 8 T ; YET H U / 4 M | + P ( +F t q ( E N H I / + IN T E M P L E S AND AT ALTAF-’ S , WHEN THE P R I E S T I N TE + M P > L 2 <ND <T | + L T a . ' / R Z , WEN (> P R 1 / + S T TURNS A T H E I S T , AS DID E L Y ' S S O N S , WHO F I L L ' D T S / + RNZ E + + ) I _ S T , <Z D I + D I / + L I Z 5 > / + N Z , H U / F I + L 8 D WITH L U S T AND V I O L E N C E THE HOUSF OF GOD. W I ) L > / + S T <ND V A * + > L > N S ( > H A - + S |V G | + D . I N COURTS AND PALA CES ' HE ALSO R E I G N S IN K 1 + R T S <ND P < + L I S I Z H I / | + L S O > Rt :* + N Z AND IN L U X U R I O U S C I T I E S , WHERE THE NO Y SF < ND IN L > / G Z Y U = t F I = S S I + T I Z . WF = R ( > NO = + Z O f RI O T ASCENDS ABOVE THE IP LOF T I E S T TOWRS, | V RA F + _ T > S E + N D Z > P > / + V ( L r = R L | + F T _ I S T T A = + 9 R Z , AND I N J U R Y AND O U TR A GE : AND WHEN N I G H T ST>V <ND I + N J 5 ) / R I <ND A = 4 T P 5 I J : <N'D WEN N A »+ T DARKENS THF. S T P F F T S , THEN WANDER F O R T H ! 5 ) THE SONS D A + RK > N Z ( > S T R I / + T S , ( £N W | + N D 5 ' / R F j + R ) 5 <> S > / + NZ OF P E L I A L , F_OWN WITH I N S O L EN C E AND W I N E . |V B I / + L I = L , FLO* +M W I) I + N S > L > N S <ND W A-V4M , W I T N E S S THE S T R E E T S OF SODOM, ANr T H A T N I G H T W I + T N I S ( > S T R T / + T5 | V S | + D > M , <ND ( < T N A U T IN GIBF. AH, WHEN THF H O S P I T A B L E POOR IN G I + B I = , WEN ( > H | S P I + T > B > L D | + S / R E X P O S ' D A MATRON TO AVOID WORSE R A P E . I K S PO » 4 7 R D > M ~ * + T P > N T U / >VO = + D WS)/ + RS R E « + P . THERE.! 1 > WERE THE P R I M E IN ORDER AND IN M I G H T ; ( I / + Z W61/R (> PRA + + M IN | +RD 6> /R < ND I N M A * + T ; 317 THE r e s t were: l o n g t c t e l l . THCUGH FAP P E N O W N 'D , (> RE+5T L | + w T U / TP fL • ( Q* F A + P R l N A = + N O D . TH* IONIAN GODS, CF JAVDNS I SS UE HilLP <• A > 0 + + N I = N G l + D Z , |V J F T ' + V<NZ I + S Y I J / HP + I. D GODS, Y“ T CONREST LATER THEN HEAV'N AND EARTH G | + D Z , YET K>NF*r-4ST L (. > + T&J/R ( EN HF + V9N <ND n1/ + R) T HI F- BOASTED PARENTS? T I T A E H E A V ' N ' S F I R S T POPN 5 7 0 ( E = r Bfl ■ * + S T ID P F = + R > N T 3 ? T A '4T>M HF:+V9NZ F P / + P S T B | + P N WITH H I S FNC-PHCUS B P C P O , AND B I RT H RI G H T S E I S ' D WI ) H I Z I N | + - ’M>B B P U / + D . <ND B D / + P 5 R A'-T S I / + Z B D BY YOUNGER SATURN, H F ( 1 ) FROM MI G H T I E R J D V F BA- Y > / + «G5>/R S < + T 5 / P N » I I I / + F R> /M MA‘ + T I = P J t ^ + V H I S OWN AND R H E A 'S SDN L I K E < 1 ) MFASURE FOUND? C' H I / O' +N <ND F I = + 7 S > / + N LA'HK. ME +OoI/R FA~+ND? SO JOVE USURPING R E I G N ' D : THESE F I R S T IN CREPT SO-5 -- J . V + V Y U / Z » 7 NCH+N, (F + NS |N ( > S MO ^+ I T | +P OF COLD OLYMPUS P U L ' D THE MIDDLE A I R jV K O ‘-+LD OL I + MP>S P U / + I. 8D ( > NI + D>L F.- + P T HIR HIGH EST H E AV 'N ? OR ON THE D LL. PH I AN C L I F F , (E = P HA-+-TST HE + VPN ? | R | N ( > D F: +L F 1 =M K L I + F , OR IN D0DONA, AND TH PC JG H ALL THF. BOUNDS |R IN DO+OC»- + N> , <M P ) R U / | +L (> BA = +NDZ OF DORIC LAND? OP WHO WITH S/T UR N OLD |V D j + R I K L< + ND? | I- HU/ WI) 5 < + T « :/ R N D- +LD FLED OVER ADR I A TC T H ' H E S P E R I A N F I E L D S , S2-D F L F + D IT +Vc)/R E r + D P I = T U / ( • Hfc'SPE= + R I =N F I / + L D Z , AND O E {2 ) THE C F L T IC ROAM'D THE UTMOST I S L F S . <ND | GR (> K E +L T I K RC^+MBO ( > >/-»• TMO-ST A t + L Z . ALL T H E S E ( l ) AND MOPE CAFE H O C K I N G ? BUT WITH LOCKS | + L ( I / H Z < ND M | + F - K F + M FL | T K I X ? B > / T W I) l.U + KS D 0 W N { 5 ) CAST AND DAMP, YET SUCH WHLRFIN A P P F A R ' D DA=+N5 KA + ST < NO 0 < + N P , YET S > / + T T WL'=RT+N > P I = + R8D OBSCURE SDMF GLIN PS F OF J O Y , TO HAVE FDUND THIR CH I S = >BSKYU=LP S > / + M G L I + M P S |V J C = + , T _ / H>V FA=+ND (E = R T T T / + F NOT IN D E S P A I R , TO HAVE FOUND THEMSELVES NOT LOST N | +T IN D I S P F = + R , T _ / H>V FA = + ND ( F M S f + L V Z N | + T L | + S T IN L OSS I T S E L F ? WHICH ON H I S COUNT'NANCE CAST IN L | + S I T S E + L p ? WITT |N H I Z K A—NT 9 N>NS KA+ST L I K E ( l ) DOUBTFUL l-IUF : BUT HE ( 1 ) H I S WONTED PR I DF LAT+K D A = + T F J L H Y U / + ? B > / T H I / + H I Z W D ' + N T I D PR A ^+D SOON R E C O L L F CT IM G , WITH HIGH WORDS. THAT BDPF S U / + N R E K > L E + K T I X , W I ) H A f+ Wal/ + RDZ. , (<T 0 |+R SEMBLANCE OF WORTH, NOT SUBSTA NCE , GENTLY R A I S ' D SF + M0L>NS jV W E / + R ) , N j + T S > / + t3ST>NS, J F + N T L I RE-^+ZSD T H I R PANTING COURAGE, AND D I S P F L ' D TH IR F E A R S , S~$D (E = R F E ^ + NTIX K S J / + R I J , <ND D I S P F + L8D (E = R F I = + P 7 , THEN STR A IG H T COMMANDS' THAT AT THE WARLIKE SOUND (EN S T R E * + T O M A + N D Z ( < T <T ( > W|+RLA?>K SA = + ND OF TRUMPETS LOUD AND CLARIONS- BE UPREARD |V T R > / + M P I T S LA = + D <ND KLH = + R I = N Z 0 1 / > / P P I = + R D H I S MIGHTY STANDARD? THAT PROUD HONOR C L A I M ' D H IZ M A * + T I ST < + N D 5: / P D ? (<T PFA = + D | + N B / R KLE-’ +MBD AZAZEL AS H I S R I G H T , A CHERUPE TALL? > Z A + Z>L <Z HIZ. R A - + T , > T-r,F + R>B T | + L ? WHO FORTHWITH FROM THF G L I T T E R I N G ST A F F UNFURLD HU/ F | R ) W I + ) F R > / M ( > G L l + T i J / R l X STA + F > / N F a ) / + R L D TH' IM PE R IA L E N S I G N , WHICH FULL HIGH ADVANC * T ( • I M P I = + R I = L F.+NSAON, WITT FU + L HA 4- + >DVA + NS8T SHONE L IK E A METEOR STREAMING TO THE WIN D(N) $ 0 * + N L A-1 ' K > MI / + TY5VR S T R I / + MIX T U / <> W I+ND WITH GEM M S AND GDLDE-N L US T KF RICH I M B L A Z ' D , WI) J F + MZ < ND GO' +L D> M L > /+ S T f fi /P P I + T tf> I M B L E * + Z 8 D , S E R A PH IC ARMS AND T R O P H I E S ? ALL THE WHILE ------ 5 E R < + F I K A + RMZ <ND T P C v + F I Z ? |+L ( > WA* L. SONOROUS MFTTAL FLOWING MARTIAL SOUNDS? 5^/0 S | + N a / R > S ME*T>L B L D t + I X MA + RS>L SA= + NDZ? 318 AT WHICH THE U N IV F R S A l. HOST U P S E N T < T W I T t ( > YUNI Vo‘/ + R S >L HO- 1 S T > / P 5 F + N T A SHOUT THAT TOPE HE L.L.S CONCAVE , AMD BEYOND > l . A = H ( <T T | + F H T + L 7 K | + N K F > + V . <ND D I Y | + ND F R I G H T E D THE R E I G N P F CHAOS AND OLD N I G H T . F R A -‘ + T 1 D ( > R F ' +N |V K E ~ + > S < ND 0 » + L D N A ■ '■ + T . ALL IN A KCVENT +HROUGH THE'. GLOOM WERE SEEM | + L IN > MO*+M>NT ) R U / ( > GL U/ +M WH/R S I / + N TEN THOUSAND BA MKT P’S R I S E INTO THF A I R T r +M ) A = + S > M 3 B < + M5 / P 7 PA'J + Z I + N T U / {> E = + R WITH O P I F M T COLOURS WAVING: WITH THOM ROSE WI) | + R I = N T I O / + L c V P Z WF + V i x : WI ) CRM R O ' + Z A FPRf-'RST HUGE CF SPEAR 5 : AMD THRONGING HELMS > F l + H I S T H Y J / + J |V S P I = + RZI <ND ) R | +// I X HE + LMZ A P P F A P ' D , AND E ' T r P I E P S H I E L D S IN T H I C K AFRAY > P I = + RS O, <ND S I O P I D $ I / 4 L . [ : Z IN ) I + K >RE* + OR DEPTH IMMEASURABLE: ANON THEY MOVE:' |V D E + P ) I M E + 0 _ / P > H > L : > N | + N ( F * M U /+ V IN P E R F E C T PHALANX TO THF D O R I A N MOOD 5~St> I N P D / + R F I K T F < + L O f K S T U / ( > D |+F I = N MU/ + D OF F L U T E S AND S OFT R E C O R D F R S ; SUCH AS R A I S ' D JV F L U / + T S < ND S | +F T P I K | +P D C / P Z J S > / + T * <Z RE"-+Z8D TO HTGHT OF NOHL f ST TEMPER H E R O ' S OLD T U / HA v+T }V N 0 > ■ + F L I S T l E + V C f / P HI = + P I H Z O ^ + L D ARMING TO R A T T E L , ANT TN STEAD OF RAGE A + RMIX T U / 6< + T >L . < N'D IN S T t + D | V P F -J+ J DEL I HER A T E ( A D J ) VALOR B R E A T H ' D , F I R M AND UNMCV'O D I L I + 0 _ / R I T V < + L o> / R B R I / + C R D , F O / + R M <NO > / + M U / + V 8 D WITH OREAD OF DEATH TO Ft. 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TH US THEY F R > / M M | + R T > L | P I M | + RT > L M Ar- +FDZ • ( > / + S ( E * BR E AT H IN G U N IT E D FORCE WITH F I X E D THOUGHT 5% D C B R I / + C I X YU/NAW + T I D F | + l - S WI) F I + K S T ) | +T MOV'D O N ( 5 ) IN SILEfNCF TO SOFT P I P E S THAT CHARM'D MU/ + V8D | + N 5 IN SA>'+L>N5 T U / S | + F T PA"' + P S ( <T T?A+RM 8D T H I R P A I N F U L S T E P S C • FR THF BURNT S C Y L E I AND NOW ( E = R P F ^ + NFUL S T E + P S | 9 R {> Bo) / +R NT S O = + L I <NO KA- + A D V A N C' T IN VIEW THEY STAND', A H C R P I D FRONT >DV A+NSST IN V Y U / 4 H | + R I D F R > / + N T OF DREADFUL _ ENGTH AND D A Z Z L I N G ARMS, IN G U I S F |V ORE + DFUl. - € + # ) < ND. D< + Z L I X A + F M Z , IN GA++Z OF WARRIORS OLD WITH O R D E R ' D S P F A R AND S H I E L D , |V W | + R T = R Z D* + LD WI) 1 + P O S / R 8 D E P I = + R <ND S I / + LD , A W A I T I N G WHAT COMMAND T H I R MIGHTY C H I E F > WE a + T I X WfT K>MA + NC' ( E = R MA* + T I T S I / + F H AD( 1 ) TO I M P O S E : H E ( 1 ) THROUGH THE ARMED F I L E S C H< + D T U / I N P D t + z : H I / + ) R U / ( > A + PMD F A v + L Z DARTS H I S F X P E P I E N C ' T E Y E , AND SOON TR A V E RS E DA + PTS H IZ I < SP I - + R I =NS 8T A - + , <ND S U / + N TF:<+Vi)/RF THE WHOLE B ATTALI ON V IL A 'S , T H I R ORDER DU E, ( > HO ■ +L. F>T < + L Y>N VY U/ + Z , ( E = P |+PDH)/K D Y U / + , T H I R V I S A G E S AND ET AT U RF AS OF GODS, £ l O ( E = R V I + Z I J I Z <NR S T < + T $6 )/ R <Z |V G | + D Z . T H I R NUMBER . A S T HE SlIMMS. AND NOW H I S HEART ( E = R N > / + M B » / R LA+ST H I / S > / + M Z . <ND N A = + H I Z HA+RT D I S T E N D S WITH F R I D F , AND HARDNING IN H I S STRENGTH D I S T E + N D Z WI) P P A * + [ ) , <ND HA 4 R DON I X TM H I Z S T R F + ft ) G L O R I E S : FOR NEVFR S I N C E CREATTD MAN, .. ...... G L | + R I 7 . : F | P NE+VS)/r S I N S K R I F » i + T I D M< + N , MET SUCH IM DO D I E D F O R C E , AS NAM'D WITH T H E S E ( l ) ME+T S > / + T S I M B j + D I D F | + R S , <Z NEY+M8D W I ) ( I / + 7 319 COULD Mr.f?IT VOFE THAN THAT SMAl L I NT ANTPY KUD ME+RIT M| + R O N < <T SMA+L I+ N F > N T R I WARR'D O N ( 5 ) BY CRANFS: THOUGH / LL THF. GIANT BROOD W | + POD t+NF BAi KRc< +NZ! <D-; ) +L ( > JA*' + >NT F R U / + D OF PHLEGKA WITH TH* HEROIC RACE V . FR F J O Y N ' p |V FLZ+GR> WI > <♦ H I F P • + I K R L - + S Wfl/P JO=+NHD THAT FOUGHT AT THFBE S AND I L I U M , ON EACH SIDE ( <T F | + T < T J I / + E Z < r 0 I + L T = M , IN I / + T$ SA:> +D MIXT WITH A U XI L IA F GODS! AND WHAT RESOUNDS MI+KST WI ) | G 7 I + L Y B / f ■ g | + D Z ; <N D W | T P IZ A = + ND Z IN FABLE OP ROMANCE TF UTMERS SEN affD IN BfO + B>L |R F 0 M < + N F |V Y U / + I D / F Z S > / + N BEGI RT WITH B R I T I S H AND ARw.IRIC K N IG H T S! BIGdV + RT WI> F R I + T I f <ND A P M | + P I K NA'-+TS5 AND ALL V HD S I N C E , B A P T I Z ' D CR I N F I D E L <ND | + L HU/ S I N S , B L JOUSTED IN ASPPAMONT OR MONTALBAN, J A = i S T I O IN < + ? P P > M | N T | R M |N T < + L B > N , DAMASCO, OP MAROCCO, OR T R E B I S C N D , D>M< + S K O u | Ft M>r | + K _ * , |R T P P 4 B I S | N D , OR WHOM HI BERT A SENT FROM AFF'IC. SHORE i R HU/M BI 7o'/ + RT> S f + NT F R > / M < + F R l K $ | + R WHEN CHARLENE IN WITH ALI H I S PEEDAGF FELL WEN $A+RL>ME*+N Wl> | +L H 17 P I - tF I J F F+ L BY FONTARABBIA. THUS FAR t h e s e FF.YOMD BA* F | tN T S R P J +BI= . ( > / + ? FA+F (I / 7 B I Y | + ND COMPARE OF MORTAL PROWESS, YFT OBSERV'D O M PE - - + R (V V | + P T > L. 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( > H F . + S T I M > / + L T I T Y U / D ADMIRING E N T E R ' D , AND THE WORK SOME P P A 1 5 E < D M A * + _ / R I X F + NToVR OD, < ND {> W3V+RK S > / + M P R F * + Z AND SOME THE A R C H I T E C T : H I S HAND WAS KNOWN <NO S > / + M (> A + R K I T F K T : H I Z h < + n d w> z NO--' + n IN H E A V ' N BY MANY A TCWRFD STRUCTURE H I G H , IN HF+V 9N BA* ME + NI > T A = F 9 R D ST R > / +K T S a) / P H A * + , WHERE S C E P T E R * D ANGELS HELD T H I P R E S I D E N C E , WE=P SF +PTS)/('PD F * + N J > L Z HE + LD <F=R R = + Z 1 D > N S , AND SAT AS P R I N C E S . WHOM THE SUPPE'.ME KING <ND S < + T <Z P R I + N S I Z , HU/M ( > S Y U / P R I / + M K I + # EXALTED TO SUCH POWER, AND GAVE T O RULE, I G Z | + L T I D T U / S > / + T J P A = + _ / R , <NL GE*+V T U / R U / + L , EACH IN H I S H I E R A R C H I R , THF ORDERS B R I G H T . I / + T S IN H I Z HA« + a) /P A R K _ , ( > | + R P 5 ) / P Z BRAt FT. NOR WAS H I S NAME UNHEARD OR UNA DOR * D N | R W>Z H I Z N F ’ +M > / + N H ® / + R C |R > / + N > D | + R 8 D IN A N CI EN T G R E E C E ; AND IN AUSONIAN LAND IN F*< + N t > N T G R I / + S : < ND IN | F C + + N I = N L <+ ND MEN C A L L ' D HIM M U L C I B F R ; AND HCW HE FELL 1 H 0 MEfN K | + L 8 D HIM M > /+ L S I [iffl/P I <ND HA. = H I / FF+L FROM H E A V ' N . THEY F A B L ' D . THROWN BY ANGRY JOVE F R > / M HE + V9N, ( E - F E * R B > L S r . )RD> +N BA’ < F W GR I JO * + V SHEER O ' E R THE CRYSTAL BA TTLE M f: NT S: FROM MORN $ I = FR | 9R (> KR I +ST >t. B < F T > L M > N T S : F R > / M M | f RN TO NOON HE F E L L , FROM NOON TC CFWY EVE, T U / N U / + N h i / F E + L . F P > / M N U / + N T LI/ D Y U / + I I / t V , 324 A S UMM ER'S DAY; AND WITH THE S E T T I N G SUN > S > / F M t f / R Z D E - f ; < ND WI ) {> S F F T I X S > / F N DP OPT FROM THE ZF.NITU L I K E A F A L L I N G S T A R , D R | + P T f r > / m (> Z I / F N I ) LA*K > F| + L I X STA + F , ON LEMNOS TH* A EGA FAM I L F : THUS THEY R E L A T E , |N Lh + MN_»S C* I J I / F > N A J + L : ( > / + S ( E » R I L E * F T , f r r i n g ; f o p he w i t h t h i s R F y r L L i r u s r o u t qI / f P I X ; F | R H I / ' WI) ( I S R I HE + L Y>S RA = FT F E L L LONG HLr r OH E ; NCR AUGHT A V A I L ' D HIM NOW FEFl. 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( > H < + P _ S )/ R STF>. +T IN H E A V ' N , WHICH FOLLOWS D I G N I T Y , MIGHT DRAW IN H E + V 9 N , W I T * p | + L C = Z D I + G N T T I , MA^+T DR J 4 ENVY FR JM EACH I N F E R I O R ; OUT W F C ( l ) HFPE E + NVI F P > / M I / + T * 1 NF I = 4R I=R I D > / T H U / + H I = R WILL r NVY WHOM THE H IG H E S T PLACE E X P O S E S WIL E + NVI H U/ K ( > H A » 4 I ST P L E " + S 1 K S P O - + Z I Z EQRMCST TO STAND AGAINST THE T H U N F E H F PS AIM F l + R M O S T T U / ST < + ND >GF--+NFT {> ) > / + N D _ / R a>/RZ E * 4M YOUR BULWARK, AND CONDEMNS TC GREA TES T SHARE Y | R BU + LWa)/RK, < ND K> NDE4 MZ T U / G R E + T I S T $E = 4R OF ENDLESS P A I N ? WHERE T H E P L ( l ) I S T H E N ( 1 ) NO GOOD 30 |V E + N D L I S PE * 4 N? 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W I ) ( I S C D V A + M T IJ ( C + N TO U N I O N , AND F IR M F A I T H , ANO FI KM ACCORD, T U / Y U / + N Y > N , <ND F n l / H M FF • + ) , <ND Fd)/ + FM > K | + F D , MORE THAN CAN BE IN H E A V ' N , WE NOW RETURN M | + R ( >N K < N B I / IN HF + V 9 N , W I / NA= + R l T * i / + KN TO C LAI M GUP J U S T I N H E R I T A N C E OF OLD, T U / K L E ‘- + M _-d)/R J > / + S T I N H C+ R I T > N S j v O ’ + L D , SUPER TO P R O S P E R THAN P R O S P E R I T Y T.tJ=+R3i/'> T U / P R | + E P <5 / P ( >N PF | S F F + P I T I COULD HAVE A S S U R ' D U S : AND R Y WH/T BE ST WAY, 4 0 KUD H > V > F U = + R 8 D > / S ; <ND B A! W|T BL + ST WE* + , WHETHER OF OPEN WARP OR C C V F R T G U I L E , W E + ( » / R |V C •■ ■ + P > N W | + R |R K > / + V D / R T GA ' + > L » WE NOW D E B A T E ; W H O ( l ) CAN ADVT5F', MAY S P E A K . W I / N A = + D I B E ^ + T ; H U / + K < N < D V A - - + ? , ME ^ S P I / + K . I- HE C E A S ' D , AND NEXT HIM MOLOCH, S C E P T E R ' D KI NG + H I / S I / + SP.T, <ND N E+ K T S HIM N P > + L | K , S ^ + P T D / P O D KI + » STOCD U P { 5 > . THE S T R QNGF5T AFT THE F I E R C E S T S P I R I T STU +D > / + P B , ( > S T P | 4 1 S T < ND ( > F I = + W S I S T S P I = + P I T THAT FOUGHT IN HE A V • N ! NOW F I E R C E R BY D E S P A I R : ( < T F | + T IN H E + V 9 N ; NA = t F I = + FSb'./R B A * O I S P E = + R : H I S TRUST v/AS WITH TH* ETERNAL TO BE D F F M ' D H I Z T R > / + S T W>Z W I ) ( • I T O / + F N M . T U / B I / D I / + M 8 D EQUAL IN S T R E N G T H , AND RATHER: THEN BE L E S S I / + KW>L IN S T R E + f f ) , <ND P A + ( D / K ( EN B I / L F + S C A R ' D NOT TO BE AT ALL! WITH THAT CARE LOST K F = + R 8 D N h T T U / B I / <T | + L ; W I ) ( < T KE = + P L | + S T WENT ALL H I S F E A R : OF GOD, OP H E L L , OR WORSF WE+NT | + L HIZ F I = + R : |V G | +T » |R H E + L . | R Wffl/+RS HE R E C K ' D NOT, AND T H E S E ( l ) L O F L S T H E R E A F T E R S P A K E . SO H I / R E + K 8 T N | + T , <MD ( I / + Z WoV + RDZ ( E = R < + F T u ) / R S P F - r + K . + MY SENT ENC E I S FOR OPEN WARRi OF W I L E S , + MA r SE + NT > NS IZ F | R C v + P > N W | + R : | V W A > + L Z . MORE U N E X P E P T , I ROAST NOT: T H E M ( l ) L FT T H O S E ( l ) M | + R > / + N C + KS P S )/ R T , A* BO-^ + ST N | + T : <F;+N LET ( C > + Z C O N T R I V E WHO N E E D , CR WH E N THEY N E E D , NUT NOW. K> NTRA * + V H U / N I / + D . |R WEN ( F * N I / + D , N | + T NA = + . FOR WHILE THEY S I T C O N T R I V I N G , S H A L L ! 1 ) THE R E S T . F | R W A* L ( tiv S I + T K > N TR A * +V I X , T <+L ( > R E + S T , M I L L I O N S THAT S TAN D IN ARMS, AND L ONG IN G WAIT M I + L Y > N Z ( < T ST < + ND IN A + R M 7 , < ND L f + V I X WEri+T THE S I G N A L TO A S C E N D , S I T L I N G O I N G HERE ( > S I + G N > L T U / > S E + N D , S I + T L I + AG9RI X H I = R H E A V ' N S F U G I T I V E S , AND FOR T H I R DW ELLING P LA C E HE + V9NZ F Y U / + J I T I V Z , <ND F ( R < r = P D W F + L I X P L F * + S ACCEPT T H I S DARK O P P R O B R I O U S DFN OF SHAME, CKSE + PT ( I S DA+RK > P R O * + B R l = S r.E + N | V S E - + M , THE P R I S O N 0 ~ H I S TYRANNY WHO R E I G N S <> PR I + Z>N |V H I Z T I = + R > N I H U / PE=!+NZ BY OUR DELA Y? N O , LET U S RATHER CHOOSF fcO RAV _ = S)/R D IL E ri + ? N Q J + . LET > / S P A + O / P T T U / + Z ARM'D WITH HELL FLAMES AND FURY ALL AT ONCE A + RM8D W l) HE + L F L F - * + M Z < ND FYU = + RI | +L <T W >/ + NS O • RE H E A V ' N ' S HI G H TOWRS TO FORCE R E S I S T L E S S WAY, | PR HF + V9NZ H A + + T A - + 9 R ? T U / F | + P S R I Z I + S T L I S WF'v+ , T U R N I N G OUR T O R TU R ES INTO H C F R I D ARMS T S / + P . N I X _ = & / R T i + P T T B / P Z I + N T U / H l + R I D A+RMZ A G A I N S T THF TORTURCf?; WHEN TC MEET THF N O I S E > G E J): + NST ( > T t +RT t f D / R _ / R J WEN T U / M I / + T ( > NO = + 7 OF H I S ALMIGHTY E N G I N E HF SHALL REAR |V H I Z | L M A < + T l F . + N J I N H I / $ > L H I = + R IN F ER NA L T H U N D E R , AND FOR L I G H T N I N G SEE I N F q) / + R N> L ) > / + N D 3 ) / R , < ND F | P L A ^ + T N I K S I / + BLACK E I R E AND HORROR SHOT WITH EQUAL PAGE I3L < +K FA + + / P <MD Hj+Rffl/R S | + T W I ) I / + KW>L RE + + J 328 AMONG H I S ANG FLS; AND H I S THRONE IT SE LF >M>/+W HIZ E » + N J > L Z ; <NL H I Z J T T ' + N I T SE+l.F MIXT WITH TARTAR FAN SlILPHUP. AND STRANGE F I R S , MI+KST WI ) TART A4- R I = M S > / + L P _ / P , <ND S T R E * + N J FA H f l / P , H I S OWN INVENTED TORME NTS ( N ) . FUT P ER HA P S *7C> HIZ G' +N I N V F + N T I D T | + R f « r N T S . B > / T P S / R H < + P S THF WAY SEEMS D I F F I C U L T ANT S T T F P TO SCALE ( > WE- + S I / + M Z [ ) H - F I K > L T <ND F T I / + P T U / S K f + L WITH UPRIGHT WING AGAINST A HI GULP F O P . WI ) > / + PR A " T WI+ff > G D 1 TNST > HA‘"+o)/R FCV-' + . LET SUCH RFTHINK THEM, IF THE S t E f P Y DRFNCH LET S > / F T 3 i L B I ) 1 + A K ( F M , IF ( > F L I / F D I DRF +N TS OF THAT FORGETFUL LAKE bFNU'-'M NOT S T I L L , |V (< T F | R G F + T F U L L t * F K O I N > / + M N | + T ST I + L ♦ THAT IN CUR PROPER MOTION WF A SC.F ND ( <T IN _=ff)/R PR | + Po) / P MC ' + 3' > N W I / >SE +N D U P ( 5 ) TO OUR NATIVE S L A T : DF SCFNT AND FALL > / + P 5 T U / _ = ffl/R N E ' + T IV S I / + TI L I S E + N T <ND F | +|. TO US I S AD VERSE. W H O ( l ) PUT F F L T OF LATE T U / > / S IZ C-FDVD/RS. H U / + 0 > / T F F +L T |V LC T +T WHEN THF FIE RC E FOE HUNG ON CUR HPOK * N REAR WEN (> F I = + R5 F _ i + H > / + tf j N A = a)/F BRO^ + KP>N R I = + R I N S U L T I N G , AND P U R S U ' D US THROUGH THF D F F P , I N S > / T L T I X , < NO P S / P S Y U / + 8D > / S ) R U / ( > D I / + P , WITH W H A T ( l ) COMPULSION AND L ADC RI OU S FL I G H T $0 WI ) W | + T K>M“>>/+L3-->N <ND L> U | +P I =S. FL A« + T WE SUNK T H I S LOW? TH* ASCFNT I S L A S I E THEN} W I / S > / + N K ( I S L O v + ? ( • > S F + N T IZ 1 / + Z I ( ENI TH* EVENT I S F E A R ' D ! SHOULD VF. AGAIN PPOVOKF ( • I VF F NT IZ FI=+- RSC ! TUP W I / > G r^ + N P R > V O ;HK OUR STRONGER, SOME WORSE WAY H I S WRATH MAY F IN D _ = a)/U S T R l + A G M / K . S > / + M W.TB/ + RS H I Z F:| + > FA-’ +ND TO OUR d e s t r u c t i o n : IF THERE BF IN HELL T U / _ = 5 V R 0 1 5 T P > / + K T > N : IF <E=R FBI/ IN HE+L FEAR TO E3E WORSE D E S T R O Y ' D : WHAT(1 ) CAN BE WORSE F I = FR T U / B I / W S / + R S DI S T R f ’ = fi D : W |+ T K<N 0 1 / W&S/ + PS THEN TO DWELL HERE, DR I V • N O U T ( F ) FROM B L I S S , CONDEMN’ D ( E N T U / DWE+L H _ ~ R , D R I + V P > N A = + T 5 F R > / M B L I + S , K>NF E + M 8D IN T H I S ABHORRED DEEP TO UTTER WCE! IN ( I S >BH | +R ID D I / + P T U / > / + Ta*/P WO* + i WHERE P A I N OF UNEXT IN GUI SH AO LE F I R E WF=R P E H N |V > / + N I K S T / + F G W I $ > B > 1 F A * + S / R MUST E X E R C I S E US WITHOUT HOPE OF END M > / + 5 T E + K S 5 ) / R S A « Z > / S w T ) A = + T H O * + P | V E+ND THE V A S S A L S OF H I S AMGEP, WHEN THE SCOURGE nO ( > V< + S>LZ IV HI Z < + «G £ / R , WFM ( > S K S / + P J IN EXO RABLY, AND THE TORTURING HOUR I NE +K S F)/R > fBL I , <ND ( >■ T | +PT $ _ / F I X A = + _ / P CALLS US TO PEN ANCE? MORE D E S T R O Y ' D THEN THUS K | + L Z > / S T U / D F + N> N S ? Mj+R DI ST PO = BD ( EN ( > / + S WE SHOULD BE QUIT E ABCL.I5HT AND E X P I R E . W I / SUD B I / K W A * + T > B |+ L I 5 > T < ND I K S P A ' + f l / R . WHAT( 1 ) FEAR WE THEN? W H A T ( I ) DOUBT WE TO I N C E N S E ( V ) W|+T F I = + R W I / ( E N ? W | + T DA = + T W I / T U / I N S F + NS H I S UTMOST I R E ? WHICH TO THE HIGHTH E N R A G ' D , HIZ > / + TMO^ST A U 3 / P ? W I T 0> T U / ( _ HA^ + J I N P E Y + J P D , WILL EITHER QU IT E CCNSUMF U S , AND REDUCE WIL A F + O / R KWA-+T K > N S Y U / + M > / S , <ND R > D Y U / + S TO NOTHING T H I S E S S E N T I A L , H A P P I E R FARR T U / N> / + ) I X ( I S I S E + N Y > L , H< + M_Si/F F A HR THEN MIS ER ABL E TO HA VF ETERNAL. B E I N G : (E N N I t Z _ / R > P > L T U / H>V TTo ./ +P N> L B I / + _ X : OR IF OUR SUBSTANCE BE TNDEEL') D I V I N E , | R IF _ = M/R S > / H-U ST >NS B I / I N D I / + D DI VA V + N, AND CANNOT CEASE TO B E , WF APE AT WORST IOO <ND K < + N | T S I / + S T U / B I / , W I / AR <T WfflZ+RST ON T H I S S I D E NOTHING! AND BY PROOF WE FEEL } N ( I S SAY + D N > / + ) I X ! < ND BA? P P l J / t r W I / F I / + L 329 OUR POWER s u f f i c i e n t t o d i s t u r b h i s h e a V ' N » _=3t/n P A = + _ / R f i > f I t T>NT T U / O I S T S'- / + R 3 H I Z H F + V 9 N , * AND WITH P E R P E T U A L INROADS TP ALL ARM E, < ND V .’ I ) P c D/R=>f. + TYU = L T + N R n , D Z T U / > L A + R M « THOUGH I N A C C E S S I B L E , H I S F ATA L THRONE: (0+- I N > K S E + S I B > L , H I Z F E ” + T > L ) F C ^ + N : WHICH IF NOT V I C T O R Y I S YET R E V E N G E . WITT- I F N | + T V H K T l R l IZ YET R I V F + N J . + HE ENDED F R O W N I N G , AND H I S LOOK D E N O U N C ' D + H I / F + N D ID F e> A - + N IX , <MD H I 7 LU + K O I N A = + N S 0 T D E S P E R A T E REVfcNGFF, AND BATTEL DANGEROUS D E + S P „ / R I T P 1 V F I - M J . < ND 8 < + T > L T E>- +■ N J S)/R > S TO L E S S THEN G O D S . ON TH* OTHER SIDE. U P ( 5 ) ROSE T U / l.E + S ( E N G | + D Z • |N ( ' > / + ( S > / P S A * + D > / + P 5 RCa +Z B E L I A L , IN ACT MORE GRACEFUL AND HUMANE; C P I / + L I = L , IN , + K T M |+ R G r J F H K F U L < ND H Y U / M F + n ; A F A I R F P PERS ON L O S T NOT H E A V ' N , HE SEE MD 1 (O > FE = + RV)/P P i / + P S > N L | + S T N f +T H E + V Q N ; H I / S I / + MD FOR D I G N I T Y C O M P O S ' D AND HIGH E X P L O I T : F | R D I + G N T T I K > MPO - • = . + Z MD < hi O HA? + I K S P L 0 = + TI BUT ALL VMS F A L S E AND HOLLOW'; THE UGH H I S TONGUE 8 > / T | +L W>7 F l + L S < MD H | + L O ' ; ( C » H I ? T > / + * DROPT MANNA, AND COULD MAKE THE WORSE A PP EAR DR|+-PT M < + N > , <NE> KUD ML 1 +K ( > WS'i/HOS > P I = + R THE BETTER R E A S O N , TO PL.RPLrX AND DASH ( > B E + T a / R R I / + Z P N , T U / P5I/RPL F +K’S <ND D < + T MATUREST C O U N S E L S : FOR H I S THOUGHTS WF RE LHW! M > T Y U = + P I S T K A = + N S > L ? : F | P H I Z ) | + T S W * / P L O ^ t ? TO V I C E I N D U S T R I O U S , BUT TO NOBLER DEEDS T U / VA F + S I ND> / + ST P I = S » B > / T T U / N O '+ B L ff l/ R D I / + P Z TIMOROUS AND S L O T H F U L : YET HF P L F A S ' D THE E A R , T I + M _ / R > S <ND S L | + ) F U L J YET H I / P L I / + Z 8 D ( > I = + R « AND WITH P E R S W A S I V - ACCENT THUS B E G A N . <ND WI > P S / R S WE*+ S I V CKSF + NT ( > / + S 8 I G < + N . + I SHOULD BE MUCH FOR OPFN WARR, D P E E R S , +■ AY SUD B I / M > / + T S' F | R 0 “+ P > N W | HP , 0 + + P T = + R Z , A S NOT B E H IN D IN HA T E; IF WHAT VMS U R G ' D 1 2 0 <Z N | + T B I H A *• + N D IN H F ^ + T ! IF W I T W>7 S / + RJRD MAIN REASON TO P E R S U A D E IMMEDIATE WARP, M E f+ N R I / + Z > N T U / F’o>/ PS WFi *' + D I M I / + D Y > T W | + R , D I D NOT D I S S W A D F ME MOST, AND SEEM TO CAS T D I + D N l F T D1SWEM+D M I / MOA+ S T , <ND S I / + M T U / K A + S T OMINOUS C O N J E C T U R E ON THE WHOLE S U C C F S S : 1 + M _ N > S K>NJ E + K T t a)/ R |N ( > HC«+L S > K S F + S : WHEN He WHO MOST E X C E L S IN FACT OF ARMS, WEN H I / H U / MO- + ST I K S L + L Z IN F< + KT | V A + R M Z , IN WHAT HF C O U N S E L S AND IN WHAT E X C E L S I N W | T H I / KA = + NS>L Z- <NO IN W | T IKSF;+LZ M I S T R U S T F U L , GP O UN DS H I S COURAGE CN D E S P A I R MI S T P > / + S TF U L , G F A - + N D Z H I ? K D / + F I J | N D I S P E = + R AND UTT EP D I S S O L U T I O N , AS THE S C OP E <ND > / +- T 6) / R DI S 0 4 L U / + S > N , <Z ( > S K O * + P OF ALL H I S A I M , AFTER SOME D I P F R E V E N G E . |V | + L HI 7 E> + M, < + r T o) / R S > / + M DA*-*-_/P R I V E + N J . F I R S T , WHAT( 1 ) R E V E N G E ? THE TQWRS OF H E A V ' N ARE F I L L ' D F M / + R S T , W | + T P I V E + N J ? ( > TA = + y R ? | V HE + V9N AR F I + L F D WITH ARMED WATCH, THAT R F N C l F ALL A C C E S S 13 0 C WI ) A + RMD W | + T $ , ( <T RE + NDfti/R | -FL < + K S E S i m p r e g n a b l e ; o f t gn t h e b o r d e r i n g d e e p I MPRE + G N >R >L : ( +FTQ | N ( > P . | + P D _ / R I X O I / + P ENCAMP T H IR L E G I O N S , OR WITH OBSCURE WING INK< + M P ( E = R L I / + J > N Z , |R W I ) > B S K Y U = + R Wl+tf SCOUT FAR P AND WIDE INTO THE REALM OF N I G H T , S KA= + T FA+R < ND W A ' + D I + N T U / ( > RF + LM | V NA^ + T, S C O R N IN G S U R P R I Z E . OR C C U L D ( l ) WE DRFAK OUR WAY SK | +RNI X Snl/RPRA'- + 7 . |R KU+D W I / 3 R E - +K _ = ffl/R WE* + BY F O R C E , AND AT OUR HEELS ALL HELL SHOULD R I S F BAY F | + R 5 , <ND <T _=ffl/R H I / + L Z | + L HE+L $U D H A i + Z 330 WITH BLACKFST I NSURRFCT I ON, TO CONFOUND WI) BL < + K 1S T I f' J ^ > t- r- + K 1->N » T U / K>N'FA = iNO H E A V 'N S PUP FS T L I G H T , YET DUD Gf- EAT TNE^Y HE+V9N7 PYU = + I ; I 3 T L A ' t T , YET _ = ©/K C-RL-<+T E+NIMT ALL INCORRUPT I RLE WOULD ON H I S THRONE | + L I N K > R > / + P T I B > L WU D |N HIZ )PC'H-N S I T UNPOLLUTED. AND TH* ETHEREAL MOULD S I + T >/+Np->L U / + E ID, < Nt (* I ) I =+R I=L MP + l.D INCAPARLR OF S T A I N WOULD SPUN f x p e l |4 d IMKEt + p >H>L |V ST L ' + F wljn S U / + M I K S P S + L HER M l S C t l i r - F , AND P UR GF o r r ( S ) THE BASER F I R ? Hn'l/P MTtS TS I p i <ND P C / + R J | +RS (> HF. •i+Sil/R FA'+ fi ./R V I C T O R I O U S . THUS F T « U L S * D , CUR F I N A L HOPE V I K T | + R I S • ( > / + S R I P > / + L S B T , _=a)/R F A " + N > L HO> +P IS FLAT D E S P A I R ; wF MUST E X A S P LRATE 17 F L < + T D I F P E ^ + p : W I / M > / + S T I G Z A + S P ?/• / B F *" T TH* ALMIGHTY V ICT OR TP SPEND ALT H I S RAGE, ( • |LMA + T I V I + K T O / E T U / S Pc + ND | +L MI7 R F T + J , AN FT T H A T ( l ) MUST END U S , T H A T ( l ) MUST FTC OUR C U R E, <ND ( < + T M > / + ST E+ND > / S , ( < + T M>/ + ST E3_/ A = 5>/P. K Y U~ +P , TO 0 0 ( 1 ) NO MOPE; SAD c u r e ; f o p W H O ( l ) w o u l d l o o s e , T U / F3 I / + NO •+ M | + R ; S<+D KYU - + R I F | fv H U /+ WUO L U / + S , THOUGH FULL OF P A I N , T H I S INT EL LE CTU AL B E I N G , ( 0 + FU + I. |V DE'* +N , ( I S I NT>LF +K TYU-L B I / + I X , THOSE THOUGHTS THAT WANDER THROUGH E T E R N I T Y , (0<fZ ) J + TS ( < T w | + N D 5 ) / « ) R U / I T a / f W N I T I , TO P E R I S H RATHER, S,WALLOWD UP ( 1 ) AND LOST T U / P E + R I T PA + ( £j/ R , S W | + L T D > / + P <ND L t + S T IN THE WIDE WOMB OF UNCREATED N I G H T , I fD IN (> WA-+ + D V<U/+v | V > / +NKP I F ‘ +TI D NAT + T, DEVOID OF SENSE AND MOTION? AND W H G ( l ) KNOWS, DI V0-= + D |V SE + NS <ND MO-'-+S>N? <Nl H U / + MQ». + 7 , L F T T H I 5 ( 1 ) PE GOOD, WHET HP I- OUP ANGRY FOE LET ( I 4 S H I / GU + C , vvF + (ct>/R _ =5 )/ R <+VGi?I F 0 ’‘ * + CAN G I V E I T , OR WILL E V ER ? H O W ( l) HE CAN K<N GI + V I T , (R WIL F+V5J/R? H A - 4 H I / K <N IS DOUBTFUL; THAT HE NEVER WILL I S S U R F . IZ DA= + T F U L ; <<T H I / NE+Vffl/R WIL IZ $ U = + R , W I L L ( l ) HE, SO W I S E , LET LOOSF AT ONCE H I S I R E , WI+L H I / , S0> WA> + 7. , LPT L U / + S <T W>/ + NS H I Z A * + o V R , B E L I K E THROUGH IM PO TE N CE , OR UNAWARE, BILA-k+K ) R U / I + MPCiT>NS, |R >/+ N> WE = + R, TO G IVE H I S E N EM IES T H I R W IS H, AND END T U / G I + V H IZ E + N I M I Z <E = R W I + $ , <ND E +ND THEM IN H I S ANGER, WHOM H I S ANGER SAVFS {EM IN H IZ <+tf Gffi/R, HU/M HIZ < + WGffi/R S E* + V Z TO P U N I S H E N D L E S S? WHEREFORE CEASE WE THEN? T U / P > / + N I t E + N D L I S ? W E = + R F | p S I / + S W I / ( F N? SAY THEY WHO COUNSEL WARP, WE ARE D E C R E E D , |bO SE-Y4 { F H U / KA=+NS>L W j + R , U / AR D I K R I / + D , R E S E R V ' D AND D E S T I N ' D TO ETERNAL WOE; RI Z<n/ + RV8 D <ND DE + ST TMflP T U / ITS)/ + RN>L wn.!:+ ; WHATEVER D O IN G , W H A T ( l ) CAN WE S U F F E R MORE, W | TE + Voi / R D U / + _ X , V v | +T K< N W I / S > / + F o ) / R M | + R , W H A T ( l ) CRN WE SUF FER WORSE? I S T H I S ( l ) THEN WCPST, W|+ T K<N W I / S > / + F n * / P W5 i/ + PS ? IZ ( I + S (EN W5'/ + P S T , THUS S I T T I N G , THUS C O N S U L T I N G , THUS IN ARMS? ( > / + S S I + T I X , ( > / + S K > N S > / + L T I X , ( > / + S IN A+RMZ? W H A T ( l ) WHEN WE FLED AMAIN, P U R S U ' D AND STROOK W | + T WFN W I / FLE + D > M F ' + N , » © /R SY U / + B O <ND STRU+K WITH H E A V ' N S A F F L I C T I N G THUNDFR, AND OF SOUGHT W I » HE+V9NZ > F L I + K T I X ) > / + N P c / R , <ND B 1 S | + T THE D EEP TO SHELTER U S? 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THUS F X P L L L ' D TO S U F F E R HERE ( > / + S T R < + M P > L F D , ( > / + S I K S P E + L 8 C T U / S > / + F 3 / R L<I=P C H A I N S AND T H E S E ( l ) T C R M E N T S ( N ) ? BETTER T H E S F ( l ) THEN WORSE T9.FV + NZ <ND ( I / + Z T | + P M H N T S ? BE + T51/P ( I /«- Z ( EN Wffi/+RS BY MY ADVI CE? S I N C E F A T F I N E V I T A B L E S A-*- MA v < D V A * + S ? S I N S FE +T I N t + V I T > R L SUBDUES U S , AND O M N IP O T E N T D E C K F F , S > R D Y U / + Z > / S , <ND | M N I + P O T > N T O I K R T / F , THE V I C T O R ' S W I L L . TC S U F F E R , AS TO D O E . ( > V I + K T i V R Z W I L . T U / S > / + F © / R , <Z T U / D U / + . OUR STRENGTH I S FOUAL » NOP THF LAW U N J U S T .200 _ = ffl/R S T R t + 0 ) IZ I / + KW>L. M j R ( > L | + > / N J > / + S T THAT SO O R D A IN S ? 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IF W I / K<N S > S T F 7 + N <ND RE:=+R, OUR SUPREAM FOE IN TIME may MUCH PPM IT .LID A = S>/P SYU/F'R'I / + M F 0 ' + N T A » + M M f. M > / + T $ R I M 1 + T H I S ANGER, AND PE R H AP S~ T H U S FAPR REMOV'D H I Z <+WGffl/R, <ND P 5 I/ R IK + P S ( > / + S FA + R R IMU/ + VBD NOT MIND US NQT O F F E N D I N G , SAT ISO I ' D n | + t m a h n d > / s n | * t > f e + n d i x , s < + t i s f a -*b p WITH WHAT I S P U N T S H ' T ; WHENCE THFSF. RAGING F I P F S WI ) W | T IZ P > / + N I $ P T ; WENS ( 1 / 7 P t ' T + J I X f a > +S)/P 7 WTLL S L A C K ' N , I F H I S P R r-' A T H ST I P NOT T H I P F LAM FS. C WIL. S L < + K 9 N , I F HI 7 BRE+) S T B / + R N | + T ( F = R F L F ^ + M Z . OUR PURER E SSE N CE THEN WILL OVERCOME _=h1/R PYU = + Fo)/R E+S>N’S (FN WIL CT V a ) /R K > / + M T H I P NOXIOUS VAPUR, CP E N U R 'D NOT f S £ L> (F-l< N | F K ? > S VE^ + PS>/R, |R lNYU=+f-BD N | +T F I / + L , OR CHANG'D AT LENG TH , AND TO THE PLACE CONFOPMD | R T $ E v + n J 8 D < T L. 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WHAT CHANCE, WHAT CHANGE jV F Y U / R T T D / R D E * + Z ME-'- B R I + t f , W | T T K + N S , V .- | T T J E ^ + N J WORTH W A I T I N G , S I N C E CUP P RE SE N T LOT A P P E E R S WiO/+R) W E * + T I X , S I N S _=ffl/R PRE + Z>NT L | +T > P I = + R 7 FOR HAPPY THOUGH BUT I L L , FOR ILL NOT WORST, F | R H< + P I { 0 v E > / T I + L , F | R I +L M|4-T W6I/ + P S T , I F WE PROCURE NOT TO OURSELVES MCPE WOE. I F W I / PR > K Y U = + P N | +T T U / _ = 6,/ RS F+ L V Z M | + R W 0 ^ + . + THUS B E L I A L WITH WCP.DS CLOA TH'D IN REASONS GARB + ■ ( > / + S Q I / + L I = L WI ) WD/ + RDZ KLO* + (FD IN P I / + Z > N Z GA + RB C O U N S L L ' D IGNOBLE E A S F , AND PEACEFUL SLOATH, KA = +NS>L8D I G N O ' + O L I / + Z , <ND P I / + S F U L SLC + + ) , NOT PE A C E : a n d AFTER HIM THUS MAMMON S P A K E . N | + T P I / + S : <ND <+ FT a) / R HIM ( > / + S M< + M>N S P E ^ + K. z c s 3 n r o O N I t t O-OOOOOOONOM-OHHMOMMOOO^MHMUIH^OOOOO-HNooOOHOfOOOHOOOOOOOO oro o j rn H n o o o Ol'OONOOOOOOOO»*HMOOHiOOOO'-N«OO^OxO>'0 0 0 '‘ NMOWHOHMHjOMO->--'00''^ (/> *a< r o o » U ) n 2 H m z Cl OOOOOOOOHOOOOONtflOOMO«00*-OO^OHOOC/OOOi-HOOOOl\)00>-0'*0000»HOOHOn to C D o a 7: O O O O O O O O O O O O O O O O O O h m O O O O O O O O O O O O O O O O O Q O O O O O O O O O O O O O O O O O m O O O O OOO OOOOOh OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOi-OOOOOOOOOOOO , 00 00 0 0 PARADISE LOST 334 P A R A D I S E L O S T : BOOK I NUM OF 1 , 2 . 3 E T C . WORD SENTENCES 0 2 0 1 0 0 2 0 1 0 0 n 2 2 1 0 2 1 0 1 0 2 1 1 0 0 1 0 0 1 1 1 0 0 0 1 2 2 1 0 0 0 0 1 0 0 C 1 2 1 1 1 0 0 2 1 4 1 1 0 0 1 2 0 0 0 3 1 2 0 1 0 3 I 0 I 1 0 0 1 1 1 2 C 0 1 0 1 0 1 1 0 0 C 0 1 2 1 1 1 9 P A R A D I S E L O S T : BOOK I OF 1 . 2 . 3 E T C . SYL WORDS * 4 2 7 1 5 5 0 0 1 2 6 6 8 0 0 3 5 8 1 0 0 2 P A R A D I S E L O S T : BOOK I NUMBER OF 1 , 2 , 3 E T C . WORD CLAUSES 0 1 0 4 3 1 3 1 4 7 6 5 4 8 7 4 7 12 7 7 8 7 7 3 8 5 4 5 4 1 2 6 5 4 4 1 3 2 4 2 2 2 1 2 4 1 1 1 2 1 0 0 0 0 2 1 1 0 1 0 1 3 0 3 0 0 0 0 0 0 0 0 1 0 0 1 0 0 0 0 1 0 0 2 2 1 1 0 0 O 0 1 c 0 1 o c 0 0 0 0 335 2 p a r a d i s e l o s t : b o o k I NUMBER OF 1 . 2 . 3 F T C . WORD 0 1 8 6 0 1 8 4 0 9 3 1 1 7 9 C 8 3 0 L IN E S 0 0 0 o 0 0 0 0 0 o 0 0 22 P A R A D I S E L O S T : BOOK I NUMBER OF S E N T E N C F S NUMBER OF C L A U SE S NUMBER OF WORDS NUMBER OF S Y L L A BL E S AV SENT LENGTH IN WORD AVERAGE CLAUSE AV SENT LENGTH IN SY AVERAGE CLAUSE LENG AV WORD LENGTH IN SY 94 2 2 5 5 9 5 8 8 1 4 1 6 3 . 3 8 3 0 2 6 . 4 8 0 0 8 6 . 6 0 6 4 3 6 . 1 8 2 2 1 . 3 6 6 4 o o o o o o z c £ 1 3 m 73 o -n o o o M oiui»-wr\jparv) — w*-0!\)«ojO'^ui>w-o»-P'N'-rv)ODC'^t>ojwcnoJi«J'Oo^^u<>-0'^'P'roj>cnwrjo-uifoo — o o » — * « M < 3 m H n OnOW"*4* ■< r r > o r m o o o 0!\)h o h k m OOOOOOOOOO-OOONOOOOO>*000>'0-NOOOOOi*o - h Mo O>'|'hh O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O i j O O O O O O O O O - O O - O O * 0 > J J > o V ) n r o ui H ( 3 o a * r> r > c t r » m y > O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O 0J OJ O ' z c U 1 o T O O O i' h O O O O O O h m O O O O O O O h O O O O O O O M O O O h O - O O O O O O O O O O O O O h O O O O O O O O O N * ui m H n o o m o o o >*>' h o o o o o o o o o **w O ' ' 0 0 o >*o o o o o o o o o o o o * ' - o o « o o o > ' o o o o o o o o o o o o o -< r I fl m z H m z n O O O O O H O O O N O O O O O O O O O O O O O O O O O O H O O O O O O O O O O O O O O O O O O ^ O O O O H O O O O O O O H I T O > T O > o M (/I T O r o tn H in •• C D a o 7: O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O J L O -J 338 PAR AO I S E L O S T : ROOK I I 1 . 2 , 3 F T C . WORD CLAU 0 1 0 1 1 0 2 2 1 2 2 0 3 2 1 5 0 0 3 2 1 4 2 0 1 1 0 2 0 0 2 0 1 1 1 2 3 1 0 3 0 1 1 1 0 6 1 0 2 3 0 0 0 1 0 2 0 4 1 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 0 1 0 0 3 P A R A D I S E l o s t : BOOK I I NUM OF 1 . 2 * 3 E T C . SYL WORDS' 1 2 4 4 1 8 0 0 3 5 9 6 0 0 9 2 0 0 0 3 P A R A D I S E L O S T : BOOK I I NUM OF 1 , 2 . 3 E T C . WORD SENTE NCE S 0 0 0 0 0 1 0 0 0 0 0 0 0 . 0 0 0 0 1 0 0 0 0 0 0 0 1 0 0 1 0 0 1 0 0 0 1 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 1 1 0 0 0 0 0 1 0 0 1 1 1 1 1 0 c 1 0 0 1 0 0 0 1 0 0 ^ O k O O O O O O O O h O O - O h m OO o o o o o o o o o o o o o o o o o o o o 339 3 PAP A D I S E L O S T : DOCK I I NUMBEP OF 1 . 2 , 3 ETC . WORD L I N E S 0 2 2 0 0 0 0 2 2 8 0 0 1 1 2 8 0 0 1 2 5 0 0 1 9 0 0 0 1 0 4 0 0 0 30 3 P A R A D I S E L O S T : BOOK I I NUMBER OF S E N T E N C E S 2 7 NUMBER OF C L A U S E S 7 8 NUMBER OF WORDS 1 7 1 9 NUMBER OF S Y L L A B L E S 2 3 4 1 AV S EN T L E N G T H IN WORD 6 3 . 6 6 6 7 AVERAGE C L A U S E 2 2 . 0 3 8 5 AV SENT L ENG TH I N SY 8 6 . 7 0 3 7 AVERAGE CL A U SE LENG 3 0 . 0 1 2 8 AV WORD L E N G T H IN SY 1 . 3 6 1 8 OOOOO O 2 C f T l X I o -n O > — O OOUlOOMMOOON"*OO*'>*OOO-P'OOONNt0OOOMW^*'Htv|\)(A |w .»-Ot-|\)N>-wl->-»iJ j()i'0H ‘MyOHO « u rn • H n O o o OOOOOOOOOOOf-OOOOOOOOOOOOOOO — 0 0 0 0 0 0 0 * - 0 0 0 > - 0 0 0 0 0 0 ' - 0 00>-0f-00>- — . C O ■< r r > a c r m O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O n r > c C O rn C O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O ooo ooooooooooooooooooooooooooooooooooooooooooooooooooooooooo (JO o m i l t o n : c o m p l e t e s a m p le ( p o e t 001 ) 341 Mi l t o n : COMPLETE SA MPLE ( P O E T OF 1 . 2 . 3 ETC . SYL WOR DS 5 5 1 5 7 3 0 1 6 25 1 4 0 4 5 0 I 0 1 0 2 6 RFC. ORDS PROCE SS ED L I N E WITH THE G R E A T E S T P O S S I B L E NUMBER OF A S S IG N M E N T S IS 2 0 1 8 8 21 P O S S I B I L I T I E S . 1 7 6 0 P O S S I B L E S C A N S I O N S WILL BE P R O C E S S E D BY S CA NNI NG R O U T I N E S . MI LTON? COMP LETE SAMPLE ( P O E T # 0 1 ) NUMBER OF S E N T E N C E S NUMBER OF CL A U SES NUMBER OF WORDS NUMBER OF S YL L A B L E S AV SENT LENGTH IN WORD AVERAGE CLAUSE AV SENT L ENG TH IN SY AVERAGE CLAUSE LENG AV WORD LE NG T H IN SY 1 21 3 0 3 7 6 7 7 1 0 4 8 2 6 3 . 4 4 6 3 2 5 . 3 3 6 6 3 . 9 8 3 5 1 . 5 9 0 8 0 . 0 6 2 8 342 TABLE OF TOTALS FOR ASSIGNMENT P O S S I B I L I T I E S FROM 0 TO 8 9 9 : 4 8 0 1 3 6 0 6 0 C 2 9 0 1 3 0 6 0 0 0 0 0 0 0 5 0 0 0 0 0 0 0 0 0 2 0 0 0 0 0 0 o 0 0 0 o 1 c 0 0 0 0 0 0 0 o 0 0 0 0 0 0 0 0 m i l t o n : c o m p l e t e sa m p l e : ( p c f t #r-i) n u m b e r o f p o e m s ...................................................................... . NUMBER OF SYLLABLES ................................................................ NUMBEP OF STRESS MAXIMA .................................................. PERCENTAGE OF STRESS MAXIMA ................................... NUMBER OF L IN E S .............................................................................. PERCENTAGE OF STRE SS MAXIMA L I N E S . . . NUMRER OF L I N E S WITHOUT STRESS MAXIMUM. NUMBER OF IAMBIC LI N F S ................................................. PERCENTAGE OF IAMBIC L I N E S ........................................... NUMBER OF TROCHAIC L I N E S .................................................. PERCENTAGE OF TROCHAIC L I N E S .................................... NUM3ER OF IRREGULAR L IN E S ........................................... PERCENTAGE OF IRREGULAR L I N E S ............................. NUMBER OF AMBIGUOUS L I N E S ........................................... PERCENTAGE OF AMBIGUOUS L I N E S ............................. NUMBER OF HR L I N E S ..................................................................... NUMBER OF MR L I N E S ..................................................................... NUMBER OF LR L I N E S . . . .................................................. NUMBER OF ASSONATING S YL L A B L E S ............................. PERCENTAGE OF ASSONATING SYL LA BLE S. . . NUMBER OF ASSONATING LINES. . . . . . . PERCENTAGE OF ASSONATING L I N E S ............................. 1 :. 2 9 3 21 on 21 1' 20 1< C 50 1C C 5 97 ■ j O .“i 0 8 7 R r \ 9 8 4 2 4 2 4 7 41 8 0 4 84 343 NUMBER OF ASSONATING PATTERNS .................................................................................. 1 3 2 3 NUMBER OF A LLI TE RA TIN G S Y L L A BL E S ........................................................................................ PERCENTAGE OF AL LI T E RA T IN G SYLLA BLE S................................................................ 12 NUMRER OF AL LI T E RA T IN G L I N E S ............................................................................................... S IR PERCENTAGE OF A L L I T E R A T IN G L I N E S .............................................................................. FC NUMRER OF ALLI TE RAT ING PATTERNS ................................................................................. 6 2 3 NUMBER OF L I N E S WITH COINC IDEN T ASSON f, A L L I T ....................................... 3 D J PERCNT OF L I N E S WITH COINCIDENT ASSON & ALLIT . . . . . 29 NUMRER OF SYLLAFLES WITH COINCIDENT ASSON & ALLIT . . . 4 5 3 PEPCNT OF SYLLAFLES WITH COINCIDENT ASSON S- ALLIT . . . A NUMBEP OF L I N E S EXCEEDING S ° E C I F I E O COMP LEXITY........... 147 PERCNT OF L I N E S EXCEEDING S P E C I F I E D COMPLEXITY............ 1 5CJ AVERAGE COMP LEXITY......................................... 2C>- NUMBER OF /M E T RI CA L L I N E S ...................................................... 21 PEPCNT OF AMETRICAL L I N E S ................................................................................................. 2 NUMBER OF L I N E S TO 3E E L I D E D ...................................................... 2 1 7 NUMBER OF L I N E S SHORTER THAN S P E C I F I E D LENGTH ............................ 8 3 AVERAGE NUMBER OF WORDS PER L l N F ..........................................................7AB9 NUMBER OF P O S S I B L E ASSIGNMENTS OF SYLLABLES TC P O S I T I O N S 14 61 SYLLABLE ADJUSTMENT RATIO .................................... . . 1 42 344 MUMPER OF E L ID A 5L E AQJUSTMFNTS. . . . ....................................................... 6 5 2 NUMBER CF CATACLECTIC ADJUSTMENTS ..................................................................... 83 NUMBER CF OPTIONAL E .............................................. L NUMBER CF CRT IONAL E AFTER E L I S I O N .............................................. C PERCENTAGE CF OPTIONAL E . ............................................................................................ 3 NUMBER OF ORTHOGKAPHICALLY IMITATED E L I S I O N S .................................. 2 2 2 NUMBER OF CR THOGR APH I C-PHONn T I C E L I S I O N S ................................................ 1 2 8 NUMBEP CF PARTI C L F S ...................................................................................................................... A3 NUMBER CF L I N E S WITH ONE STRESS M A X IM U M ............................................................' 2 0 8 NUMPER OF LIMES WITH TWO STR ESS MAXIMA........................................................... 3 9 4 NUMBEP CF L I N E S WITH THREE STRESS VAX I-MA..................................................... 3 ^ 7 NUMBER OF L I N E S WITH FOUR STRESS M A X I M A .................................................... 7.; NUMBER OF L I N F S WITH F I V F STRFS S MAXIMA ..................................................... 1 a 345 346 L I N E S T R E S S MILTON: COMPLETE SAMPLE (PC.E.'T » ^ 1 ) MAXIMUM V A LU E : PA 1 SCALE 1 : 1 GRAPH IN P E R C E N T A G E OF T O TA L TO TAL 4 6 1 6 POS VALUE P E R C E N T 1 36 6 6 . 6C 9 6 2 70 6 1 5 . 1 20 ( 3 8 9 1 . 9 2 2 4 4 SOB 1 7 . 4 5 2 6 5 9 6 2 . : 7 3 6 6 7 0 5 1 5 . 2 2 6 C 7 1 0 8 2 . 3 3 2 6 8 7 7 1 1 5 . 6 5 3 6 9 8 7 1 . 8 7 9 2 1 0 9 4 1 20 . 3 2 5 6 11 5 0 . 1 C 8 0 12 U o . C ' f XXXXXX X XXXXXXXXXXXXXX X XXXXXXXXXXXXXXXXX XX XXXXXXXXXXXXXXX XX XXXXXXXXXXXXXXXX X XXXXXXXXXXXXXXXXXXXX S T R E S S MAXIMUM M I L T O N : CO MP LE TE SAMPLE ( P O E T HZ 1 ) MAXIMUM V A LU E : 5 9 7 SCALE 1 : 1 GRAPH IN P E P C E N T A G E OF TOTAL TOTAL 2 1 9 0 POS VALUE P E R C E N T 1 0 . * .» 0 0 2 5 2 5 2 3 . 9 4 0 C XXXXXXXXXXXXXXXXXXXXXXX 3 8 0 . 3 6 4 8 4 5 7 1 2 6 . 0 3 7 6 XXXXXXXXXXXXXXXXXXXXXXXXXX 5 Z 5 . 0 9 1 2 6 4 3 9 2 3 . 1 1 6 4 XXXXXXXXXXXXXXXXXXXX 7 fe 3 . 2 7 3 6 8 5 9 7 2 7 . 2 2 3 2 XXXXXXXXXXXXXXXXXXXXXXXXXXX 9 6 : . 2 7 3 6 IT 3 6 1 . 6 4 1 6 X 11 0 T . 0 0 0 C 12 0 C . 0 C V 0 347 a s s o n a n c e m i l t c n : C O ^ P L F T E SAMPLE' MAXIMUM VALUE: 3 6 1 SCALE 1 : 1 GRAPH IN PERCENTAGE CF TOTAL TOTAL POS VALUE P FR C FN T 1 31 A 1 . 6 3 3 6 X xxxxxxxxx 2 3 2 7 1 1 . 2 1 6 1 XXX xxxxxxxx 3 2 1 C 7,2.)3C x x xxxxx 4 3 4 0 11 , e e . ? t x x x x x x x x x x x 5 2*' 7 7 . 1 ( 0 1 x x x x x x x 6 3 6 1 1 2 . 3 8 2 3 x x x x x x x x x x x x 7 2 1 3 7 . 3 C 5 9 x x x x x x x 8 3 6 1 1 2 . 3 8 2 3 xxx xxxxxxxxx 9 2 1 9 7 . 5 1 1 7 x x x x x x x 10 3 5 1 1 2 . C 3 9 3 x x x x x x x x x x x x 11 1 2 D• 4 1 1 6 12 0 c . c o r, o A L L I T E R A T I O N M I L T C N I COMPLETE SAMPl MAXIMUM VALUE: 181 SC AL E 1 : 1 GRAPH IN PFR C E NT A G F OF TOTAL TOTAL POS VALUE PERCENT 1 1 6 2 1 2 . 1 1 7 6 XXXXXXXXXXXX 2 1 5 4 1 1 . 5 1 9 2 X x x x x x x x x x x 3 8 9 6 . 6 5 7 2 XXXXXX 4 1 6 4 1 2 . 2 6 7 2 X x x x x x x x x x x x 5 7 5 5 . 6 1 ( 0 x x x x x 6 1 5 5 1 1 . 594-C x x x x x x x x x x x 7 9 9 7 . 4 0 5 2 x x x x x x x 8 1 7 3 1 2 . 9 4 0 4 x x x x x x x x x x x x 9 3 3 5 .2 f 84 XXXXXX 10 181 1 3 . 5 3 0 8 X XXXXXXXXXXXX 11 1 0 . f 7 4 8 12 0 .C 3 0 0 ( P O E T H? 1 ) 2 9 1 1 E ( POET # 0 1) 1 3 3 6 MILTON: CON'PLETF SAMPLE CPCFT *< ’ 1 ) COINCIDENCE CF ASSONANCE AMO ALL ITF RATI ON ma x im u m v a l u e : o f s c a l e 1 : 1 GRAPH IN PERCENTAGE OF TOTAL TOTAL 4 5 3 POS VALUF PERCENT 1 5 9 1 3 . 1 2 1 3 XXX XXXXXXXX XX 2 5 5 1 2 . 1 3 0 5 XXXXXXXXXXX X 3 2 2 4 . 8 5 5 4 XXX X 4 5 7 1 2 . 5 7 9 9 x x x x x x x x x x x x 3 16 3 . 5 3 1 2 XXX 6 52 11 » 4 7 6 A x x x x x x x x x x x 7 2 9 6 . 4 '■ {• 3 XXXXXX 8 6 6 1 4 . 5 6 6 2 XXXXXXXXXXXXXX 9 3 1 6 . 8 4 1 7 XXXXXX 10 6 5 1 4 . 3 4 5 5 XXXXXXXXXXXXXX 11 1 v , . 2 2f 7 12 0 u . r. ^ 0 C PUNCTUATION MILTON: COMPLETE SA MPL L ~ ( PC ET »C MAXIMUM VALUF: 1 5 4 S CAL C 1 : 1 GRAPH IN PFRCENTAGE Op TOTAL TOTAL 0 7 0 POS VALUE PERCENT 1 6 0 . 6 8 9 4 2 2 2 2 . 5 2 7 8 3 6 8 7 , 8 1 3 2 4 1 22 1 4 . ' 1 7 8 5 1 3 4 1 5 . 3 9 6 6 6 1 2 6 1 4 . 4 7 7 4 7 1 20 1 3 . 7 8 8'..' 8 a c 9 . 1 9 2 C 9 3 0 3 . 4 4 7 1 19 1 5 4 1 7 . 6 9 4 6 11 8 T . 9 1 9 2 12 0 c . c o e r > XX XXXXXXX XXXXXXXXXXXXXX XXXXXXXXXXXXXXX XXXXXXXXXXXXXX XXXXXXX XXXXXX x x x x x x x x x XXX XXXXXXXXXXXXXXXXX 349 n t l t o n : c o m p l e t e s a m p l e ( p c f t i ) O PT H D G P A PH I C A L L V I M I I / T M) e l i s i o n : 8 - C C U N T MAXIMUM VALUE: 7 4 SOALt; i : i GRAPH IN' Pf. PC.ENT A CL PF T J T A L TCTAL 2.22 P 03 VALUE PERCENT 1 2 2 9 . 5 OR8 x x x x x x x x x 2. 2 9 1 3 . ! 61 6 x x x x x x x x x x x x x 3 8 3 . 6 0 3 2 XXX A 1 7 7 . 6 5 6 8 x x x x x x x 5 1 3 5 . 8 5 5 2 x x x x x 6 2 8 1 2 . 6 1 1 ? x x x x x x x x x x x x 7 1 0 4 . F r 4 0 x x x x e 1 ? 6 . 7F'6C XXXXXX C l Q 2 . 7 O 2 4 XX i :• 7 4 3 3 . 3 2 9 6 XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX i i o C • t CC-f 12 o . r r , i. C M I L T O N : COMPLETE SAMPLE ( P O E T #0 1 ) ORTH OGPAPHI C - F HDNFT IC E L I S I O N : 9-CC.UNT MAXIMUM VALUE: 2 5 S C A I F i : i GRAPH IN P ER CE N T AG E OF TOTAL- TCTAL 1 2 7 POS VALUE P ER CE N T 1 1 C , 7 . P 7 4 C 2 2 0 1 5 . 7 a8 C 3 1 3 . 7 8 7 4 4 2 3 1 8 . 1 1 6 2 5 5 3 . 9 3 7 4 6 2 5 1 9 . 6 RFC 7 3 2 . 3 6 2 2 8 1 8 1 4 . 1 7 3 2 9 4 3 . 1 4 9 6 10 18 1 4 . 1 7 3 2 11 C y . L O c o 12 0 c • c c i: o XXXXXXX XXXXXXXXXXXXXXX X X X X X X X X X X X x x x x x x x XXX XXXXXXXXXXXXXXXXXXX XX XX x x x x x x x x x x x x X XX XXXXXXXXXXXXXX I 350 m i l t c n : c o m p l e t e s a m p l e ( pcft # n ) PARTI C.'LE LOCATION: 5-CCUNT MAXIMUM VALUE: 9 EC A I. if 1 : 1 GRAPH IN PERCENTAGE OF TOTAL TCTAL 4i POS VALUE PERCENT 1 4 9 • 3 ? 2 > i 2 9 2 0 . 9 2 9 5 3 3 6 . 9 A6 5 4 3 6 . 9 7 6 5 5 1 2 . 3 2 5 5 6 4 9 . o 2 C 7 0 0 • C ."r 0 8 7 1 5 . 2 7 8 5 9 3 6 . 9 7 6 5 10 9 20 . 9 2 9 5 1 1 0 v . l ' K f 12 0 r> . l o c o XXXXXXXXX XXXXXXXXXXXXXX XXXXXX XXXXXX XXXXXX XX x x x x x x x x x X x x x x x x x x x x x x XXX XXXXXX XXXXXXXXXXXXXXXXXXXX MILTON: COMPLETE SAMPLE (POFT H < M ) I L I N E S WITH F I V E STRESS MAXIMA. PAGE 1 OF 1 2 0 2 3 4 MILTON: COMPL FTF SAMPLF ( P C F T V 0 l ) 7 C L I N E S V.ITH FOUR STRE SS MAXIMA. PAGF I OF 1 2 or; 3 9 2C 1 7 4 2 0 4 32 2 C 9 5 9 20 2 2 9 2 T 44 1 2 6 p 2 C 2 p e 2 0 4 4 9 2 00 73 2C 3 3 9 20 4 5 2 2T *>77 2L 34 2 2 ■ ' 4 56 2 J C 9 8 20 3 5 7 20 4 70 20 1 0 3 20 38 0 2 L 4 7 1 231 2 0 2( 3 7 2 2 f 4 77 201 2 1 2 0 3 8 6 20. 461 29 1 32 2C 40, 2 2 0 4 9 9 201 3 0 20 4 1 0 2 0 5 1 6 2 0 1 5 1 2i, 4 1 6 2 O ' 5 3 8 2 C 5 5 2 2 0 6 8 3 30 ( 2 7 20 5 5 5 20 70 1 3 C a 1 2Gb 6 5 2 0 7 0 5 3 0 0 5 8 2G 5 86 2G 70 9 3 0 0 7 2 2 ' 5 9 0 20 7 1 8 30 1 5 9 2 ^ 5 9 7 2 0 7 28 3 9 1 71 2 C 6 9 8 20 7 3 4 30. 1 7 6 2 0 6 1 2 2 0 7 5 4 37 1 8 8 29 6 2 4 29 76 5 3 0 1 9 3 20 6 32 2 0 7 8 3 3 0 2 2 1 2 ' 6 46 20 78 6 2 O ' 6 5 4 2 9 7 9 4 351 MILTON: COVPLf-Tt' SAMPLE (POfcT * > t ) 3 f 3 L I N E S - WITH THfi K li S T R E S S MAXIMA. PAGE 1 OK 2 20 TO 5 2 T 1 6 9 2 0 356 20 5 9 4 2 C 6 6 1 2 ' • l i 2 L 1 7t- 20 35 8 2 ■ ” 5 ’) 7 2*' 6 6 5 20 0 1 3 PC 1 7 7 2 ' 3 59 2 0 5 * ' 8 2 3 6 6 7 9 ^ 20 1 7 9 27 36 1 2 O 5 1 2 26 66 8 20 o 2 5 2 i 1 6 4 2 0 3 0 0 20 51 4 2C 6 69 2 • ' 2 6 2.' 1 6 5 2. 3 64 2 * 6 2 1 ?(• 6 7 3 20 :< 3 3 21 1 f. 6 20 3 0:7 2 0 5 3 , 20 6 7 4 2 00 2 4 2!. 1 6 9 20 .3 73 2 0 5 3 1 2.6 6 75 2 0 0 2 7 2C 1 5 3 2' 3 74 2 9 5 3? 2 2 6 76 25 0 4 2 21 19 4 20 3 75 20 5 3 5 20 6 7 7 20 ; 3 3 2f I 9 7 2 0 3 0 * 5 2 * 5 39 2 0 6 7 8 2 5 'i 4 4 2C ?t C 2 •; 3 e 6 20 5 4 0 20 6 79 2 J 4 6 2 0 2: 1 2 0 39' 54 6 20 6 8C . 2 0 i 8 21 21 7 20 56 3 2 : 5 4 7 2 0 6 8 1 2 0 5 ) 2C 2 2 5 2C 39 4 2 0 5 4 8 2 0 6 8 9 20 •••5 6 2: 2 3 3 27 3 9 5 2 5 4 9 20 691 26 5 5 7 2C 2 3 5 2:.‘ 39 9 20.55.* 2 C 6 P 7 20 - ;5 3 2C 24f, 2 G 4 I. 29 6 5 1 2 2 6 9 4 2'J 16 i 2 0 24 8 20. 4 0 . 1 20 5 5 6 2D 6 9 7 20 0 6 3 2f 2 6 2 2 V 4 6 4 2 05 5 8 2 u 6 9 9 20 7 2 2-" 2 5 5 2 0 4 0 5 20 5-6 3 20 7 or 26 :■ 8 3 2 C 2 6 2 2 6 4 '■ 8 20 5 6 4 2< 7 1 2 20 8 4 2f. 26 4 2 4 4 14 2 O ' 6 6 6 2 0 7 1 5 2 0 ^ 36 PC 26 7 27 4 1 5 20 5 6 9 27 7 1 6 2. 0 8 2 0 26 5 2 f. 4 2 2 0 5 71 20 7 2? 2 ’, ’ 8 9 2C 2 7 4 PC 4 2 5 29 5 77 2 0 7 24 2 0 5 9 7 2C 2 7 5 2 0' 42 7 26 5 7 8 20 7 2 7 20* 1 0 0 2 0 27 8 2 4 3 2 : 5 6 9 2 0 7 2 9 26 1 0 1 2C 28 3 2 :• 4 3 1 23 5 8J. 2 0 7 32 29 1 5 2 2 9 28 4 26 4 33 20 5 8 2 2C 7 4 3 20 1 4 20 2 8 6 2 C 4 3 4 2 0 5 8 5 20,7 50 2 9 1 0 8 20 28 9 20 46 3 2C 5 8 8 2 ? 781 20 I 1 1 20 2 9 5 20 44 5 20 5 3 9 2 9 7 53 20 1 1 2 2 0 29 7 20 44 7 2 6 5 9 8 20 7 5 5 20 1 1 7 20 3( 2 2 C O 4 4 8 PC 60 3 20 7 5 9 20 1 31 20 30 7 2 ‘ 46 0 20 6 1 3 2 6 7 60 20 1 3 4 2C 31 1 20 45 3 £ 0 6 1 6 2C7 62 20 1 3 5 21 31 4 2 C 4 6 4 2 0 6 1 7 2 0 7 6 6 201 36 2 0 31 7 2 9 4 5 8 23 61 8 2 0 7 70 20 1 39 20 32 0 2 0 4 6 5 20 6 2 8 20 7 7 5 20 1 4 0 2 0 3 2 3 20 4 66 29 6 2 9 2 5 7 7 7 20 1 4 1 20 3 2 5 2 0 4 6 7 20 6 3 0 23 7 8 1 20 1 4 2 20 3 2 7 20. 4 68 20 6 3 3 2C'7 32 20 1 4 4 2C 3 3 4 2 0 4 74 2D 6 3 4 20 7 87 20 1 4 6 20 33 5 2 ^ 4 7 5 2 0 6 3 5 20 7 8 9 201 49 2 0 3 3 7 2 C 4 7 9 29 6 36 20 7 9 6 201 5 5 2 0 3 4 3 20 4 83 20 6 4 6 2 0 7 9 8 201 5 2 2C 34 6 20 464 20 6 5 1 3 0 0 0 2 20 1 5 5 2C 3 4 9 2 0 4 96 20 6 5 7 30 9 0 3 20 16 8 2C35 5 PC 49 7 20 6 5 8 3 0 G 0 4 3 0 C 1 C 3CG1 3 3 -j * : i s 3 0 0 2 6 30 ? e 30 0 2 9 3 0 0 3 0 3'M 3 8 3 9 C 4 3 6 3 3 0 6 A 30:: 6C > 30;'.,07 3 8 3 3 0 76 3 Of 7 3 3 0 8 f 3- "8 1 3 0 0 6 7 3 ' 6 8 3 6 6 0 3 30 0 9 5 30 O P 6 36 1'. 2 3 0 , ICC 3 6 I I ! 3 ( 1 1 2 3! 1 I A 3 0' i 1 5 3 ’1 1 1 6 30 1 2 4 3 0 12 9 36 14 r 36 1 4 \ 30 1 A3 3 0 1 A 7 3 1 A 8 3 0 1 4 0 30 151 3;-l 5 3 30 1 5 0 30 1 5 6 3 0 1 61 3 0 1 62 3.; 1 6 6 3 0 1 6 7 3 0 1 7 3 3 0 1 7 5 36 1 7 7 3 0 1 7 0 301 0 2 3f 26 C 3C 2.1 3 MILTON: COMPLETE SAMPLE (PTET 4 ^ 1 ) 394 LINES V JI TH TWO STFLSS MAXIMA. PAGE 1 0^ 2 352 29 i : 2 20 J '4 20 j<; C 20''0.) 2 ■ •:■ i 9 2o;.-1 ■ : 20 ■ ' 1 4 2; o l 6 2 C C 1 7 2C 0 2 2 20 1 3 0 2 0 0 3 1 20 >32 20 0 36 2i-)3ii 2 ' v 4 '' 20 3 4 5 20 0 4 7 20 049 20 0 51 20 0 53 20 0 54 2 0 0 6 1 200 64 2CD6 6 2 0 0 6 7 2C9 6S 20 0 7 0 2 0 9 7 1 2 0 0 7 4 26675 20 0 75 2 C 0 7 9 2 0 0 80 26 0 85 20 0 87 2 0 0 9 1 20 0 9? 200 94 20t 95 2 0 0 9 6 2 0 C 9 9 2 01 0 5 26 10 7 201 1 •' 20 1 1 4 201 1 5 20 1 1 6 2 0 1 1 Q ?>) 1 1 Q 2 0 7 95 3 0 0 0 1 3 0 0 C 5 3 9 0 0 7 3 0 J 1 2 30 9 17 3 0 1 1 9 30 0 21 3 0 0 2 2 3 0 3 2 4 30 0 2 5 3 0 C 32 3 0 8 3 4 3 9 0 3 5 3 0 0 3 6 3 0 0 3 9 21 1 2 4 26 1 2 E 2C 126 2i 1 2 7 2 1 1 2 f- 21 1 2 9 2f 1 2 0 2C 137 26 1 45 2r i 47 2C 1 4 P 2C 1 54 26 156 2f 1 57 2C 1 58 20 ICC 20 16 1 20 1 6 2 20 163 2C 164 26 1 7f 2P 1 7 1 20 1 73 20 1 8 1 20 182 20 1 83 20 18C 20 1 9 1 20 1 9 ? 20 19 5 20 196 20 198 2C 1 99 20 20 2 20 20 3 2t 2 1 C 20 21 2 20 21 4 20 21 5 20 2 1 8 2C 2 1 9 2C 2 2 C 20 221 2 0 2 2 2 20 2 2 3 2 0 2 2 6 2 0 2 2 7 20 2 2 6 2 0 2 3 0 2 2 2 3 ? 30 0 4 3 30-0 46 30 .0 5 1 30 6 - 64 30 055 30 C 69 3 6 6 6 1 30 0 6 2 30 06 5 30 0 74 3CC 7 5 3C f 7£ 3CC77 3C 079 3CCR2 3C0e3 2 0 2 36 ?.-' 23 7 2 ' . 2 7 9 ? 4 ” 2 ' 24 i ?.r 242 26 24 9 2 * ■ 2 50 2. 261 20 2 53 25 257 2 1 2 5 8 20 262 26 26 6 2 P 2 7 3 20 2 76 20 2 7 7 2 n 2 81 20 285 a ^ c i 20 292 26 298 2C3C 1 26 3C3 2 3 364 26 36 6 2C36.S • 20309 2 r 3 1 2 0 3 1 3 2 6 3 1 5 26 31 8 2C 3 1 9 20 321 2C 322 26 3 2 4 26 326 26 32 9 26 3 3 3 26 3 3 8 26 341 2 C 347 2 6 351 26 35 3 2 6 3 6 3 2 6 3 6 6 20 36 9 2 G 3 77 20 381 20 38? 36 C 9 J 36 0 91 3 :< 92 3 6G97 3 0. 0 98 3 0 0 9 9 30 ICC 30 103 30 I f 4 30 1C 7 30 1 10. 30 1 1 3 3C1 17 30 1 19 36 120 30121 2 > 3 6 3 2 1 3 8 7 2 1 3 9 2 2 ' 3 9 7 2 > 3 9 8 23 4 - 3 26. 4 17 2 0 4 1 1 23 41 3 2 6 4 16 20 4 1 7 2 0 4 21 2 0 4 2 2 2.3424 2 0 4 2 6 2 C 4 2 B 2 0 4 3 5 2 0 4 36 2 0 4 3 7 2 ” 4 39 20442 29 4 4 4 20 4 5 5 2 C 4 5 7 2 0 4 6 1 20 4 6 3 2 C 4 6 9 20 4 72 2 C 4 76 2 0 4 8 0 2 0 4 8 5 20 4 8 6 2.0 4 3 9 2 0 4 9 4 2 0 4 9 8 20 5 0 0 20 5.11 2 5 5 0 2 20 5 0 3 20 5 0 5 2 0 5 06 2 0 5 1 0 2 051 1 2 3515 2 0 5 1 7 21 51 8 2 0 5 1 9 2 0 5 2 0 2C 5 2 3 ?C 5 2 7 30 1 22 3 0 1 2 3 30 1 2 6 30 1 27 3 H 31 30 1 32 30 1 34 3C 1 36 3 0 1 3 9 30 1 42 3 0 1 4 4 30 1 5C 30 1 52 30 1 54 3 01 5 7 3 0 1 5 0 20 53 3 20 5 34 20 5 3 6 2 ' 5 3 7 20 54 1 2 ^ 5 A 3 2 >54 4 21 5 5 3 20 5 5 4 2 1 5 5 7 2 G 5 5 9 20 5 6'.. 5 6 2 20 S7t 20 5 7 2 2 C 5 7 3 2 0 5 7 4 2 0 5 7 5 2 0 5 7 6 20 5 8 3 2 1 5 8 4 20 5 8 7 20 5 9 2 2 0 5 9 3 2D 5 9 4 2 G 5 9 5 2 0 5 9 9 20 6C2 20 6 1 5 2P 60 6 2 0 6.; 7 20 60 9 20 61 0 2C61 4 2 0 6 1 5 ?C 6 1 9 20 62 2. 20 6 2 7 2 C 6 3 1 2 0 6 3 9 2 0 6 4 1 2 0 6 4 2 20 64 3 2 0 6 4 5 2 0 6 4 7 2 0 6 4 9 2 C 6 5 3 2 C 6 5 6 2'. 6 5 9 ?0 j 6 70 3 0 1 6 ? 30 1 6 5 301 70 3f 1 72 3 j 1 7 4 3 01 78 30 1 8 0 3 0 1 8 1 30 1 8 4 30 1 8 9 3C 1 9 2 3 G 1 9 5 30 1 9 6 3 ? 1 9 7 30 1 9 8 3 0 1 9 9 2C 671 2 0 6 7 ? 2 0 684 2 6 86 20 6B7 20 688 2 ' 6 9 2 2 0 6 9 5 2.) 6 9 6 2 0 6 9 8 2 0 7:.: 2 20 7C 3 2D 70 4 20 70 6 20 70 7 2 071 0 29 71 3 20 71 4 20 71 7 2 0 7 1 9 2 0 7 2 1 29 72 3 20 7 2 5 20 7 2 6 2 1 73 0 20 731 2 D 7 3 3 2-1 73 5 2 1 7 3 6 20 7 3 7 2 0 7 3 9 2 0 7 4 1 2 0 7 4 ? 20 74 4 20 7 4 5 2 0 74 8 20 7 4 9 2 9 7 5 7 2 G 7 5 8 20 7 6 3 2 0 7 6 8 2 0 7 6 9 2 0 7 7 1 2 3 7 7 6 20 7 7 9 2 0 7 8 4 2 L 7 9 0 2 0 791 2 0 7 9 2 2C 7 9 3 30 20 2 30 20- 3 3C pr 5 3f 2r 8 30 2 1 2 3 0 2 1 5 30 21 6 3C 2 1 7 3 0 2 1 8 30 2 1 9 3D22G 3 6 2 2 ? 3 0 2 2 3 30 2 2 7 353 M I L T O N : COMPLETE! SAMPLE ( P C F T # 6 1 ) P<;P. l. T N F S w i t h ONF S T F F S S MAXIMUM. 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T FP LI NFS WITH WEAK ENDINGS PAGE 1 OF 1 2 1 C 2 4 2- 1 73 2*..' 3 0 6 20 5 84 2 0 7 7 3 37 1 4 3 2 ?. , 2 S 2v 1 F 9 2 0 A r 8 26 5 9 0 2" 7 9 4 30 1 A 8 2C.<: 31 2 v 2 : c 2 ' A?'' 2 0 6 0 3 27 7 9 7 ?:.! 1 53 2 i • 3 i 2, 2 3 ? 2 " 4 5 2 2 ’>69 4 3 ‘ C 2 6- 3«. 1 59 2 1r 6 3 2 ’ 2 7 1 2 r 4 6 3 2 •' 6 9 2 37 0 31 3 .. 1 75 2 0 SI 2 9 2 6 6 2 ~ 46 1 2'.. 7 - . 2 3-r c 3 9 3 >. 1 9 5 ? : ■ . 3 9 ? 9 2 F 9 2 " 4 6 5 2 6 7 1 7 3' 3 5 6 3 : 1 9 7 291 3 2 2 f 30 7 2 r 5 3 0 2 : 71 8 3' 0 6 9 30 2 1 2 2 0 1 3 3 2(. 31 r 2 - 5 5 9 2 ■ ■ 7 3 1 3 '. 3 1 2 J 1 4 2 2i 31 5 26 5 6 8 2 - 7 3 4 3 0 6 8 8 20 1 5 5 2 C 35 0 2 V 5 75 21-75 3 37 1 ■ : 7 2.? 1 5 7 ?C 3 6 0 26 5 0 2 2 , 7 5 6 30 1 3 0 20 1 6 2 2C 3 7 3 20 5 8 3 20 7 6 5 36 1 3 7 m i l t o n : CGMPL f-.Tf- SAMPLE ( OPFT w 1 > 21 7 LI NFS TP BL PLIOFL. 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S C A N S I O N . P A G E 1 o r 1 2 C 3 • 1 3 20 1 4 8 26 3 1 8 20 60 3 20 7 5 3 3 0 1 0; 7 2C0 5 7 20 151 2C 3 2 B 20 60 4 2f. 7 5 9 30 109 20 0 1 1 26 1 54 2 6 3 3 8 2 f: 6 1 1 20 771 3C 11 7 20 5 1 7 2 5 1 5 7 2 0 34 6 20 6 1 2 20 7 72 30 128 29 9 2 9 20 1 5 8 26 3 4 7 20 62 2 20 7 74 30, 1 31 20 0' 34 20 1 5 9 2 0 3 5 1 20 6 2 4 2C 7 76 30 134 2 6 0 3 9 26 1C 0 20 3 5 3 20 62 5 2C 7 8 9 3 9 13 5 2 0 0 4 4 20 1 6 3 2 0 3 7 7 29 62 6 2 0 7 9 7 3*' 1 37 20 3 4 8 20 16 5 2C 3 9 5 2C 6 3 7 30 09 7 3 0 141 2 0 5 5 2 20 171 2 0 46/ 2 20 6 4 2 30 0 1 1 30- 1 42 20 0 6 8 2C 1 7 4 2 6 4 6 4 20 64 3 30 0 2 4 3 0 1 4 5 29 0 71 20 1 7 9 2 r 4 13 20 64 6 3C 0 2 7 3 9 14 7 2 ) 0 77 26 1 8 4 26 4 1 6 20 6 5 4 30 0 2 8 3 0 1 52 2 0 0 81 2 r . 1 e 6 2 ' 421 2 3 65 6 3 0 0 3 1 3 0 1 5 5 2 v ) 9 l 20 1 6 8 29 4 3 2 2 0 6 5 8 3t 0 4 1 3 0 1 7 0 2 0 0 98 2 6 18 9 2 0 4 4 5 2 0 6 6 9 30 0 4 4 3 0 1 76 2. 1 0 2 2 C 1 9 6 2C 4 4 9 2 6 6 7 1 36 C 60 3 0 178 2 0 1 ^6 20 2 1 2 2 6 4 76 20 6 79 30 f 6 4 3 0 1 0 8 2 0 1 1 2 2 0 2 2 9 2C 4 7 2 2 0 681 30 0 6 7 31: 192 2' 1 1 4 26 2 3 4 2 0 4 78 2 v 6.0''' 30 0.6 9 3C 1 9 7 20 1 t 5 26 2 3 8 26 4 62 2 0 6 9 7 30 0 7 5 3 0 2 0 7 2 0 1 21 2' 2 3 9 2 5 40< 20 7 ' 1 30 0 7 6 3C. 2' 8 2 ) 1 2 2 20 24 1 2C 4 9 5 2C 7 0 9 3 0 0 7 P 30 2 ' 9 20 1 2 8 2 l 2 4 5 26 5 4 9 2 0 7 1 6 3C0 8 3 30 21 C 201 3 4 2 6 24 Q PC 5 5 4 2 0 7 2 7 30 f 8 4 3 2 1 3 20 1 39 26 2 6 5 26 5 5 6 2 9 7 31 3CC9 3 3>. 2 1 4 2 0 1 4 1 26 2 7 4 20 5 5 8 20 7 3 6 3C " 9 5 30 21 5 20 1 4 3 26 2 8 3 2 0 5 6 7 2 u 7 3 7 3 CO 97 30 2 2 3 20 1 4 5 PC 2 9 8 2 0 5 9 2 2 0 746 36 3 9 8 3 0 2 2 5 2C 1 4 7 2C 3 1 2 2 C 5 9 4 20 7 5 2 30 0 9 9 356 MILTON: COMPLETE SAMPLE ( P O E T * 0 1 ) 3L C L I N F S WITH C O I N C I D E N T A 5 SON AND A L L I T . 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20785 11 30 12 8 11 20154 NULL 20 788 11 30133 11 20167 NULL 20790 11 30138 11 20168 NULL 2079 1 11 30139 11 20169 NULL 20792 11 30140 11 20 173 NULL 20796 11 30 142 11 20 1 86 NULL 20797 11 30 144 11 20199 NULL 3000 1 1 1 30149 11 20202 NULL 3000 3 11 30 150 11 202 06 NULL 30005 11 30153 11 20208 NULL 30008 11 30155 1 1 2021 I NULL 30010 11 30161 11 20218 NULL 372 20225 NULL 20540 NULL 30076 NULL 20229 NULL 2054 1 NULL 30082 NULL 20239 NULL 20545 NULL 30084 NULL 20247 NULL 20 546 NULL 30087 NULL 20254 NULL 20548 NULL 30088 NULL 20256 NULL 20562 NULL 3009 1 NULL 20262 NULL 20563 NULL 30097 NULL 20269 NULL 2 0 566 NULL 30098 NULL 20274 NULL 20575 NULL 30103 NULL 20292 NULL 20577 NULL 301 1 1 NULL 20303 NULL 20581 MULL 30126 NULL 20305 NULL 20604 NULL 30132 NULL 2031 0 NULL 20640 NULL. 30136 NULL 20 31 5 NULL 20652 NULL 30 1 43 NULL 2031 8 NULL 20 653 NULL 30147 NULL 20321 NULL 20654 NULL 30154 NULL 20 33 8 NULL 20660 NULL 30156 NULL 20349 NULL 20665 NULL 30166 NULL 20355 NULL 20 67 2 NULL 30 173 NULL 20 369 NULL 20677 NULL 301 80 NULL 20375 NULL 20693 NULL 30183 NULL 20380 NULL 20704 NULL 30186 NULL 20381 N ULL 20705 NULL 30198 NULL 20385 NULL 20706 NULL 3021 0 NULL 20380 NULL 2071 1 NULL 3021 3 NULL 20389 NULL 2071 2 NULL 30214 NULL 20390 NULL 20713 NULL 20391 NULL 2071 7 NULL 20407 NULL 20725 NULL 2041 0 NULL 20726 NULL 20421 NULL 20747 NULL 20425 NULL 20760 NULL 20437 NULL 20765 NULL 20441 NULL 20780 NULL 20448 NULL 20783 NULL 20449 NULL 20787 NULL 20451 NULL 3001 1 NULL 20452 NULL 3001 5 NULL 20458 NULL 30 02 3 NULL 20467 NULL 30 024 NULL 20471 NULL 30027 NULL 20484 NULL 30029 NULL 20487 NULL 30033 NULL 20493 NULL 30035 NULL 20502 NULL 30038 NULL 2051 1 NULL 30040 NULL 2051 3 NULL 30045 NULL 20524 NULL 30059 NULL 20534 NULL 30064 NULL 20538 NULL 30068 NULL 373 PANK ORDER L I S T ASSONANCE P A T T E R N S ( 3 6 6 1 1 1 1 2 2 1 3 3 1 6 ? NULL 1 1 2 2 2 3 3 1 9R 1 1 1 1 1 2 2 2 1 2 9 5 1 2 1 2 1 1 1 2 2 1 1 6 9 1 22 1 1 1 2 3 1 2 4 3 4 6 0 1 1 2 ? 1 1 2 3 2 4 1 3 4 1 5 1 1 1 1 1 1 2 3 2 3 3 4 1 4 IP 1 1 2 1 2 1 1 1 2 1 1 2 1 n 1 2 2 1 2 1 1 2 2 3 1 2 3 R 1 21 21 1 1 1 2 1 1 12 3 1 2 2 1 1 1 1 1 1 2 3 3 2 a 1 2 2 2 1 1 1 1 1 2 2 1 7 1 2 3 3 2 1 1 1 2 3 1 3 2 1 7 1 2 1 2 2 1 1 1 1 1 2 2 6 1 1 1 2 2 1 1 1 1 1 1 6 1 2 1 3 2 3 1 1 2 3 2 3 4 4 1 5 1 1 2 2 1 1 1 2 3 3 3 1 2 5 1 2 1 1 2 t 1 2 3 4 1 3 2 4 5 1 2 3 1 2 3 A 1 9 3 1 3 ? 4 1 2 3 9 1 2 • 3 1 1 2 1 1 2 3 1 1 2 2 2 3 1 1 2 3 2 3 3 1 2 1 2 3 3 2 1 1 2 2 1 2 2 1 1 2 2 2 1 P 1 2 3 2 3 1 2 1 1 2 2 3 3 2 1 1 2 3 2 3 1 2. 1 1 2 3 3 2 2 1 2 3 1 2 2 3 2 1 2 1 1 2 1 2 1 2 2 3 1 3 2 1 2 1 3 3 ? 2 1 2 1 2 1 1 2 1 2 2 2 2 1 1 1 2 3 3 4 4 2 1 1 1 2 1 2 3 2 2 3 1 1 2 3 2 1 3 1 1 2 1 3 1 2 3 1 1 2 3 2 3 1 4 4 1 1 2 3 2 2 3 1 1 1 2 1 1 3 2 3 1 1 2 2 3 3 1 1 1 2 3 2 3 1 2 1 1 2 2 1 1 2 1 1 2 2 1 1 3 3 1 1 2 2 2 2 I 2 1 1 2 3 2 3 2 1 ( M I L T O N ) TA3LE OP A L L I T E P A T I O N PATTERNS (MILT ON) 1 1 2 3 3 ? 1 ■ 2 0 24 9 1 2 1 2 2 0 2 3 7 2 0 7 4 3 1 2 3 3 2 1 2 0 30 1 1 2 1 2 2 0 2 5 5 2 0 09C- 1 2 3 2 3 1 2 0 3 ? 0 1 2 1 2 2 0 3 3 2 2 9 5 4 9 1 2 3 1 3 3 2 20 34 7 1 2 1 2 2 0 0 6 2 2 0 7 6 9 1 2 7 1 3 2 2 0 4 3 9 1 2 1 2 3 0 0 5 3 2 0 6 3 7 1 2 ? 1 2 2 2 ° 5 5 1 1 2 1 2 3 0 C 9 4 22 7 4 9 1 2 2 1 2 2 0 5 5 2 1 2 1 2 3 0 1 6 3 3 0 0 0 5 1 2 2 1 2 2C 5 6 1 1 2 1 2 3 0 1 8 9 2 0 0 4 0 1 2 2 1 1 2 0 6 1 1 1 2 1 2 2 0 C 1 9 2 0 I S O 1 2 2 1 1 2 9 6 2 9 1 2 1 2 2 0 0 2 0 2 0 0 3 0 1 2 2 1 2 0 6 5 5 1 2 1 2 2 0 0 5 6 2 0 0 6 & 1 2 2 1 2 ° ' 7 5 0 1 2 1 2 2 0 0 8 5 2 0 0 6 7 1 2 2 1 2 0 7 9 5 1 2 1 2 2 0 1 3 6 2 0 2 4 7 1 2 2 1 3 0 0 4 0 1 2 1 2 2 0 1 4 7 2 0 2 6 9 1 22.1 3 0 2 2 9 1 2 1 2 2 0 1 5 1 20 3 5 2 1 2 2 1 2 0 6 7 4 1 2 1 1 2 2 0 1 5 6 2 0 4 4 1 1 2 2 1 2C 0 5 1 1 1 2 2 2 2 0 1 7 9 2 0 4 6 7 1 2 2 1 3 0 1 9 0 1 1 2 2 2 2 0 2 C 4 2 0 4 9 2 1 2 2 1 2 0 0 2 7 1 1 2 2 1 2 0 2 1 5 2 0 5.0 7 1 2 2 1 9 0 C 9 9 1 1 2 2 2 0 2 4 5 2 0 5 4 0 1 2 2 1 2 0 0 4 5 1 1 2 2 2 0 2 4 8 2 0 5 6 7 1 2 2 1 2 0 1 3 2 1 1 2 2 2 0 2 5 0 2 0 5 9 1 1 2 2 1 2 0 1 7 5 1 1 2 2 2 0 2 5 8 20 6 5 0 1 2 2 1 2 0 2 0 9 1 1 2 2 2 0 2 6 0 2 0 6 6 6 I 2 2 1 2 0 2 1 7 1 1 2 2 2 0 2 8 3 2 0 6 7 3 1 2 9 1 2 0 2 2 5 11 2 2 2 0 2 8 7 2 0 6 7 7 1 2 2 1 2 0 2 5 6 1 1 2 2 2 0 3 0 5 2 0 7 6 6 1 2 2 1 2 0 2 6 4 1 1 2 2 2 0 3 4 C 3 0 0 4 6 1 2 2 1 2 0 2 9 5 1 1 2 2 2 0 3 7 9 3 0 9 4 9 1 2 2 1 2 0 3 0 8 1 1 2 2 2 0 4 1 4 3 0 0 6 1 I 2 2 1 2 0 3 3 5 1 1 2 2 2 0 4 1 7 30 1 5 3 1 2 2 1 2 0 3 3 6 1 1 2 2 2 0 4 2 4 3 0 1 7 4 1 2 2 1 2 0 3 7 6 I 1 2 2 2 0 4 5 9 3 0 1 5 5 1 2 1 3 3 12 2 0 4 4 5 1 1 2 2 2C 4 6 3 2 " 2 1 3 1 2 1 2 3 3 2 0 5 5 5 1 1 2 2 2 0 4 7 2 2 0 0 6 4 1 2 1 2 2 2 0 6 1 7 1 1 2 2 2 0 4 7 6 2 0 5 7 1 1 2 1 2 2 2 0 6 1 9 1 1 2 2 2 C 5 2 7 2 0 6 8 n 1 21 2 2 2 0 6 4 1 1 1 2 2 2 0 5 4 6 2 0 7 4 0 1 2 1 2 2 2 0 6 4 3 1 1 2 2 2 0 5 5 7 2 0 2 5 3 1 2 1 2 1 2 0 7 8 8 1 1 2 2 2 0 6 2 1 2 0 4 8 9 1 2 1 2 1 3 0 C l 6 1 1 2 2 2 0 6 8 8 20 7 2 3 1 2 1 2 1 3 0 C 1 7 1 1 2 2 2 0 7 4 4 2 0 9 7 7 1 2 1 2 3 C 0 3 3 1 1 2 2 2 0 7 7 3 2 0 0 7 8 1 2 1 2 7 0 0 6 2 1 1 2 2 2 0 7 7 6 2 0 1 2 0 1 2 1 2 3 9 C 8 3 1 1 2 ? 3 0 0 3 2 2 0 1 7 6 1 2 1 2 3 9 1 2 2 1 1 2 2 2 0 C 9 3 2 0 18 7 1 2 1 2 3 0 1 3 4 1 1 2 2 3 0 0 3 6 2 0 21 9 1 2 1 2 2 0 4 3 6 1 1 2 1 2 3 0 C 4 4 2 9 2 ? Q 1 21 2 2 0 0 3 7 1 1 1 1 1 3 0 0 6 5 2 0 2 3 8 1 2 1 2 2 9 2 1 1 1 1 1 1 3 0 0 7 1 in e' e n O v O O C MC O 03 o v O O ^4 C M< } ■in N O ' D N 0> o r o < ■ m N © r- C O C Mro m o C Mro ■ tf N *4 ro < 0 C C o ^4 C M N (0 I> C C O O O' C > o O o • ■ 4 ^4 ^4 ^4 C MC MC MC Mro ro •* in in in in in M 3 sC © © N N N N N C OC C C Oco O' O ' O' C MC MC MC MC MC MC MC Mro ro n ro ro ro ro ro ro roro 10 ro ro ro ro roro ro ro ro m ro ro ro ro ro ro ro ro ro ro ro ro ro ro :0 ro ro ro ro ro O o O O O O O O o O o o o o o o o o o O o o o o o o o o O o o o o o o o o o o o o o o c o O o O o O C MC MC MC MC MC MC MC MC MC MC MC MC MC MC MC MC MC M C MC MC MC MC MC MC M C MC MC MC MC M C MC MC MC MC MC MC MC MC MC MC MC MC MC MC MC MC MC MC MC M ro in > 0 S 3 O ' C M ro N ® O ' O C Mv C ro N O O m o C Mro < } • in ** 4 C Mro in C MC O *4 C Mr Occ in O ' — m •4 N o r* ro C CO *4 m © < » in in in in m >c © • ■ 0M 3N N N N 00 c O ' O - O ' 0 > O' o O O o ^4 C MC MC MC Mro to ro < -4 in m M 3> 0 © t> - N N N — — — — — » — < »4 H • "4 *4 m 4 «« 4 H — ^4 C MC MC MC MC MC MC MC MC MC MC MC MC M C MC MC MC MC MC MC MC MC MC MC MC M o o o o o o o o o o o o o O O o O o o o o O o o o O © O O O O O O O O o o o O o O o O O o O O O o O C MC MC MC MC MC M C M C MC MC MC MC MC MC MC MC MC MC MC MC MC MC MC MC MC MC MC MC MC MC M C MC MC MC MC MC MC MC MC MC MC MC MC MC MC MC MC MC MC MC M cocM inicD cM ro — C M ro-4-inocD ocM iM r O 'M '\ooNcJ'0'5M nO '<j'r,'-cQoroiooocMrO'd,ocM ro — ® — •M 'ON ii'on n ' 0 < O O N o ^ 0 0 0 0 0 0 0 O N f l n n r f ) r < t ^ i n i n ^ O i C ' O C N N N M D C C t O C M 3 ' 0 0 - < - < C M C M C M C M C M 10 C O H r t ^ r > H ( \ i l \ i O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O M H H w r t r t w « « » r t O o c o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o c o o o o o o o o o o o o o o o o romponnrr jm c«jcvicvlc\ic^cN j«M csjcxjC 4C M csjc'Jt\je\jcvjc\!C \i< vj«v)eM tvJ«vfeN jc\j< N jcvj«M < vic\Jcvi< > jC M < viw c\acjcvtcvjcvicviC M C M 20396 2 0 3 9 7 2040 1 20402 20 40 3 2041 2 20415 2041 a 20419 20423 20427 20432 20433 20438 20440 20442 20 444 20449 20 45 1 20454 20 462 20467 20 46 8 20470 20 471 20473 20 474 20484 20485 20488 2049 0 2049 1 20493 2050 1 20502 20 50 3 2051 0 2051 1 2051 7 20520 20523 20 52 4 20 52 5 20526 20 52 B 20529 20530 20 531 20534 20535 11 20676 1 1 20684 11 20698 11 20700 1 1 20702 11 20703 11 20704 1 1 20708 11 20712 1 1 2071 5 11 20720 11 2072 1 11 20 72 5 11 20727 11 20732 11 20733 1 1 20735 1 1 20736 11 20737 11 20738 11 20741 1 1 20745 11 20747 11 20748 11 20751 11 20753 11 20757 1 1 20760 1 1 20766 11 20770 11 2077 1 11 20772 1 1 20775 11 20777 11 20778 11 20779 11 20 78 3 1 1 20789 11 20797 11 30003 11 30005 1 1 30007 11 30009 11 3001 1 1 1 30012 11 3001 4 11 30019 11 30020 11 30022 11 30025 2054 7 20559 20 56 0 20562 20564 20565 20567 20 572 20575 20576 20 57 7 20 579 2058 1 20586 20596 20597 20602 20 60 3 20604 20606 20607 20609 206 1 0 2061 2 2061 4 2061 5 2061 8 20624 20625 20627 20628 20633 20634 20 635 20636 20640 20645 20647 20648 20 651 20653 20 658 20660 2066 1 20664 20669 20670 2067 1 20672 20675 30186 1 1 20061 N U L L 20164 NroroNNNtuMNroNNNNNNNtoNfVJWrONNfOtoNroNt'JNUUtCtd'jJWOJUWUUUlU O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O C J O O O O O O O O O O O O O O O O O O O O O O O O O O O O o O O O O O O O o O M f O N M M W W M M t U W M H y ; U 'U i'jiui'P'-fr^-tS'-P'-P'W 'oJO arow roro'vjro i\> — ►-►-owrowiv — - — >-*oo^ ^ocosuiroo:t7i-f! ‘Liro»-'a>U i'-‘\O ci;0'yi-(S'C »i'->coD '<iC '-f!'O jr\j^O 'gC 'U i'ts,c*jic> > JC '-t'fv)O vC w T O 2 Z 2 Z 2 Z Z Z 2 Z Z Z Z Z Z 2 Z Z Z Z Z Z Z Z 2 2 2 Z Z Z 2 1 CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC' r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r NrowrypoNforuMfvjwwtvroroMNNMryfvjroroMNrofurypoNwroMrorororijryiNjrorvjrorow OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO 5'aHfl>^>^'jll»iOjljJUjlMNMN“ “ ,‘ ’* - ,'"‘ MOOOOOOOOivCO»2'£c:c;!XC!-'JS U'ji*‘->ro»-ooc3cn^u-vOaiOjrvjoo:'<Jui>WNooa>->iC'Oi-f>-oo3>i3'yi'-'vco;o'*-*(?'^ u > -J 30026 1 1 30188 1 1 20063 30027 1 1 30192 1 1 20065 30031 1 1 30193 1 1 20069 30034 1 1 30195 1 1 20071 30035 1 1 30196 1 1 20072 378 20 165 NULL 20 2 80 NULL 20395 NULL 201 67 NULL 20281 NULL 20398 NULL 20 1 68 NULL 20282 NULL ' 20399 NULL 20169 NULL 20 25 5 NULL 20400 NULL 20170 NULL 20203 NULL 20404 NULL 20 172 NULL 20290 NULL 20405 NULL 20 1 7 A NULL 2029 1 NULL 20406 NULL 20180 NULL 20296 NULL 20407 NULL 2018 1 NULL 20297 NULL 20408 NULL 201 82 NULL 20299 NULL 20409 NULL 20103 NULL 20302 NULL 2041 0 NULL 20186 NULL 2030 3 NULL 2041 1 NULL 20 188 NULL 2030 7 NULL 2041 3 NULL 20 189 NULL 20309 NULL 20416 NULL 201 91 NULL 2031 3 NULL 20420 NULL 20196 NULL 2031 8 NULL 20421 NULL 201 97 NULL 20322 NULL 20422 NULL 20190 NULL 20323 NULL 20425 NULL 20199 NULL 20324 NULL 20426 NULL 20200 NULL 20325 NULL 20420 NULL 20206 NULL 20320 NULL 20429 NULL 20207 NULL 20331 NULL 20430 NULL 20208 NULL 20334 NULL 20431 NULL 2021 0 NULL 20 33 7 NULL 20434 NULL 2021 4 NULL 20333 NULL 20435 NULL 2021 6 NULL 20339 NULL 20437 NULL 20220 NULL 2034 2 NULL 20443 NULL 20 22 4 NULL 20346 NULL 20446 NULL 20226 NULL 2034 3 NULL 2044 7 NULL 20227 NULL 20349 NULL 20448 NULL 20230 NULL 20351 NULL 20450 NULL 20231 NULL 20 35 3 NULL 20452 NULL 20232 NULL 20355 NULL 20453 NULL 20233 NULL 20359 NULL 20455 NULL 20236 NULL 20360 NULL 20456 NULL 20240 NULL 2036 4 NULL 20457 NULL 20242 NULL 20366 NULL 20458 NULL 20246 NULL 20367 NULL 20460 NULL 20251 NULL 20368 NULL 20464 NULL 20252 NULL 20369 NULL 20465 NULL 20254 NULL 20371 NULL 20466 NULL 20262 NULL 20375 NULL 20469 NULL 20265 NULL 20373 NULL 20475 NULL 20266 NULL 20380 NULL 20477 NULL 20267 NULL 20 30 2 NULL 20478 NULL 20272 NULL 20384 NULL 20479 NULL 20273 NULL 20305 NULL 20480 NULL 20274 NULL 20387 NULL 20481 NULL 20276 NULL 20389 NULL 20482 NULL 20277 NULL 20393 NULL 20483 NULL 20394 NULL 379 2 0 4 8 6 NULL 2 0 5 8 3 NULL 2 0 6 9 1 NULL 2 0 4 ' M NULL 2 0 5 8 4 NULL 2 0 6 9 2 N U LL P . 0 4 V 5 N U LL 2 0 5 8 5 NULL 2 0 6 9 3 N U LL 2 0 4 9 6 NULL 2 0 5 8 8 NULL 2 0 6 9 4 N U LL 2 0 4 9 7 NULL 2 0 5 8 9 NULL 2 0 6 9 5 N U LL 2 0 4 9 8 NULL 2 0 5 9 0 NULL 2 0 6 9 6 N U LL 2 0 4 9 9 NULL 2 0 5 9 2 NULL 2 0 6 9 7 NU LL 2 0 b 0 0 NULL 2 0 5 9 3 NULL 2 0 6 9 9 NU LL 2 0 5 0 4 NULL 2 0 5 9 4 NULL 2 0 7 0 1 NULL 2 0 5 0 5 N U LL 2 0 5 9 5 NULL 2 0 7 0 5 N U LL 2 0 5 0 6 NULL 2 0 5 9 8 NULL 2 0 7 0 6 NULL 2 0 5 0 8 NULL 2 0 5 9 9 NULL 2 0 7 0 7 N U LL 2 0 5 0 9 NULL 2 0 6 0 0 NULL 2 0 7 0 9 NULL 2 0 5 1 2 N U LL 2 0 6 0 1 NULL 2 0 7 1 0 N U LL 2 0 5 1 3 N U LL 2 0 6 0 5 NULL 2 0 7 1 1 N U LL 2 0 5 1 4 NULL 2 0 6 0 8 NULL 2 0 7 1 3 NULL 2 0 5 1 5 NULL 2 0 6 1 3 NULL 2 0 7 1 4 NULL 2 0 5 1 6 N U LL 2 0 6 1 6 NULL 2 0 7 1 6 NULL 2 0 5 1 8 NULL 2 0 6 2 0 NULL • 2 0 7 1 7 NULL 2 0 5 1 9 NULL 2 0 6 2 2 NULL 2 0 7 1 8 NULL 2 0 5 2 1 N U LL 2 0 6 2 3 NULL 2 0 7 1 9 N U LL 2 0 5 2 2 NULL 2 0 6 2 6 NULL 2 0 7 2 2 N U LL 2 0 5 3 2 NULL 2 0 6 3 0 NULL 2 0 7 2 4 NULL 2 0 5 3 3 NULL 2 0 6 3 1 NULL 2 0 7 2 6 N U LL 2 0 5 3 6 N U LL 2 0 6 3 2 NULL 2 0 7 2 3 N U LL 2 0 5 3 7 NULL 2 0 6 3 8 NULL 2 0 7 2 9 N U LL 2 0 5 3 0 NULL 2 0 6 3 9 NULL 2 0 7 3 0 N U LL 2 0 5 3 9 N ULL 2 0 6 4 2 NULL 2 0 7 3 1 N U LL 2 0 5 4 1 N U LL 2 0 6 4 4 NULL 2 0 7 3 4 N U LL 2 0 5 4 2 N ULL 2 0 6 4 6 NULL 2 0 7 3 9 N ULL 2 0 5 4 3 NULL 2 0 6 5 2 NULL 2 0 7 4 2 N U LL 2 0 5 4 4 NULL 2 0 6 5 4 NULL 2 0 7 4 6 N U LL 2 0 5 4 5 N U LL 2 0 6 5 6 NULL 2 0 7 5 2 N U LL 2 0 5 4 8 N U LL 2 0 6 5 7 NULL 2 0 7 5 4 N U LL 2 0 5 4 9 N ULL 2 0 6 5 9 NULL 2 0 7 5 5 N U LL 2 0 5 5 0 NULL 2 0 6 6 2 NULL 2 0 7 5 6 NULL 2 0 5 5 3 N U LL 2 0 6 6 3 NULL 2 0 7 5 8 N U LL 2 0 5 5 4 N U LL 2 0 6 6 5 NULL 2 0 7 5 9 N U LL 2 0 5 5 6 NULL 2 0 6 6 7 NULL 2 0 7 6 1 N U LL 2 0 5 5 8 NULL 2 0 6 6 8 NULL 2 0 7 6 2 N U LL 2 0 5 6 3 NULL 2 0 6 7 8 NULL 2 0 7 6 3 N U LL 2 0 5 6 6 N U LL 2 0 6 7 9 NULL 2 0 7 6 4 N U LL 2 0 5 6 8 N U LL 2 0 6 8 1 NULL 2 0 7 6 5 N U LL 2 0 5 6 9 NULL 2 0 6 8 2 NULL 2 0 7 6 7 NULL 2 0 5 7 0 N U LL 2 0 6 8 3 NULL 2 0 7 7 4 N ULL 2 0 5 7 3 NULL 2 0 6 8 5 NULL 2 0 7 8 0 N U LL 2 0 5 7 4 NULL 2 0 6 8 6 NULL 2 0 7 8 1 NULL 2 0 5 7 0 NULL 2 0 6 8 7 NULL 2 0 7 8 2 N U LL 2 0 5 8 0 N U LL 2 0 6 8 9 NULL 2 0 7 8 4 NULL 2 0 5 8 2 NULL 2 0 6 9 0 NULL 2 0 7 8 5 NULL 20786 NULL 30093 NULL 30182 20787 NULL 30095 NULL 30183 20790 NULL 30097 NULL 30184 20791 NULL 30090 NULL 30 105 O 00 ro J J J J J J J J J J J J J J J J J J J J J J J J J Z Z Z Z Z 2 Z Z Z Z Z Z Z Z Z 2 2 Z Z Z Z Z Z Z 2 N-<'tfNCCO-<rO^,'C N C O .H tflaO o«-N <JD rtrO ffluO'OO'OooooooHHrthiwwNnn .-<-<-«.~r-<CMC\jCMCMCMCVI<\JCMtMCV]CMCMCMCUCMCM' OOOOOOOOOOOOOOOOOOOOO rorororororofotofornrororomforororofoioro j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j j 2 Z Z Z Z 2 Z 2 Z Z Z Z Z 2 Z Z 2 Z Z Z 2 Z ? Z Z Z Z Z Z Z Z Z Z Z Z Z Z Z Z Z Z Z Z Z Z Z C'^fO’ d ’lO vC ffiO '^^'iO SO C -O * — P O vO N O JC N C O 0'O O O O O O O --i-.«--(\J!\Jft!Nftlrf)I*lP'‘ , O H H H H « H H H H H H H N H ^ H H H N H H * * H o o o o o o o o o o o o o o o o o o o o o o r o r o m r o t o r o r o r o r o r o r o r o n r o r o r n n r o r o r o r o r o O' C V J 1 * 5 N O' r-4 C MSt < 0 N * « ( st o N O *4 (0 in a ro st < ! ■•O ’ U 5 ifi to If! in \o C o O N N N N N •4 H H ■ H H H « r* H H H ^4 * ■ «• ■ 4 H m 4 o o o o O o o o o o o O O o o O O O O O o O ro ro ro n n ro N 1 * 5 1 * 5ro ro ro ro ro ro to roro (0 ro ro ro j j j j j j j j j j j j j j j ZZZZZZZZZZZZZZZ _i J _J_J — i _r _j_ 1 J _l_l J _J J J_J j J J J J J -J J 3) " ■ N 3 D 3 3 D D D 3 3 3 3 33 3 3 z *7 ’ r z ■ 7 z z z z Z z z - v Z J J J J J J J J J J J J J J 32DODDDD3D3DD3 z z z z z z z z z z z z z z C M r)St'C © ^C M <3‘<noO O rO incO -H r9<tC O C 'O N C !J T j p j t f o o o o o - -« -< ~ < y c 'jc v !N < M n r, ro NSNSSOOOOOOOOOOOOOOOOO o o o o o o o o o o o o o o o o o o o o o o C M C M C M C M C M r o m r O rO rO r O r O rO fO r O rO rO r O r O rn m r O C MNo C M <t in o ON o St in >0N & ^4 C MSt N » O ' o ST St in in in in «c OO N N N N N N C Oco co 00 C OtoO Oo o o o o o o o o o o Oo o o o o o o o o o o o o o o o o o o o o Oo O o o o o o o o 1 0rororo rororo rorororororo rotorororororororo 3 0 0 9 1 NULL 3 0 1 8 0 30092 NULL 3 0 1 6 1 381 RANK ORDER L I S T F O R A L L I T E R A T I O N P A T T E R N S ( M I L T O N ) 5 0 8 NULL 3 6 1 1 1 A9 1 1 1 2 8 1 1 2 2 P 3 1 21 2 2 3 1 2 2 1 9 1 1 1 1 A 1 2 1 2 2 3 1 2 1 2 1 2 1 2 3 3 ? 1 2 1 2 2 1 1 2 1 2 2 1 2 2 1 1 2 2 2 1 1 2 1 2 3 ** 1 1 2 1 1 2 1 1 2 2 1 2 2 1 1 1 2 2 1 1 1 2 3 1 3 2 1 1 1 2 1 2 1 1 1 1 1 1 1 1 2 1 3 3 1 2 1 1 2 3 1 3 3 2 1 2 3 2 3 1 A PPEN D IX B COM PUTER DATA FOR THE THOMSON SAM PLE 382 A P P E N D IX B CO M PUTER DATA FO R THE THOMSON SA M PL E The T hom son sa m p le w a s c o m p o s e d of the f ir s t 1,021 lin e s of the 1726 ed ition of W in ter. Of th e s e lin e s , only eigh t w e re d ecla red u n m e tr ica l in the com p u ter s c a n sio n , and all of th em m ay e a s ily be r e s o lv e d a s m e tr ic a l w ithin the H a lle - K e y s e r th eo r y of p rosod y. T h ree of the lin e s w ere judged u n m e tr ic a l due to sim p le e r r o r s in coding; the oth er fiv e u n m e tr ica l lin e s co n ta in ed in c o r r e c t ly m a r k e d sy lla b ic or s t r e s s d ou b lets, w ords w h ose n u m b er of s y lla b le s or lo c a tio n of s t r e s s can be d e s c r ib e d in m o r e than one w ay. In e a c h case, a v e r s io n of the doublet w as en cod ed w hich r ed u ced a p e r fe c tly m e tr ic a l lin e into an app arently u n m e tr ic a l one. The sy lla b lic d ou b lets in clu ded the tw o - and th ree - sy lla b le v e r s io n s of a fflu en ce and id e a , and the o n e - and tw o -s y lla b le v e r sio n s of c r u e l. In e a c h c a s e , T h om son expanded a m o r e u su al diphthong into two sep a ra te sy lla b le s : W hom p le a s u r e , p ow er, and a fflu en ce surround; (323) Of fle e t id e a s , n ev er join 'd b e fo r e , (613) And bid the c r u e l f e e l the p a in s th ey g iv e . (381) The s t r e s s d ou blets included: c o 'n s u m m a t e - -c o n s u m m a te (657) 383 384 inhospi" table --in h o 's p ita b le (1, 107) By c o r r e c tin g th e se cod in g errors, all of the lin e s in the T hom son sam p le can be c o n sid e re d m e tr ic a l within the H a lle -K e y s e r th eory without e x te rn a l ad ju stm en ts of the th eory. 385 6 THE s e a s o n s : w i n t f r + S E F , WTNTER COMES , TO RU L E THE V A P Y ' D Y E A R . * ■ S I / + , WI + NTSVR K > / + M Z , T U / R U / + L (> V E = + P I f t D Y5)/ + R , S U L L E N . AND S A D . WITH A L L H I S R I S I N G T R A I N ; S > / +L> N » <ND S C + D . WI ) | +L H I Z F A » + Z I X TPFT +NI V A PO U R S . AND C L O U D S , AND STORMS. B E ( 1 ) T H E S E ! 1) MY T H EM E. V t D H P i S / R Z . <ND K L A = + D 7 , <ND £ T | + F M Z , B I / F ( I / + Z ) I / + M THE S E {1 > . THAT EXALT THE SCUL TO SOLEMN THOUG HT . J ( I / + Z . ( < T I G Z l + L T ( > S C ' + L TIJ / S | + L > M ) | + T , AND HEAVENLY M U S I N G . WELCOME, KINDRED GLOOMS <ND H £ + V > N L _ M U / + 7 I X . WL+LK>M, K T +N D RI D G L U / + M 7 X CONGENIAL H O R R O R S , HA II. WITH FREQUENT F O O T . K > N J I / + N I = L H | + P ffi / P . Z , HE’ +L% W I ) F R I / + K W E N T FU + T , P L E A S ' D HAVE I . I N MY CHE ARFUL MCRN OF L I F E . P L I / + Z 8 D H > V A * . IN M A T $ I = + PFIJL M | + RN | V L A + + F , WHEN N U R S ' D BY C A R E L E S S S O L I T U D E I L I V ' D , WEN NJ51/ + R S B T BA > ' K E = + R L I S S | + L I T Y U / 0 A* L I + V 8 D , AND SUNG OF NATURE WITH U N CE A SI N G J O Y , <ND S >/+ tf |V N E ' + T J R / R W I ) > / + N S I / + S I X JO = + , , P L E A S ' D HAVE I WANDER'D T H R O ' YOUR ROUGH DOMAIN; 1° P L I / + Z8D H>V A* W | +NDo)/F’CD ) F O > + ' Y | R R > / + F DOME=! +NJ TROD THE PURE V I R G I N - S N O W S * MYSELF AS P U R E ; T R | + D {> PYU= FR V a / + R J I N S N O ' S , NA* SE +LF < Z P Y U = + R J HEARD THE W I N D S ! N ) ROAR, ANT THE B I G TORRENT B U R S T ; Ha)/+RD ! > WI+NDZ R | +R , <ND ! > BT+G T | + F > N T Bf f l/ F PS T ; OR SEEN THE DEEP F E R M E N T I N G TE MP E ST B R E W ' D . | P S I / F N (> D I / + P F 5 V F M F + NT I X TF + M P I S T B R U / + 8 D , IN THE GRIM E V E N I N G —S K Y . THUS P A S S ' D THE T I M E , I N !> GRI+M I / + VNIXSKA*- . ! > / + S P A + S 8 T ! > TA*+M» T I L L THRO* THE L U C I D CHAMBERS CF THE SOUTH T I L ) R O “F ' ( > L U / + S I D T f F ' ^ + MEffl/PZ | V !> SA = +) L O O K ' D O U T ! 5 ) THE JO YOU S S P R I N G , L O OK 'D 0 U T I 5 ) AND S M I L ' D . L U + K 8 T A = + T F ( > J C = + > S S P R I + # , L U +K 8 T A = + T 5 <ND S M A * + L 8 D . + TO T H E E . THE P A T P C N OF T H I S F I R S T E S S A Y , F T U / ( I / . ! > P E « F T R > N |V ( I S F5J/ + RS T E + S E * . THE MUSE. D WI LM ING TO N RENEWS HER SONG. ( > M Y U / + Z . D*+ W I + L M I X T > N ! R T N Y U / + Z H S / R S | + « . S I N C E HAS SHE ROUNDED TH E R E V O L VI N G YEAR I S I N S H> Z $ 1 / RA = + ND ID ( > R I V | + L V I X YS5/ + R ; S K I M ' D THE GAY S P R I N G ; ON EAGL.E-P IN I DNS BOR NE. S K I + M 8 D ( > GE* * ■ S P R I + w ; |N I / + G>1 P I NY>N Z B | +RN , ATTEMPTED THRO T H E SUM ME R-P LA ZE TO P I S E ; > TE + M P T I D ) R D » + ( > S > / +Mffi/PRlF> Z T U / R A * + Z ; THEN SWEPT O ' E R AUTUMN WITH THE SHADOWY G A LE ; . . . . . . ( E N SWE +PT 19 F | + T > M WI ) ( > 3.< + D _ * I GE* + L ; AND NOW AMONG THE WINTRY CLOUDS A G A I N , <NO NA=+ > N > / + W ( > W I + N T G R I KL A=+DZ > G E * + N . R O L L ' D IN THE D O U B L I N G STORM, SHE T R I E S TO S OAR ; RO« + L8D I N ( > D > / + BL I X S T | + R M , * 1 / TRA>- + Z T U / S j + R ; TO SWELL HER NOTE WITH ALL THE P U S H I N G W I N D S ( N ) ; T U / SWE+L H S / R N O ^ + T W I ) | + L ( > P > / + $ I X W I+ NDZ I TO S U I T HER S OU N D IN G CADENCE TO THE F L O O D S ; T U / S U / + T H6VR S A = + ND I X K E ‘» + D > N £ T U / ! > F L > / + D Z ; AS I S HER THEME, HER NUMBERS WILDLY GREAT: <Z I Z H 3 / R ) I / + M , H 3 / R N > / + MBffl/FZ WA *+LDLI G R E * + T : T H R I C E HAPPY COULD SHE F I L L THY JU D G I N G EAR ) R A > + S H < + P I J£ KUD * 1 / F I + L ( A ^ J > / + J I X I = + R WITH BOLD D E S C R I P T I O N , AND WITH MANLY THOUGHT. WI ) OOv +LO D I S K R I + P S > N ♦ <ND W I ) M< + N L I ) | + T . _ N O R ( 1 ) ART THOU S K I L L ' D I N AWFUL SCHEMES ALONE. N | + R ART ( A = S K l + t f i D IN j + FUL S K I / + MZ > L O * + N , AND HOW TO MAKE A MIGHTY P F O P l F. T H R I V E : <ND HA= T U / MF*+K > M A ' + T I P l / + P > L )RAA+ V : BUT EQUAL G O O D N E S S . SOUND I N T E G R I T Y , B > / T I / +KW>L G U + L N I S , S A = + N D I N T E + G R I T I , A F I R M UNSHAKEN U N CO RP U P T E C SOUL > F6)/ + RM > / + M $ E - i + K > N > / + N K > R > / + PT ID S O t + L AMID A S L I D I N G AGE., AND BUR NI N G STR ONG , > MI+D > S L A ^ h DIX e ^ + j , < n d r » / + f n i x s t r | + # « t 386 NOT VAINLY BLA Z IN G FCR THY C O U N T R Y 'S WEAL. N | +T VE V+N LI 8LE-*+ZIX F|p ( A“ K > / + N R I Z W I / + L , A STEADY S P I R I T FFGULAPLY TREE; > S T E + D I S P I = + RI T R F + G Y U L B / K L I F P I / + ? T H E S E . EACH EXALTING EACH, THE STATESMAN LIG HT ( I / Z . I / + T T IGZ | +L T IX I / + T S , (> S T B “ +TSM>N L A * + T INTO THE PATRI'OT; T H E S E , THE PULL ICK HOPE I + N T U / (> P < + T R I = T ; ( I / Z , ( > P > / + B L I K HOt.+P AND EYE TO THEE CCNVE P T I N G , P I C THE MUSE <ND A* + T U / ( 1 / K>NVS)/ + RT I X , P I + D (> MYU/+Z . RECORD( V ) WHAT ENVY CARES NOT FLATTERY C A L L . HO P I K | + R D W|T E+NVI DE=+KZ N | + T F L < + T _ / P I K | + L . + NOW WHEN THE CHEARLESS EMP IR E OF THE SKY + NA = + WEN (> T i l = + RL 1S E+MPA'<_/R | V (> SKA* + TO CAPRICORN THE CENTAUR-AFCHER Y I E L D S , T U / K < + PR I K | RN ( > SF. + NT | R | R T t n l / R Y I / + L P Z , AND F I E R C E A QUA RI US. S T A I N S TH* INVE RTE D YEAR; <ND F I = + R S > K W E = + P I = S , S T F ^ + N Z (* INVffi/+PTID Y S / + R J HUNG O ' E R THE FARTHEST VFRGF OF HEAVEN, THE SUN H > / + « |RR ( > F A + P C I S T V o V + P J |V H F + V _ N , (> S > / + N SCARCE SPREADS O ' F R ETHER THE D E J E C T E D DAY. SKE = + RS SPRE+-DZ | PP I / + ) o > / P ( > T I J E + K T I D DE-' + . F AI N T ARE H I S GLEAMS, ANC I N E F F E C T U A L SHOOT F E * + NT AR F I Z G L I / + MZ. <ND I NIF F +K T YU=L SU/+-T H I S STRUGGLING KAYS. IN HOF IZONTAL L I N E S , H I Z ST R > / + G L I X R E » + Z , IN H | P I Z | + N T > L L A ' + N Z . THRO THE THICK ATP; AS C L O A T H 'D I N CLOUDY STORM, )RO* + (> ) I + K E = + PJ <Z KLC-- + (BD I N K L A - + D I S T ( + F M , WEAK, WAN, AND BROAD, HE S K I R T S THE SOUTHERN SKY? W I / + K , W | + N , <ND PR | +D, H I / SKS1/+RTS (> S > / + ( 3 / R N S K A ^ f ; A N D ( l ) , S OON -DE SC PNC I MG, TO THE LONG DARK N I G H T , 5X> < + ND, S U / + N O I S E + N D I X , T U / ( > L | +# DA4-RK NAA + T , W I DE -SH ADI NG A L L , THF P RO S T R A T E WORLD R E S I G N S . WA'^ + DSE ,; + D I X | + L , ( > P R l + S T P O T W S /+ R L D R I S A ^ + N Z . NOR( 1 ) IS THE NIGHT U N W I S H ' D i WHILE V IT A L HEAT, N | F R I Z (> NAT+T > / N W H - t B T i W A * L V A ++ T > L H I / + T , L I G H T . L I F E , AND JO Y , THE DUBIOUS DAY FO R SA K E . L A * + T , LA* + F , <ND JO = + , ( > D Y U / + R I = S DF* + F | R S E - * + K . M EA N -TI ME , IN SABLE C I N C T U R E . SHADOWS VA ST, M I / + N T A * M . IN SE' +B>L 5 I + # K T $ 5 V P , $ < + D O * Z V A +S T , D E E P - T I N G ' D AND DAMP, AND CONGREGATED CLOUDS. D I / + P T I N J 8 D <ND D<+MP, <ND K | +NGRE GE *=T I D K L A = + D Z , AND ALL THE VAPOURY TURBULFNCE OF HEAVEN <ND | + L ( > V E * + P _ / R I T5)/ + RS Y UL >N'S |V HE + V_N INVOLVE THE FACE O 7 T H I N G S . THUS WINTER F A L L S , INV | +LV C> F E # + S |V > I + # 7 . ( > / + S Wl+NTol/R F ( +L Z , A HEAVY GLOOM O P P R E S S I V E O ' F R THE WORLD, > HE + VI GLU/+M >PRF + S IV | 9P. ( > Wa1/ + RLD. THRO NATURE SHEDDING I NF- L UE NC E ( N ) MALIGN, C ) ROT t NF*H-T$tf/R S F + O I X I + NFLU=NS M> LA*+N, . AND ROUSES UP I S ) THF S EE D S OF DARK D I S E A S E , <fO <ND R A = + Z I Z > / + P 5 ( > S I / + D Z |V DA+RK D I Z I / + Z , THE SOUL OF MAN D I E S IN H I M , LO ATHING L I F E , ( > SO* + L |V M<+N C A - + Z IN H IM , L O * + ( I X L A T + F , AND BLACK WITH MORE THAN MELANCHOLY V I E W S . < NO E3L< + K WI) M | + R O N M E + L > N K | L I V Y U / * Z . THE CATTLE DROOP? AND O ' F R THE FURROW'D LAND, ( > K< + T >L D P U / + P? <ND ) 9 P ( > F5'/ + RO * 8 D L < + ND, FRESH FROM THE PLOW, THE CUN D I S C O L O U R ' D F L O C K S , FRE + I F R > /M ( > PLA = + , ( > D > / + N OI S O / + L . D / R 8 D F L | + K S , UNTENDED S P R E A D IN G , CROP THE WHCL F SOME ROOT. > / +NT E +• ND I D S P R E + D I X , KP^I+P ( > H O *+L S> M R U /+ T . ALONG THE WOODS, ALONG THE MOORISH F E N S , >L | +# ( > WU+D7, > L | + « ( > MU=+RT* FE + NZ. S IG H S THF SAD GENIUS OF THE COMING STORM? SA++7. ( > S< + D J T / + NY>S |V <> K > / + M I X 5 T | + R M ? AND U P C 1) AMONG THE LOOSE D I S J O I N T E D C L I F F S . <ND > / 4-P > M > / + A ( > L U / + S O I S J O = + N T I D K L I + F S , + + i 3 8 7 AND F R A C T U R ' D MOUNTAINS W I L D , THE BRAWLING BROCK <ND F P C + K T So i/ RB D M A = + ■ NT IN Z WA » + L D , <> B R | + L I X PRU + K AND CAVE, P R E S A G E F U L , S END A HCLLCW MOAN, 7 0 <ND K E t + V , P R E + S I J F > 1 . , SE fND > H | +1 Q-,: MO* + N» RESOUNDING tONC, IN L I S T E N I N G F A N C Y ' S E A R . R I Z A = + N D I X L | + # IN L . I + S _ N I X F < + F 5 I Z I = + R . T H E N ( l ) COMES THE FATHER OF THE T E M P E S T F O R T H ( 5 > . (E + N K > / + M Z ( > F A + ( 5> / R |V (> T F + M P I S T F | + R ) 5 , WRADT IN BLACK GLOOMS. F I R S T J O Y L E S S R A I N S ORSCURF R< + PT IN BLC + K G L U / + MZ. F O / + RST J C = + L I S RF* +NZ >Q SKYU=+R DRIVE THRO THE M I N G L I N G S K I E S WITH VAPOUR F O U L ; DRA* +V >R0-'+ ( > M I + w G L l X S K I / + 7 W I ) V " ' H P 9 / P FA = + L I DASH ON THE M O U N T A I N ' S BROW, AND SHAKE THE WOODS, D< + $ | N ( > MA = + MT IN 7 O R A = + , <NC T F * + K ( > WU+DZ, THAT GRUMBLING WAVE B E L O W . T H ' U N S I G H T L Y P L A I N ( <T GR > / + MF L I X WE*+V B I L C » + . ( • > / + N S A - ; + T L I P L E - + N L I E S A BROWN D E L U G E ; AS THE LOW—RENT CLOUDS LA K+ 2 > BRA = + N D E + L Y U J ; <7 <> L O1' + F F + NT KLA = t D Z POUR FLOOD CN F L O O D , YET UNEXHAUSTED S T I L L o | + R F L > / + D | N F L > / + D , YET > / + N I G Z | + S T I O S T I + L CO MB IN E , AND D E E P E N I N G I N T O NI GUT SHUT U P ( 5 ) K>MSA* + N, <ND DI / + P _ N I X I + N T U / NA+ + T $ > / + T > / + P F THE D A Y ' S F A I R F A C E . THE WANDERERS OF H E A V E N , SO ( > DEA + Z FE = + R F E Y + S . ( > W | + MC51/F Sl/RZ |V H E + V > N » EACH TO H I S HOME, P E T I P E I SAVF THOSE THAT LOVE I / + T J T U / H I Z HOY+M, K I T A * + 3 / r ; S E * + V ( O ^ Z ( < T L > / + V TO TAKE T H F I R P A S T I M E IN THE TROUBLED A I R , T U / T E * + K <E=R P A + S T A v M IN ( > T P > / + B > L D B = + R , OR SKIMMING F L U T T E R ROUND THE DIM PLY P O O L . | R SKI + MIX F L > / + T a ) / R R A - + N D ( > C I + M P L I n>u/+L. THE CAT TL E FROM TH* U N TA S T FD F I F L D S RET U RN , <> K <+ T >L F R > / M ( • > / + N T F * + S T I D F I / + LDZ P I T 9 / + P N , AND A S K , WITH MEANING LCDW, T H DI P WONTED S T A L L S , <ND A + S K , W I ) M I / + N I X L D ' H , ( E - R W Q v + N T ID S T | + L Z , OR RUMINATE IN THE C O N T IG U O U S S H A D E . | R R U / + MI NE'-T I N (> K>NTT+GYU = S * F * + D . T H IT H E R THF HOUSHCLD FEA TH ER Y P E O P L E CROUD, ) I + ( a / R (> H A = + S H O tLD F F + ( / P I P I / + P > L K R A = + D , THE C R E ST E D C O C K , WITH A l . L ~ H I S FEMALE T R A I N , ( > KRE + S T I D K | + K , W I ) | +L H I Z F I Z + M E ^ L T PE -F + N , P E N S I V E , AND D R I P P I N G ; WHILE THE C O T T A G E - H I N D P E + N S I V , <ND D R I + P I X ; WA^L <> K | + T I J H A > N D HANGS O ' E R T H • E N L I V E N I N G B L A Z E , AND T A L E F U L THERE 10 H < + #7. ) RP ( • I NLA * + V N I X RL.E;l+ Z , <ND T E * + L F U L ( E = R RECOUNTS H I S S I M P L E F R O L I C K I MUCH HE T A L K S , R>KA= +NT S H I Z S I + M P S L F R l + L I K : M > / + T $ H I / T | + K S , AND MUCH HE L A U G H S , NOR RECKS THE STORM THAT P L f W S <ND M > / + T S H I / L A + F S , N | P R E + K S ( > S T | + R M ( < T RLC-1+Z W IT HOU T, AND R A T T L E S ON H I S HUMBLE R O O F . WI)A = + T . <ND R< + T >L Z |N H I Z H > / + MP>L R U / + F . + WIDE O ' E R THE 8 P I M , WITH MANY A TO RRE NT S W E L L ' D , + WAF+D | PR ( > B R I + M , V I ) ME + N_ > T j+ R' Y N T S W E + L 8 D , AND THE M I X ' D P U I N OF I T S BANKS C ' E R S P R E A D , <ND ( > M I + K S 8 T R U / + I N | V I T S B < + # K S ( 9 R S P R E + D , AT LAST THE R O U S ' D - U P R I V E R P O U P S ALONG: <T L A + S T <> R A = + Z 8 D > / + P P I + V o / R P | + R Z > L | + # J R E S I S T L E S S , R O A R I N G , D R E A D F U L , V OWN( 5 ) I T COM ES , R I Z I + S T L I S , R l + R I X , DRF + DFUL , 0 A = + N 5 IT K V + M Z , FROM THE RUDE M O U N T A I N , AND THE MOSSY W I L D , FR >/M ( > R U / + D M A = + N T I N , <ND ( > M | + S I WAY+LD* TUMBLING THRO ROCKS A B R U P T , AND S O U N D IN G F A P ; T > / + MBLI X ) R 0 + + R | + K S > B P > / + P T , <ND SA = + N D IX F A + R ! THEN O ' E R THE SANDED VALLEY T L O A T I N G S P R E A D S , 100 (EN | R R ( > S< + N D ID V < + L 1 F L O . + T I X S P R E + D Z , CALM, S L U G G I S H , S I L E N T ; TILL. AG AIN C O N S T R A I N ' D , KA + M, S L > / + G I S , S A ^ + L > N T ; T I L >C,F* + N K > N S T R E v + NG D , BETWEEN TWO M E E T I N G H I L L S I T B U F S T S A WAY, B I T W I / + N T U / + M I / + T I X H I + L Z IT P » / + R S T S > W E + + , 388 WHERE ROCKS AND WOODS C ' F R H A N G THF TU RBI D STREAM; WE=R R | + K S <ND WU + DZ |9 R H < + t f ( > T S / + R B I D S T R I / + M ; T H E R E (1 ) GATHERING T R I P L E F O R C E . R A P I D , AND D E E P , (E = +R G<+( / R I X T I* I + P > L F | + R S , R< + P I D , <ND D I / + P , IT B O I L S , AND WHEELS, AND FOAMS, AND THUNDERS T H R O ( l ) . I T B O = + L Z , <ND W I / + L Z , <ND F O * + M Z , <ND )>/+NDS)/r<7 ) R U / + . + NATURE GREAT PARENT WHOSr UNCEASING HAND + NE * + T fil/R% G P E t +T PE=+R>NT5£ H U / 7 > / + N S I / + S I X H < + ND ROLLS ROUND THE SEASONS OF THE CHANGEFUL YEAR, R O ^ F L Z RA=+ND <> S I / + Z > N Z |V ( > T $ E » + N J F U L Y S / + P , HOW MIGHTY, HOW M A J E S T I C , ARE THY WORKS HA- M A '* + T I , HA= M > J E F S T IK , AR ( A 1 WS5/+PKSX WITH WHAT A P L E A S I N G DREAD THEY SWELL THF SOUL WI ) W | T > P L I / + Z I X DRE + D ( E '• SWF+L ( > S O ; +L% THAT S E E S A S T O N I S H ' D AND A S T O N I S H ' D S I N G S HO ( <T S I / + Z >ST | +N I !f.8T% < ND > S T | + N I $ S T S1+#Z% YE TOO, YF W I N D S ( N ) THAT NOW PEG IN TO BLOW, V I / T U / + , Y I / WI+ NDZ ” '!: ( <T NA=+ P I G T F N T U / B L O i F , WITH B O I S T E R O U S S W E E P , I R A I S E MY VOTCF TO YOU. WI I DO = + S T _ / P > S S W I / + P , A),' R F ^ + 7 MA* VO= + S T U / Y U / . WHERE( 1 ) ARE YOUR S T O R E S . YE POWERFUL P E I N G S SAY, WE = + R AR Y | R S T l + R Z , V I / PA = + 5 ) / F F _ L H I / + I X Z % SE- + . WHERE( 1 ) YCUR A E R I A L MAGAZINES R c S F P V ' D , C WE = + R Y | R E = + RI=L. M < + G > 7 I / N Z F IZ51/ + RV 8 D , TO SWELL THE BROODING TERRORS OF THE STORM? T U / SWE+L ( > B R U / + D I X TE = +PS)/RZ |V ( > S T | + R M ? IN WHAT F A R - D I S T A N T REGION OF THE SKY, IN W|T F A + R D I S T > N T R I / + J > N |V ( > S K A « + , HU SH 'D IN I'P-FP S I L E N C E , S L E E P YOU WHFN T I S ( ? ) CALM? H> / + I 8 T IN D I / + P SA-V + l > N S , S L I / + P YU / WFN 9 T I Z KA + M? + WHEN FROM THE P A L I D SKY THE SUN DE SC EN D S. + WEN F R > / M (> P< + L ID SK A * + (> S > / + N D I S E + NDZ, WITH MANY A S P O T , THAT O ' E F H I S GL AP IN G ORB WI) ME + N_ > S P | + T , < <T | 9 R H I Z G L E = + R I X | + P B ^ UNCERTAIN WANDERS, STAI N'D* , RED F I E R Y STREAKS 1 a o > / + N S » / + R T > N W | + N D 8 / R Z , STL*+N{?D; RE+D FA* + / R I S T R I / + K S BEGIN TO FLUSH AROUND. THE REEL.ING CLOUDS ~ B I G I + N T U / F L > / + $ > R A = + N D . ( > R I / + L I X KLA=+D7 STAGGER WITH D I Z Z Y P O I S E , AS DOUBTING YET ST< + G5)/R WI) D I + Z I P O = + Z , <Z DA = + T I X YET WHICH MASTER TO OBEY: WHILE R I S I N G SLOW, WIT $ MA+STffi/R T U / 0 * P F * + : WA*L FA*-+7.IX S L O * + , BLANK. IN THE L E A D E N - C O L O U P *D E A S T , THE MOON BL< + # K , IN ( > L E + D > N K > /+ L a ) /R f .D I / + S T , {> MU/+N WEARS A WAN C I R C L E ROUND HFP BLLINTFD HORNS. A'E = + RZ > W | + N SS1/ + RK>L RA = + ND H P / R B L > / +NT ID H | + R N Z . SEEN THRO THE TURB ID FLUCTU AT ING A I R , S I / + N ) PD > + (> T 3 / +PB ID F L > / + K T Y U / F * T I X E = + R . THE STARS OBTUSE EMIT A S H I V E P I N G RAY; ( > S T A + 9 7 > B T U / + S I M I + T > $ I + V _ / R I X PF* + ; OR FREGUENT SEEM TO SHCOT ATHWART THE GLOOM. | R F R I / + K W F N T S I / + M T U / S U / + T > ) v | + R T (> GLLf/FM, AND LONG BEHIND THEM T R A I L THE WHITENING B L A 7 E . <ND L|+<Y BIHA*' FND (EM T P F * + L ( > W AJ- + T_N I X BL E ^ + Z . SNA TCH 'D IN SHORT E D D I E S , PLAYS THE W I T H E R ' D L E A F ; I3& SN< +T * 8 T IN T | + R T E F D I Z , P L F » + Z ( > Wl+(ffl/RPD L I / + F ; AND ON THF FLOOD THE DANCING FEATHER F L O A T S . <ND | N ( > F L > / F D ( > D< + N S I X F E + ( a < /R PLC'-' + T S . WITH BR OAD EN 'D N O S T R I L S TO THE SKY U P T U R N ' D , C WI) RP.|+D>Ni?P N / + S T P I L Z T U / (> SKA--- + > / +PT (0/ + P N 8 D , THE CONSC IOUS H E I F E R S N U F - 5 THE STORMY G A LE . ( > K | + N $> S H E + F 3 / R S N > / + FS ( > S T | + R M I GF +L . EVEN AS THE MATRON, AT HER NIGHTLY TA SK, I / + V > N <Z ( _ ME'i' + TR>N « <T Ho>/R N A * + T L I T A + S K , WITH P E N S I V E LABOUR DRAWS THE FLAXEN THREAD. WI) PE + N SI V LE*-+Ba>/R D R | + Z ( > FL< + KS>N I R t + D , i 389 THE WAS TFD TAPER AN I" THE C R A C K L I N G FLAME ( > WE-r + S T I D T E ' + P S / o <MD ( > K R < + K L I X F L E “ +M F O R E T E L THE B L A S T . BUT C H I E F THE PLUMY R A C F . F | R T E + L ( > B L A + S T . B > / T T S I / + F (> P L U / + M I P E * + S , THE TENANTS □ F THE S K Y . I T S CHANGES S P E A K . <> T F + N > N T S |V ( > S K A n , I T S T 3 F * + N J I Z S P I / + K . R E T I R I N G FRfJM T H F DOWNS. WHERE ALL DAY LONG P I T A * + / R I X F R > / M ( > DA = + N 7 . WE=P | +L DE* + L | + A C , THEY P I C K ' D T H F I R SCANTY FAR F . A BL A C K E N IN G T R A I N H O <E>= P I + K R T ( E = R SK< +NT I F E = + P , > R L < + K _ N I X T RE» + N OF CLAMOROUS ROOKS THICK-URGE. T H F I R WEARY F L I G H T . |V KL<+M / R > S RU + KS I H - K o l / R J ( F = R WI = + P I F L A * + T . AND S E F K ~ T H E C L O S I N G SHE L T E R THE GRO VE . <ND S T / + K ( > KLO’ + Z I X $ E + L T a / R |V <> G R O = + V . A S S I D U O U S , IN H I S BOWER, THE W A I L I N G OWL > S I + D Y U = S . IN H I Z R A — + / R . ( > WE * +L I X A = +L P L I E S H I S SAD SON G. THE CORMORANT ON HIGH P L A * + 7 H I Z S< + D S | + * . ( > K | +FMffl/R>NT |N HA> + WHEELS FROM THE D E E P , AND SCREAMS ALONG THF L A ND . W I / + LZ F R > / M ( > D I / + P , <ND SKRI/-AMZ > L | + # ( > L < + N D . LOUD S H R I E K S THE S O A P I N G HERN! AND WITH WILD WING LA = +D J R I / + K S ( > S | + R I X H a / + R N I < ND W I ) WAf+LD Wl + tf THE C I R C L I N G S E A - F O W L CLE AV E THF FLAKY C L O U D S . ( > Sffl/ + RK_L I X S I / +FA = l. K L I / + V ( > F L E * + K I K L A = + D Z . OCEAN, UNF.GUAL P R E S S ' D , WITH RROKEN T I D E 0 * + $ > N , > / + N I / + K W > L O R E + S B T , W I ) ' BR O*- + K> N TA + +D AND B L I N D COMMOTION HEAVES*. WHILE FROM THE S H O R E . <ND BLA*+ND K>MO^ + T>N H I / + V Z ; WA- L FR > / M ( > l | + R , EAT IN T O CAVERNS BY THE R E S T L E S S WAVE, I / + T I + N T U / K<+Va»/RNZ BA» (> R E + S T L I S WE + + V , AND F O R E S T - R U S T L I N G MO U N T A I N , COMES A V O I C E . <ND F | + R I S T P > / S L I X MA=+NITIN, K > / + M Z > V O = + S , THAT S O L E M N - S O U N D I N G B I D S THE WORLD P R E P A R E . ( <T S | + L > M S A = + N D I X B I+D Z C> W 3 / + R L D P P I P F = + F . THEN I S S U E S F O P T H ( S ) THE STORM WITH SUDDEN B U R S T , ( E N I + S Y U / Z F | + p ) 5 ( > S T | + R M W I ) S > / + D > N P ff i/+ RS T , AND HURLS THE WHOLE P R E C I P I T A T E D A I R , < ND H D / + R L Z ( > HO *+ L PR I S I + P I T E * T ID E = + R . D 0 W N < 5 ) , IN A T O R R E N T . ON THE P A S S I V E MAIN DA = + N 5 , IN > T I + P > N T . | N ( > P > + S I V ME*+N D E SC EN D S T H 1 ETHER IAL F O R C E , AND WI TH STRONG GUST D I S E + N D Z ( 9 1 ) I = + R I =L F | + R S . <ND WI) S T R | + / c G > / + ST TURNS FROM I T S BOTTOM THE D I S C O L O U R ' D D E E P . TSJ/ + RNZ F R > / M I T S B | + T > M ( > 01 S K > / + L f f i / P 8 D D I / + P . THRO* THE BLACK N IG H T THAT S I T S IMMENSE AROUND, ) R O * + ' (> BL<+K NA «+ T < <T S I + T S I M F + N S > R A = + N D , L A S H ' D INTO FOAM, THE F I E R C E C O N F L I C T I N G B R I N E L < + $ 8 T I + N T U / F O » + M , ( > F I = + F S K > NF L I + K T I X RP A+ +N SEEMS O ' E R A THOUSAND RAG ING WAVES TO BU RN; I pO S I / + MZ | 9R > ) A = + S > N D R E - + J 1 X WE^+ VZ T U / B S / + P N ; MEANTIME THE M O U N T A I N - B I L L O W S • TC THE CLOUDS M 1 /+ N T A * M ( > M A = + N T I N B I L O ^ Z , T U / (> K L A = + D 7 IN DREADFUL TUMULT S W E L L ' D . SURGE ABOVE S U R G E . IN DRE + DFUL T Y U / + M > /L T S W E + L B D . S 3 / + R J > B > / + V S ® / + P J , BURST INTO CHAOS WITH TREMENDOUS ROAR, B i V + R S T I + N T J / K E » + > S W I ) T « I M E + M D > S R | + R , AND AN CH OR 'D N A V I E S FROM T H E I R S T A T I O N S D R I V E , <NO <+ # K 3 / R 8 D N E ^ + V I / Z FR > / M ( E = R S TFA + $>N Z D F A » + V . WILD AS THE W I N D S ( N ) ACROSS THE HOWLING WASTE WA*+LD <Z ( > WI+NDZ > K R | + S ( > H A = + L I X W E *+ S T OF MIGHTY WATERS; NOW TH* I N F L A T E D WAVE | V MA++TI W | + T 5 ) / R Z : NA = + ( • I N F L F + + T I D WF»+V S T R A I N I N G THEY S C A L E , AND NOW I M PE T U O US SHCCT STR E* +NI X ( E F S K E + + L , < ND NA = + I M P E + T Y U = S I U / + T I NTO THE SEC RE T CHAMBERS OF THE D E E P . I + N T U / ( > S I / + K R I T T $ E v +MBS)/RZ |V C> D I / + P , THE WINTRY BALT ICK TH UN D E RI N G O ' E R T H E I R HEAD. ( > W I + N T 9 R I B l + L T I K > > / + N O / R I X | 9 R ( E=R H E + D . 390 EMERGING THENCE AGAIN* BEFORE THE BREATH t7<> I M 3 / + H J I X ( E + N S > G F * + M i B I F | + R ( > BRE + ) OF F U L L - E X E R T E D HEAVEN THEY WING T H E I R COURSE* | V FU+L I G Z 3 / + P T I D HE + V N ( E * W I + tt ( F = R K | +RS* AND DART ON D I S T A N T C O A S T S ; IF SOME SHARP ROCK. <ND DA + RT |N 0 I + 5 T > N T KG'- + S T S I I F S > / + M SA+R P R | + K , OR SHOAL I N S I D I O U S BREAK NOT T H E I R CAREE R, | R $0>" + L I NSI +[) I =S BR E<+ K N | + T (E = R K > R I = + R , AND IN LOOSE FRAGMENTS F L I N G THEM F LO A T IN G ROUND. <ND IN L U / + S F R<+ GM >NT S F L I + # (EM F L O + + T I X P A = + N D . NOR L E S S AT LAND THF LOOSEN*D TEMPE ST R E I G N S . N | R L E + S <T L < + ND ( > L U / + S > N 8 D T E + M P I S T R E + + N Z . THE MOUNTAIN T H U N D E RS ; AND I T S STURDY SONS ( > M A = + N T I N ) > / + N D 3 / P Z i <ND I T S S T 3 / + P.DI S > / + N Z STOOP TO THE BOTTCM O^ THE ROCKS THEY S H A D E . S T U / + P T U / (> P | + T>M |V ( > R | + KS ( E * $ L * + D . LONE ON THE M I D N I G H T S T E E P , AND ALL AGHAST. LO* + N | N (> M I + D N A *T S T I / + P , < ND l + L >GA + S T « THE DARK WAY-FARING STRANGER BR EAT HL ESS T O I L S , (> DA+RK W E * + F E = R I X S T R F + N J S)/ R P R E + 1 L I S T O = + L Z , AND, OFTEN F A L L I N G , C L I M B S AG AINST THE B L A S T . 186 <ND * | + cr>N F | + L I X , KLA*+M7. >GF.*+NST ( > 8 L A + S T . LOW WAVES THE ROOTED F O R F S T , V E X ' C , AND SHEDS L O * + W E ■ '' + V Z ( > R U / + T I D F | + R I S T , V E + K S 8 T * <ND SE + DZ WHAT OF I T S T A R N I S H ' D HONOURS YET R E M A IN ; W | T |V I T S TA + R N I T S T I + N 3 / R 7 YFT R I M E + + N ; DASH* D D O W N ( 5 ) , AND S C A T T E R ' D , RY THE TE A R I N G ( 2 ) W I N D ' S D<+ $8T D A = + N 5 , <ND SK< + T ©/ P 8 D , BAX ( > T E = + R I X WI+NDZ A SS ID U O U S F UR Y, I T S G I G A N T I C L I M P S . > S I + D Y U = S F YU= + RI * I T S J A ^ G < + N T I K L I + M Z . THUS S T R U GG L IN G T H R O ' THE D I S S I P A T E D GROVE, ( > / + S S T R > / + G L I X ) f '0* + ' <> D I + S IPE+-TID GR O = + V. THE WHIRLING T E M P E S T RAVES ALONG THE P L A I N ? <> W 3 / + R L I X TE + M P I S T RE-'+VZ > L | + « ( > P L E ^ + N ; AND ON THE COTTAGE T H A T C H ' D . OR LORDLY RO O F , <ND |N ( > K | + T I J ( < + T $ 8 T , |R L | + P D L l R U / + F , K E E N - F A S T E N I N G , SHAKES THEM TO THE S O L I D B A S E . K I / + N F < + S>N X, S E v + K S (EM T U / ( > S | + l . I O B E * + S . S L E E P F R I G H T E D F L I E S ! AND ROUND THE ROCKING DOME. S L I / + P FRAX- + T I D F L A v + z ; <ND RA=+ND ( > R I +K I X DO *+M, FOR ENTRANCE EA GE R , HOWLS THF SAVAGE B L A S T . HO F | R E + NT R>NS I / + G 3 / R , H A =L Z ( > S < + V I J BLA + S T . THEN TOO* THEY S A Y , THRO ALL THE B U P T H F N • D A I R , ( E N T U / + , <E« SE + + , ) R O ^ + | + L <> B 3 / + R O N 8 D E = + R , LONG GROANS ARE HEARD, S H R I L L S O U N D S , AND D I S T A N T S I G H S . L | + # GHOa + MZ AR H 3 / + R D , I P I + L S A = + N D Z , <ND D I + S T > N T SA^+Z, THAT, U T T E R ' D BY THE DEMON OF THE N I G H T , ( < T , > / + T 3 / R 8 D RA* ( > D I / + M > N |V (> N A » + T , WARN THE DEVOTED WRETCH OF WOE AND DE ATH . W|+RN ( > D I V O K + T I D R E + T I |V WO'H <ND D E + ) . + HUGE UPROAR LORDS IT W I D E . THE CLOUDS C O M M IX 'D I- H Y U / + J > / + PR | R L | +RDZ I T WA*+D. <> KL A= + DZ K > M I + K S 8 T WITH STAR S S W I F T - G L I D I N G SWEFP ALONG THE S K Y . WI> S T A + P Z S W I + F T G L A + + O I X S W I / + P >L | + W ( > S K A + + . ALL NATURE R E E L S . T I L L N A T U R E ' S K I N G , WHO OFT | + L N S ' + T i a / P R I / + L Z . T I L NE* +T $5)/RZ KI + # , H U / | + F T 9 AMID TE MPESTUOUS DARKNESS DWELLS ALONE, >MI+D TEMPE + ST YU= S D A +R K NI S DWK + LZ > L O + N, AND ON THE WINGS OF THE CA R E E R IN G W l N D ( N ) <ND | N (> Wl+ffZ | V ( > O P 1= +P IX WT + ND - „ WALKS DREADFULLY S E R E N E , COMMANDS A CALM; XOD W |+ K S DRE + D F U L I S I R I / + N , K>MA +NDZ > KA + M? THEN S TR A IG H T A I R SEA AND EARTH ARE H U S H ' D AT O N C E . ( E N S T R E * + T E = + R S I / + <ND 6V + R ) AR H > / + * 8 T <T W > / + N 5 . + AS Y E T ( 1 ) T I S ( 2 > MI D NI G HT D E E P . THE WEARY C L O U D S , + <Z YE + T 9 T I Z MI+ONA «T D I / + P . ( > W I = + R I K L A = + D Z . S L O W - M E E T I N G . MINGLE INTO S O L I D GLOOM. ......... S L D + + M I / + T I X , M I + # G > L I + N T U / S | + L I D G L U / + M . 391 NOW, WHILE THE DROWSY WORLD L I E S LOST IN S L E E P , NA = 4 , WA*L <> D R A = 4- Z I Wa/4-PLD LA »+ Z L | + S T IN S L I / + P , LET ME A S S O C I A T E ! V ) WITH THE S E R I O U S N I G H T , LET M I / >SC *- + S _ / E * T WI) ( > S I = + R I = S NA*4-T» AND CONTEMPLATION HEP SEDATE COMPEER; <ND K | N TEMPLE 4 4 T,> N H S/ R S I D E » + T k |MPI = + r ; LET ME SHAKE 0 F E ( 1 ) TH' INT R US IV F CARES OF DAY, LET M I / * E * + K | +F ( • I N T R U / + SIV KE= + RZ |V DE*4-, AND LAY THE MEDDLING S EN S E S ALL A S I D E , <ND LE * + (> ME+DLIX SE + N S I 7 | + L > S A ’-4-D. 4- WHERE NOW, YE LY ING V A N I T I E S OF L I F E 4- WE = R NA=+» Y I / LA“ 4 I X V < + N I T I Z | v LA*4-F2 YE F VER-TEMPT I NG F V F R - C H E A T I NG TF AIN 2-10 Y I / E4-V51/RTE4MPTI X E + V5*/RT$ I/4-T I X TRFT4-NX WHERE ARE YOU NOW? AND WHAT IS YOUR AMOUNT? WE-R AR YU/ NA=+? <ND W| T IZ Y | P >MA=4-NT? VEXATION, D I S A P P O I N T M E N T , AND FEMORSE. VFKSE'*:4-$>N, DI S>PO = 4-NTM>NT, <ND P I M | + r s . SAD, S I C K E N I N G THOUGHT AND YET DELUDED MAN, S<4-D , S I + K _ N I X )|4-T% <ND YET D I L U / + DIO MK4-N, A SCENE OF CRUDE D I S J O I N T E D V I S I O N S P A S T , > S I / + N |V K R U /4 D D I S JO = + NT I D V I 4 - O N Z PA4-ST, AND BROKFN SLUMB ERS . R I S E S S T I L L R E S O L V ' D , <ND BRO-r+K>N SL>/4-MBa>/RZ, RA*4-ZIZ STI4-L P l S | + L V 8 D , WITH NEW-FLUSH*D HO PE S, TO RUN THE GJDDY POUND, WI) N U / + FL>Z4-S0T H O ' + P S , T U / R> / + N <> GI4-CT RA = 4-ND. 4- FATHER OF L IG H T AND L I F E THOU GOOD SUPREME + FA+ ( <fi/R |V LAT4-T <ND LA«4-F% (A= GU4-D S Y U / P P I / + M % O TEACH ME WHAT I S GOOD TEACH ME THYSELF 0*4- T I / + T* M I / W | T IZ GU4-D% T I / 4 - T S M I / <A*SE4-LF% SAVE ME FROM FOL L Y , V A NI T Y , AND V I C E , SE * 4- V M I / F R > / M F | 4- L I , V<4-NITI» <ND V A ^ 4 S , FROM EVERY LOW P U R S U I T AND FEED MY SOUL ^ 2 0 F P > / M E+VRI LOv+ P o) / R SU / 4- T % <ND F I / + D MA* S0*4-L WITH KNOWLEDGE, CO NSC IOU S PEA C E, AND V IR T U E P U R E , WI) N l + L I J . K | 4 H T > S P I / + S . <ND V S / + R T Y U / PYU=4-R, SACRED, S U B S T A N T I A L , N E V E R -F A DI N G 8 L I S S SE i« + KR ID , S > / B S T < 4 - S > L , N E 4 V 2 / R F E * 4-D I X B L I 4 S % 4- THE KEENER T EM PES TS COME: AND FUMING DUN 4- (> KI/4-Nffl/R TE4-MPI S T S K > / + M : <ND FYU/4-MIX D>/4-N FROM ALL THE L I V I D E A S T , OR P I E R C I N G NORTH, F R> /M i+L ( > L I + V I D I / 4 - S T , | c P I = + R S I X N | 4 - R ) , THICK CLOUDS ASCEND ; IN WHOSE CAPACIOUS WOMB ) I 4-K KL A = 4-DZ >SF + ND; IN H U/Z K>PE*=4-$>S WU/+M A VAPOURY DELUGE L I E S , TO SNOW C O N G E A L ' D , ................. > VEY + P / R 1 3E4-LYUJ LA+4-Z, TU/ SNO*'+ K > N J I / 4 L 8 D , HEAVY THEY RGLL T H E I R FLEECY WORLD ALONG! HE 4-v I ( E'*1 P0F4-L ( E = R F L I / 4 - S I Wffl/4-PLD > L | + # ; AND THE SKY SADDENS WITH THE GATHER'D STORM. <ND ( > SKA + 4- S < 4 D I N Z WI ) ( > G < + ( S / R 8 D ST|4-RM. THRO THE HU SH 'D A I R THE WHITENING SHOWFR DESCENDS, ) RO 4 4- (> H>/'4-SBT E=4-R (> WA*= + T N IX $A= + _/( 7 D I S E 4 - N C Z , rt AT F I R S T T H IN - W A V E R IN G ; T I L L AT LAST THE FLAKES 230 <T Fa*/4-RST ) I +NWE+ + Va)/R_X ! T IL <T LA + ST ( > F L E C K S FALL BROAD, AND W I D E , AND F A S T , DIMMING THE DAY F J 4-L R R | + D , <ND WA*4-D, <ND FA4-ST, D I + M I X ( > DEY4- WITH A CONTINUAL FLOW. THE C H E R I S H ' D F I E L D S WI) > K>NT I 4-NYU=L FL0 *4 -. ( > T*E = 4-R I * 8 T F I / + LDZ PUT ON THEIR WINTEB —ROBE, OF PUREST WH IT E . PU4-T | N (E = R W I+ N T S/ R R O + B , |V PYU=4-RIST WA*4T. T I S ( 2 > BRIGHTNESS A L L ; SAVF WHEFF THE NEW SNOW MELTS, 9 T i z r r a t + t n i s | + l ; S E * 4 V WE=R ( > N U / 4 SNO^+ M E 4 L T S . ALONG THE MAZY CURRENT. LOW, THE WOODS >L|4-tf <> ME*4Z I K a / + R > N T . LD*4-, ( > WUtDZ BOW THEIR HOAR HEAD; AND. ERE THE LANGUID SUN BA=+ <E = R H | 4 - R H c + O ; < N D , E = P {> L< + #GWID S>/4-N FAINT FROM THE WEST EMI TS H IS EVENING—P A Y , FE + 4-NT FR > /M (> WE4-ST IMI4-TS H I Z I/4-VNI XRE* , 392 E A R T H ' S UN IVERSAL F A C E . D E E P - H I D , AND C H I L L , S)/ + R ) S YUNI VS>/ + RS>L F F ^ + S , D I / + PH I D , <ND T S I + L , I S ONE WILD D A Z Z L I N G WASTE, THAT C U R I E S WIDE I Z W> / + N WA>+LD D< + ZL IX WE’ -I-ST, ( <T O E + R I Z WA + +D THE WORKS OF MAN. D R O O P I N G , THE L A BO U RER —OX MD ( > WM/ + RKS |V M< + N. D R U / + P I X , (> L E « + B _ / R S ) / R | KS STANDS C O V E R ' D T E R WITH SNOW, AND THEN DEMANDS STK+NDZ K > / + V 3fi / P 8 D | 9 P WT) S N O * + , <MD (EN DIMA+NDZ THE F R U I T OF ALL H I S T O I L . THE FOWLS OF HEAVEN, ( > F R U / + T |V | + L HIZ T O “ + L • ( > F A = + L Z |V H E + V > N , TAM'D BY THE CRUEL S E A S O N , CROUD AROUND C TE<+MBD BA* (> KRU=+L S I / + Z > N , KRA=+D >RA=+ND THE WINNOWING STOR E, AND CLAIM THE L I T T L E BOON ( > V»I+N_±IX S T | + R , <ND KLE-:+M ( > L I + T > L B U / + N WHICH P ROV ID ENC E A S S I G N S TH EM . ONE ALONE, WTT.T. PR | + V I D > N S >SA* *MZ ( E M . W>/+N >LO*-+N, THE R F D - B R E A S T , SACRED TO THE HOUSEHOLD GODS, ( > R E + D B R E S T , S F T + K R I D T U / ( > HA=+ SH O*L D G | + D Z . WISELY REGARDFUL OF T H • E M RR O IL IN G S K Y , • W A *' + Z L I RIGA + PDF >L |V ( 9 E M B P D = + L I X S K A + + , IN J O Y L E S S F I E L D S , AND THORNY T H I C K E T S , LEAVES IN J O = + L I 5 F I / + L D Z . <ND ) I + P M 1 I + K I T S , L I / + V Z H I S S H I V E R I N G MATES, AND PAYS TO TRUSTED MAN HIZ $ I + V _ / R I X M=*- + T S , <ND P c » + Z T U / T R > / + S T I D M<+N H I S ANNUAL V I S I T . H A L F - A F R A I D , HE F I R S T -*S'D H I Z <+NYU=L V I + Z I T . H A + F > F P E * +Di H I / Fo)/ + RST AGAINST THE WINDOW B E A T S ; T H E N . B R I S K , . A L I G H T S >G E,:' + NS T ( > Wl+NDOv B I / + TS? ( E N , B R I + S K , > L A * + T S ON THF WARM HEARTH; TH EN, H O P P IN G O ' E R THE F L O O R . |N (> W|+RM H A + R ) ; ( E N , H j + P T X | 9 P ( > F L | + f f i / R , EYES ALL THE S M I L I N G FAMILY ASKANCE. A* + Z | +L ( > S MA“ +LI X FK + M IL I > S K < + N S , AND P E C K S , AND S T A R T S , AND WONDERS WHERE HE I S : <ND P E + K S , <ND S T A + R T S . < ND W > / + N D 3 / R Z WE = R H I / I Z : T I L L MORE F A M I L I A R GROWN, THE T A EL E -C R UM B S T I L M | + R F > M I + L Y S / R G P O * + N , ( > T F * + B > L K R > / M Z ATTRACT H I S SLENDER F E E T . THE FO O D L E SS WILDS >TR< + KT HIZ S LE + NDfi)/P c I / + T . ( > F U / + D L I S W A t f L P Z POUR F O R T H ( 5 ) THEIR BROWN I N H A B I T A N T S . THE HA RE. P ) + R F | + R ) 5 ( E = R BRA = +N I N H < + B I T > N T S . (> HE* + R, THO TIMOROUS OF HE AR T . AND HARD B E S E T ( 0 * T I + M3)/R>S |V HA + R T , <ND HA + RD B I S E + T BY DEATH IN VARIOUS F O R M S. DARK S N A R E S , AND D O GS , BA* D E + ) IN V E = + R I = S F | + R M 7 » DA+RK S N E = + R Z , <ND D | + G 7 , AND MORE U N P I T Y I N G MEN, THE GARDEN S E E K S . 2fco <ND M | + R > / + N P I + T _ I X ME+N, ( > GA+RD>N S I / + K S , U R G ' D O N ( 5 ) BY F E A R L E S S WANT. THE B L E A T I N G KIND S J/ + RJ 8D | + N 5 BA * F I = + R L I S w j + N T . ( > B L I / + T I X KAT + NC EYE THE BLEAK HEAVEN. AND NEXT THE G L I S T E N I N G EA RT H , AY+ ( > B L I / + K HE + V N, < ND NE + KTS ( > G L I + S _ N I X a) / + R ) , w i t h l o o k s o f d u m b “ d e s p a i r ; T H F N , S A D - D I S P E R S * D . WI) LU + KS |V D> / F M D I S P E = + R ; ( E N , S < + D D l S P o l / + P S 5 T , D I G FOR THE W I T H E R ' D HERB T H PD HFAPS OF SNOW. D I + G F | R ( > WI + (o)/RSD H S) / + F B ) P 0 * + H I / + P S | V S N C ^ + . + NOW, S H E P H E R D S . TO YOUR H E L P L E S S CHARGE BE K I N D , + NA = + , *E + PS )/ RD Z . T U / Y | R H L + L P L I S T &A +R J B I / KAX+ND, BAFFLE THE RAGING YE AR, AND F I L L T H F I R P E N S B< + F>L (> R F 5 * + J IX Y6Q/+R. <ND F I + L ( E = R PE + NZ WITH FOOD AT WILL? LODGE THEM BFLDW THE STORM, WII F U / + D <T W I L ; L | + J (FM B I L D * + ( > S T | + R M , AND WATCH THEM S T R I C T : FOR FROM THE BELLOWING F A S T , <NQ W | + T * (FM S T R I + K T : F | R F P > / M ( > B F + L _ * I X I / + S T , IN T H I S D I P L SEA SO N , OFT THE W H I R L W I N D 'S WING IN ( I S O A * + _ / R S I / + Z > N , ( + F T 9 ( > Wa>/+ PL W I ND Z WI + * SWEEPS UP THE BURTHEN OF WHOLE WINTRY P L A I N S +■IO S W I / + P S > / P ( > B a / t R O N |V HC'*+L W 1 + N T 9 R I PLE + +NZ 393 IN ONE WIDE W A F T . AND O ' E R THE H A P L E S S F L O C K S . IN W> / + N WA*+D W A + F T , < ND | 9P ( > H < + P L I S F L | + K S » HID IN THF HOLLOW OF TWO N E I G H B O R I N G H I L L S , H I + D I N ( > H | + L O + |V T U / + N E " + R _ / R I X H I + L Z , THE RIL LOW Y T E M P E S T WHFLMSS T I L L , UPWARD U R G ' D , t > B I fL__i I TE + M P I S T WE+LMZ! T I L . > / + P W 3 / R 0 5 1 / + R J 8 D , THF VALLEY TO A S H I N I N G MOUNTAIN S W E L L S . ( > V< + L I T U / > $A* t N I Y MA = + NT I N EWE + L Z , T I P T WITH A WREATH, H I G H - C U d I N G IN THF S K Y . T I + P T WI) > R I / + ) , H A r + K 3 / + R L I X IN <> S K A V + . + AS THUS THE SNOWS A R I S E ! AND F C U I , AND F I E R C E , + <Z < > / + S ( > SNO-f + Z > R A ' + Z ! <ND FA = +L , <ND F T = + R S . ALL WI N T E R D R I V E S ALONG THE D A R K E N ' D A I R ! | + L W I + N T 3 / R DRA^ + VZ > L | + W ( > DA+ RK > N 8 0 E = + P ! IN H I S OWN L O O S E - R E V O L V I N G F I E L D S , THE SW AIN IN H I Z Q++N L U / + S R I V | + LV I X F I / + L D Z , ( > SWE++N D I S A S T F R ' D S T A N D S ! S E E S OTHER H I L L S A S C E ND , D I Z A + 3 T 3 / P 8 D S T < + N O Z 5 S I / + Z > / + < ? / R H I + L Z > S E + N D , OF UNKNOWN J O Y L E S S RROW; AND OTHER S C E N E S , 2 W |V > / + NNO-’ +N J 0 = + L. I S BRA = + ; <NC > / + ( 3 / R S I / + N Z , OF HORRID P R O S P E C T , SHAG THE T R A C K L E S S P L A I N : |V H | + R I D P R l + S P E K T , <£<: + G ( > TP < + KL I S p l e « + n : NOR F I N D S THE P I V E W , NOR THE F O R F S T , HID N | R F A + + N D Z ( > R I + V o D / R , N | R {> F | + R I S T , H I + D BENEATH THE FOPMLF.SS W I L D ; BUT WANDEPS 0 N { 5 ) O I N I / + ) ( > F | +RML I S WA»-+LO; B > / T W | + N D 3 / R Z | + N 5 FROM H I L L TO D A L E . S T I L L MOPE ANC MORE ASTR AY! F R > / M H I + L T U / D E * + L » S T I + L M | + R <ND M | + R > S T R E * + ; I M P A T I E N T F L O U N C I N G THRO THE D R I F T E D H E A P S , IMPE-F+ $ > N T FLA = + N S I X )RCH'+ {> D R I + F T I D H I / + P S , STUNG WITH THE THOUGHTS OF HOME! THE THOUGHTS OF HOME S T > / + « WI ) (> ) | + TS |V HO + + M; {> ) J + T S | V HO'* +M RUSH ON H I S N E R V E S , AND CALL T H F I R V IG O U R F O R T H ( S ) R > / + * | N H I Z N S ' / + R V Z , <ND K | +L ( E - R V I + G 3 / R ^ | + P ) 5 I N MANY A VAIN A T T E M P T . HDW S I N K S H I S SOUL IN ME + N _ > V = * + N > T E + M P T . HA= S I + W K S H I Z S Q * + L % WHAT BLACK D E S P A I R , WHAT HORROR F I L L S H I S HEART V f | T BL < + K D I S P E = + R , W| T H | + R S / R F I + L Z H I Z HA + PT9C WHEN{ 1 ) FOR THE DUSKY S P O T . WHICH FANCY F E I G N ' D 3WD WF + N F | R ( > D > / + S K I S P | + T , W I T * F < + N S I ^ E * + N 8 D H I S T U F T E D CO TT A GE R I S I N G THRO THE SNOW, H I Z T > / + cr T I D K | +T I J R A » +Z I X ) R 0 * + ( > SNO’k+ , HE MEETS THE R O U G H N E S S OF THE MIDDLE WASTE, H I / M I / + T S C> R V + F N I S |V ( > M I + D > L W E + + S T , FAR FROM THE T R A C K , AND B L E S T ABODE OF MAN! F A + R F R > / M ( > T R < + K , <ND B L E + S T > B O + + D |V M<+N! WHILE R O U N D ! 1 ) H IM N I G H T R E S I S T L E S S C L O S E S F A S T . WA*L RA = + N D HIM N A ' + T R I Z I + S T L I S K L O * + Z I Z F A + S T , AND EVERY T E M P E S T . HO WLING O ' E R H I S HEAD, <ND E + V R I T E + M P I S T , H A = + L I X | 9 R - H I Z H F + D , RE N D E RS THE SAVAGE W I L D E R N E S S MOPE W I L D . R F + N D 3 / R Z ( > S < + V I J W I + L D S / R N I S M | + R WA++LD. THEN THRONG THE BUSY S H A P E S I N T O H I S M I N D , ( F N ) R | + W ( > B I + Z I S F * + P S I + N T U / H I Z MA * + N D , OF C O V E R ' D P I T S . UNFATHOMABLY D F F P , |V K > / + V © / R 8 D P I + T S , > / + N F < + ( > M > BL I D I / + P , A D I R E DE SCENT BEYOND THE POWER OF F R O S T , > DA’* + _ / R D I SE + NT % R I Y | + N D ( > P A = + / R |V F R | + S T , .,,n o f f a i t h l e s s b o g s ; o f p r e c i p i c e s h u g e , |V FE * + ) L I S 3 | + G Z ! |V P P F + S I P T S I Z H Y U / + J , SMOOTH'D U P ( 5 > W I T H SNOW! A N D ( 1 ) , WHAT I S LAND UNKNOWN, S MU / + I 8 D > / + P 5 WI ) S N O + + ! < + N D , W|T I Z L < + ND > / + N N C » + N , WHAT WATFP, OF T H F S T I L L UN FROZEN S P R I N G , W | T W | + T 3 / R , (V ( > S T I + L > / + N F R O " + Z > N S P P I + W , IN THE L O O S E ( A D J ) MARSH OP S O L I T A R Y L A K E , I N ( > L U / + S MA+R* | R S I + L I T 3 / P I L F * + K , WHERE THE F R E S H F O U N T A I N FROM THE BOTTOM B O I L S . WE = R ( > F R F + J . F A= +NT IN FR >/M <> B|+T>M BO = + L Z . 394 THESE CHECK H I S F EA RF U L S T E P S ; AMD DOWN( 5 ) HF S I N K S ( I / Z T T E + K H I Z F I = + R F U L S T E + P S 5 <ND DA =+N5 H I / E I + t f K S BENEATH THE S H E L T E R OF THE S H A P E L E S S D R I F T , O I N I / + ) ( > JE +L T3 >/R | V ( > T E - + P L I S O R I + F T . T H I N K I N G O ' E R ALL THF B I T T E R N E S S OF D E A T H , > I + # K I X 19R | + L ( > B I + T 3 / R N I S |V DE+ ) * M I X ' D WITH THE TENDER ANGU ISH NATURE SHOOTS M I + K S S T WI ) ( > TE + NDffl/R <+WGWI$ N E ^ + T S S / R $ U / + T S THRO THE WRUNG BOSOM OF THE TY ING MAN, )RO* + ( > P > /+ # BU +Z> M | V (> DA> + 1 X M<+N, _ ir> H I S W I F E , H I S C H I L D R E N , AND H I S F R I E N D S U N S E E N . H I Z W A - H F , H I Z TT. I + LDR>N , < ND H I Z F P E + NDZ > / + N S I / + N . IN V AIN FOR HIM TH* O F F I C I O U S K I T E P R E P A R E S IN V E / + N F j p HIM (* > F I + * > S WA*+F P R I P F = + R Z THE F I R E - B L A Z I N G , AND THE VESTMENT WARM; ( > FA* + 0 / R R L E * + Z 1 X, <ND ( > VE +STM>NT W | + P M ; I N VAIN H I S L I T T L E C H I L D R E N , P E F P I N G 0 U T ( 5 ) IN V E * + N H I Z L I + T >L T $ I + L O R > N , P I / + P I X A = + T5 INTO THE M IN GL IN G STORM. DEMAND T H E I R S I R E , I + N T U / (> MI+WGLIX S T | + P M , DIMA+ND ( E = R S A * + 3 / R , WITH T E A R S ! 1) CF A R T L E S S INNO CE N CE , ALAS W I ) T I = + R Z |V A+RTL I S I + N O S > N S . >L A+S5 i NOR W I F E , NOP C H I L D R E N , MOPE SHALL HE BEHOLD. N | R WA++ F, N | R T 3; I +LD P> N , M | + R 3.>L H I / B I H O ^ + L D , NOR F R I E N D S , NOR SAC PF D HOME. CN EVERY NERVE N 1 R F R E + N D Z . N | R S E * + K R 1 D H O ' + M , | n E + VRI N 3 / + R V THE DEADLY WINTER S E I Z E S ; SHUTS U P ( 5 ) S E N S E ; ( > DE + DLI W I + N T 3 / R S I / + Z I Z ; 3 > / + T S > / + P 5 S E + N S ; A N D ( l ) , O ' E R H I S INMOST V I T A L S C R E E P I N G CO L D . < + N D , j 9 R H I Z I + N M O - S T V A * + T > L Z K P I / + P I X K O v + L D , LAYS H IM ALONG THE SNOWS, A S T I F F E N ' D C O R S E , LE + + Z HIM >L | + V ( > S N 0 *' + Z , > S T I + F > N 8 D K | + R S . S T R E T C H ' D P U T <5 ) , AND B L E A C H I N G IN THE NORTHERN B L A S T , STRE + T $ 8 T A = + T 5 » <ND B L I / + T S I X IN ( > N | + P ( 3 / R N PLA + S T . + AH L I T T L E THINK THF GAY L I C E N T I O U S PR O UD , + A + L I + T > L ) I + AK ( > GE* + L A * S F + f c > S PRA = + D, WHOM P L E A S U R E , POWER, AND AFFLUENCE SURROUND; HU/M P L E + O d / R , P A = + o V R , <ND < + F L U = N S S > R A = + N D ; T H E Y ( 1 ) « WHO T H E I R TH OUGHTLESS HOURS IN GIDDY M I R T H , ( £ + + , H U / ( E = R ) | + T L I S A = + _ / P Z IN G I + D I M 3 / + R ) . AND WANTON, OFTEN C R U E L , R I O T WASTE", C <ND W | + N T > N , | + C >N KRU = + L . R A * + > T W E * + S T ; AH L I T T L E THINK T H F Y , WF1ILE THEY DANCE ALONG. A + L I + T >L J I + AK (E*=, WAFL (E * D< + NS > L | + * . HOW MANY F E E L , T H I S VERY MOMFNT, DEATH HA= ME + NI F I / + L , ( I S VE + R I MO-*+M>NT, DE + ) AND ALL THE SAD V A RI ET Y OF P A I N , <ND 1+L ( > S< +D V > P A * + > T I jV P E * + N . HOW MANY S INK IN THE DEVOURING FLOOD. HA= ME+NI S I + N K IN ( > D I V A = + / R I X F L > / + D . 2a. OR MORE DEVOURING F L A M E . HOW MANY B L E E D , J * | R M | + R D I V A = + _ / R I X F L E Y + M . HA= ME+NI B L I / + D . BY SHAMEFUL VARIANCE BETWIXT MAN AND MAN. BA* $ E * + M F U L V E = + P I = N S R I T W I + K S T M<+N <ND M < + N . HOW MANY P I N E IN WANT, AND DUNGEON GLOOMS; HA= ME+NI PA++N IN W | + N T , <NC D > / + N J > N G L U / + M Z ; SHUT FROM THE COMMON A I R , AND COMMON U S E ( N ) $ > / +T F R > / M ( > K | + M> N F = + P , < ND K . | +M>N Y U / + S OF T H E I R OWN L I M B S . HOW MANY DP INK THE CUP |V ( E = R 0 + + N L I + M Z . HA= ME+NI DR I+ AK ( > K > / + P OF BALEFUL G R I E F , OR FAT THE B I T T E R BREAD |V BE*+l.FUL G R I / + F . | P I / + T ( > R I + T 3 / R BRE + D OF M I S E R Y . SORE P I E R C ' D BY WINTRY W I N D S ( N ) , | V M I + Z 3 / R I . S | + R P I = + R SBT 3A * W I + N T 9 P I W I + N D Z . HOW MANY SHRINK INTO THE S O R D I D HUT HA= ME+NI T.RI+AK I + N T U / ( > S | + R D I D HU+T OF C H E A R L E S S P O V E R T Y . HOW MANY SHAKE |V T S I =+R L I S P l + V a / R T I . HA= ME. + Nl SEY+K 395 WITH ALL THE F i F R C E R T O R T U R E S OF THE M I N D , WI> | +L <> F I = + P S a / P T | + P T $ 3 / R Z | V ( > MA» + N D , __Jrv UNBOUNDED P A S S I O N , M A D N E S S , G U I L T , REMOR SES 3*tl) > / + N 3 A = + N D I D d < + * > N , M < + D N I S , G I + L T , R I M | + R S ? WHENCE TUMULED HFACLONG FROM THE H E I G H T OF L I F E , WENS T > / + MR >L D HE + D L l # FR > / M ( > HA* + T |V L A - + F , THEY F U R N I S H MATTER FOR THE T R A G I C M U S E . ( E * F 3 / + R N I S M<+Tffl/R F | R ( > T R < + J I K M Y U / + Z . EVFN IN THE V A L E , WHERE WISDOM L C V E S TO D W E L L , I / + V _ N IN ( > V F * + L , WE=R W l + Z D > M t > / + V 2 T U / D W E + L , WITH F R I E N D S H I P , P E A C E , AND C C N T F M P L A T I ON J O I N ' D , W I ) F R F + N D 1 -I P , P I / + S , < NO K | NT F WPLF * + $> N J 0 = + N 8 D , HOW MANY, P A C K ' D WITH HCWFST P A S S I O N S , DROOP H A - M E + N I , R.C+K8T W I) l + M I S T P > + S>NZ_, D R I J / + P IN D E E P R E T I R ' D D I S T R E S S . HOW MANY STAND IN D I / + P P I T A * + / R Q D D I S T R E + S . HA = ME +N I S T < + ND AROUND THE D E A T H - F E D OF T H E I R CEAFF.ST F R I E N D S . >RA = + ND ( > D E + J P E D |V ( F = R D I = + R I S T F P E + N D Z . AND P O I N T THE P A R T I N G A N G U I S H . THOUGHT FOND MAN <ND PO = + NT ( > P A + R T I X < + # G W l $ . ) | +T •= | +ND M<+N OF THE SE C l ) , AND ALL THE THOUSAND N A M E L E S S I L L S . |V ( I / + 7., < N ( +L ( > ) A = + S > N D N E ' + M L I S I + L Z , THAT ONE I N C E S S A N T S TR UGG LE RENDER L I F E , ( < T W> / +N I N S E + S>NT S T P > / + G > L R E + N D 3 / R L A >■+F , ONE SC EN E CF T O I L , OF S U F F E R I N G , AND OF F A T E , W > /+ N S I / + N |V T 0 = + L , | V S > / + F f f l / R _ X , <ND | V F F * + T . V I C E IN H I S CAREER WOULD STAND A P P A L L ' D , C VA*-+S IN H 17 K > P I = + R Y.'UP S T < + N D > P | + L 8 D , AND H E F D L E S S RA M B L IN G IM PU L SE LEARN TO T H I N K ? <ND H I / + D L I S P < +MBL I X I + M P > / L S L S ) /+ P N T U / ) I + #K J THE C O N S C I O U S H F A P T OF C H A R I T Y WOULD WARM, ( > K | + N T > S HA+R T |V T T < + R I T I WUD W | + R M , AND HER WIDE W I S H BENEV OLE NCE D I L A T E ? <ND H D / R WA» + D W l + f B I N E + V > L > N S t'A’ LE+' + T? THE S O C I A L T E A R ( l ) WOULD R I S E , THE S O C I A L S I G H ? ( > S O * + * > L T I = + R WUD PA-/ + 7 , ( > SOK+S.>L SA + + ? AND I N T O CL EA R P E R F E C T I O N , GRADUAL B L I S S , <ND I + N T U / K _ I = + R P 5 i / P F E + K f > N , G F < + D Y _ > L O L I + S , R E F I N I N G S T I L L . THE S O C I A L P A S S I O N S WORK. R I F A + + N I X S T I + L . ( > S O ’K + J > L P > + * > N Z W a ) /+ R K . + AND H E R E ( l ) CAN I FO R G E T THE G E N E R O U S B A N D , + <ND H I = + R K< N AT F | P G E + T ( > J E + N _ / R > S B< +N D , WHO( 1 ) • T O U C H ' D WITH HUMAN WOE, F E D R E S S I V E S E A P C H ' D H U / + . T > / + T T B T W I ) H Y U / + M > N W B U , R I D R E + S I V SJD/ + R T $ p T I N T O THE HORRORS OF THE GLOOMY J A I L ? I + N T U / ( > H | + R fiJ/R Z )V ( > G L U / + MI J E * + L ? U N P I T Y ' D , AND U N HEA RD, WHERE M I S E R Y MOANS? > / + NP I + T I 8 D , <ND > / + N H B / + R D , WF=R M I + Z a / R _ MO++NZ? WHERE S I C K N E S S ° I N E S ? WHERE T H I F S T AND HUNGER BUR N, WE = R S I + K N I S P A ••'■ + N 7 ? WE=R ) a > / + P S T <ND H > / + * G 3 / R B 8 / + R N , AND POOR M I S F O R T U N E F F E L S THE LASH OF V I C E . < ND PU = + R MI SF | + R T T > N F I / + L Z < > L < + $ | V V A » + S . WHILE IN THE LAND OF L I B E R T Y , THE LAND WA*L I N ( > L < + N D |V L I + B B / R T I , ( > L < + ND WHOSE EVERY S T R E E T AND P U B L I C M E E T I N G GLOW H U / Z E + VRI S T R I / + T < ND P > / + B L I K M I / + T I X GLO* + WITH O PE N F R E E D O M , L I T T L E TY RAN TS P A G ' D ? WI) 0 * + P > N F R I / + p > M , L I + T > L T A * + _ / R > N T S P E * + J 8 P ? S N A T C H ' D THE LEAN MORSEL FROM THE S T A P V I N G MOUTH? SN< + T $ 8 T {> L I / + N M | + P S > L F R > / M ( > S T A + R V I X MA = + ) ? TORE FROM COLD WINTRY L I M B S THE T A T T E R ' D WEED? T | + R F R > /M K3 + + LD W l + N T O R I L I + MZ ( > T < + T a / R 3 D W I / + D ? _ „ EVEN R O B B ' D THEM OF THE L A ST OF C O M F O R T S , S L E E P ? 5 / 0 I / + V N R | + BAD (EM | V {> LA + ST (V K > / + MF a / R T S , S L I / + P ? THE F R E E - R O P N F R I T O N TO THE DUNGEON C H A I N ' D . <> F R I / + B | + R N R P I + T > N T U / {> D > / + N J > N T $ F * + N 9 D , OR < 1 ) , AS THE L U S T OF C R U EL T Y P R E V A I L ' D , | + « . <Z ( > L > / + ST | V KR U+ > L T I P R I V E + + L 8 D , 396 AT PLEASURE MARK'D HIM WITH IN G L O R I O U S S T R I P E S ; < t P L c + o a / n m a+ p k b t h i m w i ) i n g l I + r i = s s t r a *+ p s ; AND CR USH 'D O U T( S > L I V E S ( N ) BY SECRET BARBAROUS WAYS. <ND KR > / + $B T A = + T 5 LA*+VZ BA* S 1 / + K R I T BA + PB_R >S W E ' + Z , THAT r Q R T HEI R COUNTRY WOULD HAVE T t ? I L ' D , OR BLED. ( <T F | R (E=R K > / + N T F I WUD H > V . T C = + L 8 D , | P B L F + D . O GREAT DESIGN I F EXECUTED WELL, 0 J‘+ G R E - + T DI SAV +N% IF L + K S I + Y U / T I D WE+L » WITH P A T I E N T C A P E , AND W I S D O M - T F M P E R *D Z E A L . WI ) P E * + $>NT K E = + F , <ND WI+ZD>MTf M P 8 / P 8 D Z I / + L . YE S J N S OF MERCY YET RESUME THE SFARCH; Y I / S > / + N Z |V MS/+RS, 1% YET R I 7 Y U / + M ( > S S / + P T S ; DRAG F C R T H ( S ) THE LEGAL MONSTERS INTO L I G H T , DR <+ G F | + R ) 5 ( > L I / + O L M| +N STffi/P7 I + N T U / L A ' + T , „ WRENCH FROM T H E I R HANDS O P P R E S S I O N ' S IRON ROD, DoO RE+NTT F R > /M ( E = P H< + NDZ >PRF; + $>NZ A + + S / P N R |+ D , AND BID THE CRUEL F EEL THE P A I N S THEY G I V E . C <ND B I+ D (> KPU= +L F I / + L ( > PF.v + NZ I F * G I + V . MUCH S T I L L U N TO U CF 'D REMAINS? IN T H I S RANK AGE, M > / + T $ S T I + L > / + N T > / + T T C D P I M F + + N Z ? IN ( I S P <+« K E * + J , MUCH I S THE P A T R I O T ' S WEEDING HAND R E Q U I R ' D . M > / + T $ I Z (> P< + T P I = T S W I / + DIX H< +ND RIK W A + + S / R 8 D . THE T O I L S Dr LAW, (WHAT DARK I N S I D I O U S MEN <> TO=+LZ |V L | + » 3 W| T DA + PK I N S I + D I = S ME+N HA VF CUMBROUS ADDED TO I’ E'RPLF X THF TRUTH, H>V K > / + MBR>S < + D ID T U / P i I / R P L E + KS ( > T R U / + ) , AND LENGTHEN S I M P L E J U S T I C E INTO TRADE) <ND LE + V ) >N SI + M P >L J > / + ST I S I + N T U / T K E* + D 4 HOW GLORIOUS WERE THF DAY THAT SAW THE SF RPOKE, H A = GL | +RI =S WD/F ( > DFv+X ( < T S | + { 1 /7 . BR O * +K , AND EVERY MAN W I T H IN THE REACH CF R I G H T . < ND F + VRI M < + N WI ) I+N ( > R I / + T * |V R A * + T . + BY WINTRY FAMINE R O U S ' D , FROM ALL THE TRACT + BAT W I + N T 9 R I F < + MIN EA = + Z 8 D , C R>/M | +L ( > TR< + KT „ OF HORRID MOUNTAINS WHICH THE S H I N I N G A L P S , | V H | + R I D MA=+NTIMZ W I T S (> J A H + N I X < + L P S , AND WAVY A P P E N I N E S , AND P Y R E N F F S . <ND WE*+VI < + P > N A * N Z , <ND P I F > N I / + Z , ERANCH OUT( 5 ) STUPFMDCUS INTO D IS T A NT LANDS? BRA+NTS A= +T5 S T Y U / P F + N D > S I + N T U / D I + S T > N T L < + N D Z i CRUEL AS DEATH, AND HUNGRY AS THE GRAVE C KRU = +L <Z D E + ) , <ND H > / + tf GR I <Z ( > GRE*+V% BURNING FOR BLOOD BONY, AND GHAUNT, AND GRIM B S / + RN I X F | P B L > / + D « R O * + N I , <ND G | + NT « <ND GPI+MX ASSEMBLING WOLVES IN P AG IN G TROOPS DESCEND? >SE + M B L IX WU+LVZ IN P E + + J I X T R U / + P S D I S F + N D ? AND( 1 ) , POURING O ' E R THE COUNTRY, BEAR ALONG, <+ND, P | + R I X | 9 R ( > K > / + NTFI . PE = +R > L | + # , KEEN AS THE NORTH — WIND SWEEPS THE GLOSSY SNOW. K I / + N <Z ( > N | + R ) W I N D S W I / + P S (> G L | + S I S N O t t . ALL IS T H F I R P R I Z E . THEY FASTEN CN THE S T E E D , | + L IZ (E = R PR A * + Z • <E* F < + S > N |N ( > S T T / + D, P R E S S HIM TO EARTH, AND P I F R C E H I S MIGHTY HEART. PR E + S HIM TU / 5J/ + P ) , <ND P I = + RS H I Z MA*+TI HA + R T . , _ NOR CAN THE BULL H I S AWFUL FRONT DEFEND, *»CD N| R K< N (> BU + L H I Z l + F U L F R > / + NT D I F F + ND, OR SHAKE THE MURDERING SAVAGFS AWAY. lR $ E *+ K ( > V|S)/+RD_/R IX S < + V I J I Z >W E k+ . RA P A C IO U S , AT THE M O T H E R 'S THROAT THEY F L Y . R > P E - + $ > S . <T ( > M> / + ) a ) / R Z ) P O * + T ( E* F L A Y + , AND T E A R (2 > THE SCRFAMING INFANT FROM HER BR E AS T . <ND TE = +R (> S K P I / + MIX I+NF >NT FR >/M Hffl/P BPE + S T . THE GODLIKE “ ACE CF MAN A V A I L S HIM NOUGHT. (> G | +DLA + K F 5 H + S |V M< + N >V E*+LZ HIM N | + T . EVEN BEAUTY, FORCE C I V I NE AT WHCSE BRIGHT GLANCE I / + V N BYU+TI , F | +RS DIVA *+N% <T H U / Z BRA»' +T GLA + NS 397 THE GENEROUS L I O N STANDS IN S O F T E N ' D GAZE* ( > JiI + N _ / R > S L A * + > N S T < + N D 7 IN S | + F > N 8 D G E Y + Z , HERE R L F E D S , A H A P L E S S UNDI ST I N G U I S H • D PR F V • H I = R 3 L I / + 0 Z , > H < + P L I S > / + N D 1 S T I+WGWI $ 6 T P R E * + . BUT I F ( 1 ) , A P P R I Z ' D OF THE S F V E R F A T T A C K , B > / T I + F , > P P A » + Z 8 D |V <> S I V I = +R > T < + K , THE COUNTRY BE SHUT U P ( 5 > , L U R ' D BY THE' S C E N T , ( > K > / + NTRI 3 1 / T > / + T > / + P 5 , I YU= + R9D BA* ( > S E + N T , ON CHURCH_YARDS DREAR (INHUMAN TO R E L A T E ) ^<0 |N T tffl/ + R T $ Y A PD Z DR I “ + R 3 I N H Y U / + N > N T U / P I L E r + T 4 T HE D I S A P P O I N T E D PROWLERS F A L L , AND D I G <> D I S > P O = + N T I D PPA = TLa»/RZ F | + L . <ND D I + G THE SHROUDED BODY FROM THE GFAVF? O ' E R W H I C H ( l ) , ( > $ P A = + D I D 8 | 4-D I F R > / M ( > G R F ' + V ? | 9R W I + T S , M I X ' D WITH FOUL S H A D E S , AND F R I G H T E D G H O S T S , THEY HOWL* M I + K S 3 T WI ) - A = + L l E ' + D Z , <ND F R A * + T I D G O > ' + S T S , C B i HA = + L . + AMONG THOSE H I L L Y R F G I O N S , WHFPF. E M B R A C 'D + > M> /+- ti ( O ^ Z H I + L I P I / + J > N Z , V E = P I M B P F / + S 8 T IN P EA CEF U L VALES THE HAPPY G R I S O N S DWELLS IN P I / + SFUL V E ^ + L Z ( > H< + P I G R I + Z | W Z DWF+L? O F T , R U S HI N G SUDDEN FROM THE LOADED C L I F F S , | + F T 9 , R > / + J H X S > / + D > N FR > / M ( > L G * + D I D K L I + F S , MOUNTAINS OF SNOW T H E I R GA TH E RI N G T E R R O R S R O L L . MA= +NT IN Z |V SNOT + ( E = P G< + ( _ / R I X TE = + RS)/RZ P O Y + L . FROM S T E E P TO S T E E P * L O U D - T H U N O F R I N G , D O W N (S ) THEY C O M E , F R > / M S T I / + P T U / S T I / + P , LA = 4 D ) > / + N D a / R _ X , D A = + N 5 < A WINTRY WASTE IN D I R E COMMOTION A L L J K > / + M , > W I + N T 9 R I V E ' t S T IN DAT +5)/R K _ N O * + $ > N | TL » AND H E R D S , AND F L O C K S , AND T R A V E L L E R S , AND S W A I N S , H2£? < ND HSI/+RD Z , <ND FL | +KS . <ND T R <4-V>L 3)/P Z , <ND 5WE* + MZ, AND SOMET IME S WHOLE B R IG A D E S OF MARCHING T R O O P S , < ND S > / + MTA*MZ HDY+L B R 1 G E ' + D Z |V MA + R T S I X T » U / + P S , OF HAMLETS S L E F P I N G IN T H F DEAD OF N I G H T , |V H<+ ML I TS S L I / + P I X IN ( > DF. + D | V NAT + T , ARE DEEP BENEATH THE SMO T H E RI N G R U I N W H E L M 'D . AR D I / + P R I N I / + ) ( > S M>/ + ( _ / P I X R U / + I N WE + L M8 D . t N O W , ALL AMID THE R I G O U R S OF THE YEAR. + NA= +■, | + L > M1 + D ( > R I + G o i / R Z |V ( > YS)/+P . IN THE WILD DEPTH OF W I N T E R , WHI LF WITHOUT IN ( > W A* +L D D E + P ) |V W I + N T n ) / P , WA*L W I ) A = + T THE C E A S E L E S S W l N D S ( N ) BLOW I C E , B E ( 1 ) MY R E T R E A T , ( > S I / + S L I S WITNDZ B L t A * + S , B I / + MA* R I T R I / + T , BETWEEN THE GROANING F O R E S T AND THE S H O R E , B I T W I / + N ( > G R D T + N I X F | + P I S T <ND <> $ | + R * BEAT BY THE BOUNDLESS MULTITUDE CF WAVES, B I / + T BAY ( > BA = 4-ND L I S M > / + L T I T Y U / D |V WEY+VZ, A R U R A L , S H E L T E R ' D , S O L I T A R Y , S CE N E? C > RS>/ + R > L , * + LT5>/R8D , S | + L T T 5 ' / P I , S T / + N? WHERE RUDDY F I R E AND BEAMING T A P E R S J O I N , HZO WF = R R > / + DI ~ A< + _ / R < ND B I / + MIX T E * + P ? / R Z J C = + N , TO CHEAR THE GLOOM. THERF S T U D I O U S l.ET ME S I T , T U / T $ I = t R ( > G L U / + M . ( E = R S T U / + C I = S L E T M l / S I + T , AND HOLD HIGH C C N V E R S E ( N ) WITH T HF MIGHTY DEAD? <ND HO*HLD HA*+ K | + N V S / R S W I ) ( > MA *+ TI DE+DJ SA G E S OF A N T I F N T T I M E , AS GODS F F V E R ' D . Sc'^ + J I Z (V F ' + N $ > N T TA-*+m , <z G | + C Z P l V I = + P 8 D , AS GODS B E N E F I C E N T , WHO BL E S T MANKIND <Z G | +D Z B I N E + F I S > N T « H U / E3LE + ST M<NKA*+ND WITH A P T S , AND APM S, AND H U M A N I Z ' D A WORLD. WI ) A + R T S , <ND A + RMZ, < ND HY U/ + H>MA*ZBD > W5)/+RLD. R O U S ' D AT T H • I N S P I R I N G THOUGHT, I THROW A S I D E RA = + Z 6 D <T ( • I N S P A * + _ / R I X ) j + T , A^ ) R O * + > S A * + D THE LONG—L I V ' D V P L U M F ? A N D ( I ) , D ^ E P - M U S I N G , H A I L ( > L | + L I + V8D V | + L Y U / m ; < + N D , D I / + P M Y U / + Z I X . H E ‘ +L THE SACRED S H A D F S . THAT S L C W L Y - F I S I N G P A S S C> SE * + KRID $ F * +D Z , ( <T S L O ’ + L I R A * + Z I X PA + S BEFORE MY WC N D F R I N G F Y E S . F I R S T S O C R A T E S . B I F | +R MAY W > / + N D _ / R I X A*4-Z. Fo)/ + RST S | + K R > T I / Z , 398 WHO FIRMLY GOOD IN A CORPUPTED S T A T E , *140 H U / PS/+IPMLI GU + D IN > K > P > / + P T I C S T F * + T , A G A I N ST THF RAGE OF TYRANTS S I N G L E STOOD, > G E + NST <> WE&+J |V TA* + _ / R > N T S S l F t f G > L S T U + D , I N V I N C I r3L E CALM R E A S O N ' S HOLY LAW, I N V I +NS>8>L5i KA + N P I / + Z > N Z H C * + L I L | + , THAT V O IC E OF GOD W IT H IN TH' A T TE N T I V E M I N D , ( <T VO= + S |V G| + O W I J I + N ( ' > TE + N TI V MA-1+ND, O B E Y IN G , F E A R L E S S , CF: IN L I F E , OF DEATH: 0 * 8 0 " + IX , F I = t P L l 5 , | P IN L A -: + F , |R DE + )? GREAT MORAL TEACHER WISEST CF MANKIND GRE*+T vi|+R>i_ T I / + T $ S V P % WA *+ Z IS T |V M<NKA* + ND% SOLON THE NF XT, WHO P U I L T H I S C OMMON — WF AL SO * +L >N ( > NE + K T S , H U / OI+L.T H I Z K | + M > N W I / L ON E Q U I T Y ’ S WIDE B A S E ; BY TENDER LAWS | n e + k w i t i z wa* f l p f * + s ; b a >- t l + ndsj/ r l | f z A L I V E L Y PEOPLE CURRTNG. YET UNDAMP'D > L A 4 + V L I P I / + P > L K S / + P 8 I X , YET > / + N O < + M P P T P R E S E R V I N G STILL THAT QUICK P F C U L I A R F 1 R F , P R I Z o ) / + RVlX ST I+ L ( < T KWI+K P I KYU/ + LYS)/R F A * + S ) / P , WHENCE IN THE L A U P F L ' D F I E L D OF F I N E R A R T S , ‘‘•5D WENS IN ( > L | + R > L 8 0 F I / + L D |V F A ’ +No)/R A + R T S . AND OF SOLD FREEDOM, THEY UNEQUAL. *D SHO N E , <ND |V BO^ + LD F R I / + D>M, (E>" > / + N I / + K W X H D IOT + N, THE P R I D E OF S M I L I N G GREECE, AND HUMAN-KIND. ( > P R A H D |V S F A ’ + L I X G R I / + S , <N0 H Y U/ +M >NK A* ND . LYCURGUS THEN, WHO BOW'D BENEATH THE FOR CF L A * K » / F R G > S ( E N , H U / 8 A = + 8 D R I N I / + ) ( > F | + R S OF S T R I C T E S T D I S C I P L I N E . SEVERELY W I S E , JV S T R I + K T I S T D I + S I P L I N , S I V I = + R L I WA*-+Z. ALL HUMAN P A S S I O N S . FOLLOWING H I M , I S E E , | + L HYU/+M>N P > + I > N Z . F | + L O * I X H M, A* S I / + , AS AT THERMOPYLAE HE GLORIOUS F E L L , <Z <T ) 3)/RM | * o i l.I / H I / GL I + R 1 = S FE + L, THE F IR M DEVOTED C H I E F , WHO P R O V ' D BY DEEDS ( > F S / + RM DIVO-’ + T I D T J I / + F , H U / P R U / + V S D BAT D I / + D Z THE HARDEST LESSON WHICH THE OTHER TAUGHT. ( > H A + R D IS T LE + S > N WITS <> > / + < o ) / P T | + T . THEN A R I S T I D E S L I F T S HIS HONEST FRONT; (EN < R I S T A * + D I / Z L I + F T S H I Z l + N I S T FR > / + NT ? S P O T L E S S OF H E A R T , TO WHOM T H ' U N FL A T TE R IN G VOICE ^ SP { +TL I S |V HA +RT, T U / H _/ M ( ' > / +NFL < + T n)/R I X VO = + S OF FREEDOM GAVE THF NOBLEST NAFF OF J U S T ? |V FR I / +D>M GE' +V ( > NO’ + B L I S T NE* + M |V J > / + S T ? IN PURC M A J E S T I C POVERTY R E V E R ' D ? IN PYU=+R M > J E + S T I K P |+ V f fl /R T I F I V I = + R 8 D ; WHO(1 ) , EVEN H I S GLORY TO H I S COU N TR Y 'S WF AL ....................... H U / + , I / + V _ N H I Z G L | + RI T U / H I 7 K > / + N R I Z W I / + L S U B M I T T I N G , SWEL.L'D A HAUGHTY R I V A L ' S F AM E . S > B M I + T I X , SWE+LBD > H | + T I KA*+V>LZ F E ' + M . R E A R ' D BY H I S C A R E , CF SOFTER PAY, A PPE AR S RI = +R 8D BA* H IZ KE= + R , |V S | + F T 3 / R R E T + , > P I = + RZ CIMON S W E E T - S O U L ' D ; WHOSE G E N I U S . R I S I N G STRONG, SI+ M > N S W I / + T S O * + L f i D ? H U / Z J I / + N Y > S , R A Y + Z I X S T P | + A , SHOOK 0 F F ( 5 ) THF LOAD OF YOUNG DEBAUCH? ABROAD $U+K |+c 5 (> LQ^ + D |V V>/+tf r i B l + T T ? > D R j F D THE SCOURGE OF P E R S I A N P R I D F , AT HOMF THE F R I F N D ( > SKS)/ + P J |V P F + R $>N P P A * + C , <T HO"+M <> FRE+ND OF EVERY WORTH AND EVERY SPL. F. NO ID ART? j v E + VR1 Wai/ + R) <ND E+VRI SPL E F ND ID ART? d MODEST, AND S I M P L E , IN THE POMP OF WEALTH. H M | + D I ST , <ND S I + M P > L , IN ( > P | + MP |V W E + L ) . THEN THE LAST WORTHIES CF D E C L IN I N G G R E E C E . (E N ( > LA+ST W » / + R ( I S |V D I K L A * + N I X G P I / + S , L A T E - C A L L ' D TO GLORY, IN UNEQUAL T I M E S , L E * FTK | +L6D T U / GL| +R I . IN > / + N I / F K I O L T A* +M Z, P E N S I V E , A P P E A R . THE F A I R C O R IN T H IA N B O A S T , P E + N S I V . > P I = + R • ( > F F = + P K | R I + N ) I = N BOX-+ST, 399 T IM O L E O N , T E M P E R ' D H A P P Y . M I L D , AND F I R M , T I M O * + L I = N , T E + M P S / R e r . H< +P I , MA? +L D » <ND F 3 / + R M , WHO WEPT THE BROTHER W H I L F THE TYRANT B L E D , H U / WE+PT ( > B R > / + ( a / R WA~L ( > T A « + R > N T P L E + D . AND( 1 ) , EQUAL TO THE P E S T , THE THEBAN P A I R . < + N O , I / + K W > u T U / ( > R F + S T , ( > ) I / + B > N P E = + R , WHOSE V I R T U E S , IN H E R O I C C C N C C R O ( N ) J O I N ' D , H U / Z V 3 / + R T Y U / Z , IN H I P O + I K K | + N K | R D J O = + N 8 D . T H E I R COUNTRY - R A I S ' D TO FREEDOM. F M P I R F , FAME* ( E = R K > / + N T PI R E * + 7 B D T U / F R I / + r > M , E+MP_ Y a>/R , F F * + M . HE TOO, WITH WHOM A T H E N I A N HONOUR S UN K , H I / T U / t , WI ) HU/M > ) I / + N I = N l + N a ' / R S > / + N K . AND L E F T A MASS OF S O R D I D L F E S B E H I N D , ^5D <ND L E + F T > M < + S |V S | + R D I D L . I / + Z BIHA- + N D , PHOCI ON THE GOOD? IN P U B L I C L I F E S F V E R E . FO>* + S I = N ( > gu + d ; IN P > / + D L 1 K l_A* +F S I V I = + R , TO V I R T U E S T I L L I NFX ORA BLY F I R M ; T U / V 3 / + R T Y U / S T I + L I ME + K S3>/R.> Bl. I F 3 / + R M ; BUT W H E N C 1 ) , BENEATH H I S LOW I L L U S T R I O U S R O O F , R > / T WF+ n , P T N I / + ) H I Z LC=* + I L > / + S T R I - S P . U / + F , SWEET PEACE AND HAPPY WISDOM S MOO TH 'D H I S BROW, S W I / + T P I / + S <ND H< +P I V . I + Z D > M S M U / + ( S D H I Z E P A = + , NOT F R I E N D S H I P S O F T E R i v A S ( l ) , NOR LOVE MORE K I N D . N | + T F R E F N D 1 I P S | + F T 5 ) / R W > / N Z . N | R L > / + V M | + R K A f + N D , AND H E ( 1 ) , THE LAST OF OLD L Y C U P G U S ' S O N S , < ND H I / * , ( > LA + ST |V D * + L D L A » K f f i / + R G > S • S > / + N Z . THE GENEROUS V I C T I M TO THAT VAIN- AT TE MP T , ( > J E + N _ / R > S VI+K TT M T U / ( < T V E * + N > T E + M P T , TO SAVE A ROTTEN S T A T F , A G I S . WHO SAW T U / SE * + V > K | + T > N E T E Y + T , < + J I S , H U / S | + EVEN S ° A R T A ' S S E L F TO S E F V I L E A V AR IC E S U N K . I / + V_N S P A + R T > 7 S E H L F T U / S 3 / + RVA*-L < + V _ » I S S > / + N K . THE TWO ACHAIAN HE RO E S C L O S F ( V ) THE T R A I N . ( > T U / + > K A ' + > M H I = + P Oy" Z K L G ' + Z ( > T R E ^ + N. ARA TU S, WHO A WHILE R E L U M ' D TH F SOUL >RA 4-TUS, HU / > WA'L P I L Y U / + M80 ( > S O T + L OF F O N D L Y - L I N G E R I N G L I B E R T Y I N G R E E C E : |V F | + N D L I L I + # G _ / R I X L I + B 3 / R T I IN G R I / + S : AND HE HER D A R L IN G AS HER L A T E S T H O P E , <ND H I / H S / R DA + R L I X <Z H 3 / R l . E * + T T S T HO* + P , THE GALLANT P H I L O P E M O N ; WHO TO ARMS <> G < + L > N T F I L | + P I M > N ; H U / T U / A + RMZ T U R N ' D THE LU X U R IO U S POMP HF COULD NOT C U R E ; T 3 / + R N 8 D ( > L > / G Z Y U = + R I = S P | + M P H I / KUD N | + T KYU=+R5 OR T O I L I N G IN H I S FARM, A S I M P L E S W A IN ; | R TO = + L I X IN H I Z FA + RM, > S I + M P > L S W E * + N ; O R ( 1 ) , BOLD AND S K I L F U L , TH UNDERING I N THE F I E L D . | +R . B O H L D <ND S K I + L F U L « ) > / + N D / R I X IN ( > F I / + L D . ■f OF ROUGHER F R O N T , A MIGHTY P E O P L E COME + |V P > / + = » / R - R >/■*• N T , > M A * + T I P I / + P > L K > / + M % A RACE OF HEROES IN TH OSF V I P T U O U S T I M E S > RE* + S |V H I = + R C * Z * IN <OJ-Z V » / + P T U = S T A t + M Z WHICH KNEW NO S T A I N , SAVE THAT WITH P A R T I A L FLAME 5"00 WIT S N U / + NO* + S T E ^ + N , S E * + V ( <T W I ) PA + R3;>L F L F * + M T H E I R DEAREST COUNTRY THEY TCO FONDLY L O V ' D . (E = R D I = + R 1ST K > / + N T R I ( F T T U / + F ) + N D L I L > / + V 8 D . HER BE T T E R FOUNDFR F I R S T , THE L I G H T OF ROME, H 3 / R B E F T 3 / R FA = + NDn)/ R F S 1/ + R ST , ( > LAi*>tT |V RO^ + M, NUMA, WHO S D CT F N • D HEP R A P A C I O U S S O N S . NYU/ + M> . H U / S { + F > N8 D H 3 / R R > P C li+ J. >5 S > / + N Z . S E R V I U S THF / + R V I = S ( > KI + A 1 » H U / L.E * +D ( > S | + L I D B E * + S ON W H I C H ( l ) O ' E R EARTH THE VAST R E P U B L I C S P R E A D . |N VM+TS |QR 3 / + P ) {> VA+ST F I P > / + B L I K S P R E + D . T H E N ( I ) THE GREAT CO N SU L S VEKE RAELE R I S E . ( E + N ( > G P E * + T K | + N S > L Z VE+NS>/K>B>L R A » + Z . THE P U B L I C FATHER WHO T HE: P R I V A T E Q U E L L ' D . {> P > / + B L I K F A + ( » / R H U / {> P F A * + V I T KWE+LBD, 400 AS ON THE DREAD TRIBU NA L STERNLY SAD. <Z |N ( > DRE+D T P l B Y U / + N > L S T S / + P N L I S < + D . H E ( 1 ) « WHOM H I S THANKLESS COUNTRY COULD NOT L O S E « H I / + , HU/M H I Z X + WKLIS K> / + NT RI KUD N | + T L U / + Z . CAM ILLUS , CNLY VE NGEFUL TO HER F O E S . S~IP K>M I+ L > S » O ' + N L I VE + N JF U L T U / H i / R ^ 0 / + Z . F A B R I C I U S , SC ORMFR CF ALL-COMOUER ING GOLD; F > R R I + S I = S i S K | + F N _ / R | V | +LK| + N K S / P 1 X G O* +LD ; AND C I N C I N N A T U S , AWFUL FROM THE PLOW. <ND S I N S I N < + T > S , | + F U L F p > / M ( > P L A = + . THY W I L L IN G V I C T I M , CARTHAGE, BUR STI NG L O O S E ( A D J ) ( Av W l + L I X V I + K T I M , K A + R J T J , B o V + P S T I X L U / + S FROM ALL THAT P L E A D IN G NATURF COULD O P P O S E , F R > / M | +L ( <T P L I / + DIX NE»+T5.S'/R KUD > P 0 - - + 7 , FROM A WHOl E C I T Y ' S T F A P S ( l ) , BY R I G I D F A I T H F R> /M > HO*1 + L S I + T I Z T I = + R Z , BA-« R I + J I D FE* + > I MP E R IO U S C A L L ' D , AND HO NOUR'S D I P F COMMAND. I MPI = + R I =S K | +LBD , <MD |+ N o) / P Z DA* + / P K >M A +ND . S C I P I O , THE GENTLE C H I E F , HUMANELY BRAVE, S I + P I * , ( > J E + NT >L T T I / + F , H Y U / M F* + N L I B R E * + V , WHO SOON THE RACE OF S P O T L E S S GLORY RAN, H U / S U / + N ( > P E » + S ]V S P | +TI. I S G L | + P I R< + N, AND( 1 ) , WARM IN YOUTH, TO THF P O E T I C SHADE <+ND. W|+RM IN Y U / + ) , T U / (> P O * + E T I K i E ' + D WITH F R I E N D S H I P AND P H I L O SO PH Y R E T I R ' D . WI) F R E + N D * I P < ND F 1 L | + S > F I P I T A v + B / R 80 . TULLY, WHOSE POWERFUL ELOQUENCE A WHILE T > / + L I , H U / Z PA = + S)/RF_L E+LOKW>NS > WA*L R E S T R A I N ' D THE R A P ID FATE OF RUSHING ROME. RISTK FV+ NB D ( > R < + P 1 P F E - + T |V P > / + $ I X RO’f + M. UNCONOUER'C CATO, VIR TU O U S IN EXTREME. > / + NK | + tfKiA/R3D KE*+TO* , V 3 / + RTU=S IN I K S T R I / + M . AND THOU{ 1 ) , UNHAPPY F RU T US , KIND OF HEART, <ND (A= + , > / + N H < + P I B R U / + T > S , KA*+ND |V H A + R T , WHOSE STEADY ARM, BY AWFUL VIR TUE U R G ' D , H U /Z S T E + D I A + RM. BA* | + F U L Vd)/ +RT YU/ n ) / + RJ SD » L I F T E D THE ROMAN S T F F L AGAINST THY F R I E N D . L I + F T I D ( > RD*+M>N S T I / + L > G E * + N S T ( A * F P E + N D . THOUSANDS, B E S I D E S , THE T R IB U T E OF A VERSE ) A = + S > N D Z . B I S A + + D Z , (> T R I + B Y U / T |V > V6I/ + RS d e m a n d ; b u t w h o i i ) c a n c o u n t t h e s t a r s c f h e a v e n ? d i m a + n d ; b > / t h u / + k < n k a = + nt ( > s t a + r z | v h e + v >n ? WHO( I ) SI N G T H E I R I NFL UEN CE CN T H I S LOWER WORLD? HU/ + S i t # <E = R I + N F L U = N S |N ( I S L C* + 5) /R W 3 / + R L D ? _ . ♦ BEHOLD, WHO YONDER COMES IN SOBER S T A T E , + BIHC1 + + L D . HU/ Y |+ N D o) /R K>/+MZ% IN SO*+Bffi/R STE + + T , F A I R , M I L D , AND STRONG, AS I S A VERNAL SUN: F E = + R , MA*+LD, <ND S T R | + « , <Z IZ > V 3 / + R N > L S > / + N; T I S I 2 ) P H O F R U S 4 S E L F , OR ELSE THE MANTUAN SWAIN 9 T I Z F I / + B> S * S E + L F , |R E+L S ( > M<+NTYU=N SWE++N GREAT HOMER TOO A P P E A R S . OF DARING WING, GRE*f +T H O ' + M S / R T U / + > P I = + R Z , |V D E = + R I X WI+W, PARENT OF SONG AND EQUAL BY H I S S I D E . P E = + R >N T |V S|+W % <ND I / + K W > L BA" H I Z S A > * D . THE B R I T I S H MUSFJ J O I N ' D HANC IN HAND THEY WALK, ( > B R I + T I T MYU/ + Z ; JO = + NP.D H< + ND IN H< + ND ( E W |+K , DARKLING, FUwL U P ( 5 ) THE M I D C I F S T E E P TO FAME. D A + P K L I X , FU+L > / + P 5 <> MI+D>L S T I / + P T U / F E + + M . NOR ABSENT ARE THCSF SHADES, WHOSE S K I L F U L TOUCH N | R <+ BS ENT AR ( 0 + Z l E ^ + D Z , H U /Z S K I + L F U L T > / + T $ P AT H E T IC DREW T H ' I M P A S S I O N ' D HEART. AND CHARM'D P > ) F + T I K D R U /+ ( ' I MP < + T»>N8D HA +RT. < ND T5A + RM8D TRANSPORTED ATHENS WITH THE MORAL S C E N E : T R < N S P | + P T I D < + ) I N Z WI) ( > M |+ R >L S I / + N : NOR THOSE WHOII ) , T U N E F U L , WAK'C T H ' ENCHANTING LYRF.S'Vo N | R ( 0 * Z H U / + . T Y U / + N F U L , WE++K8T ( • I N T S A + N T I X LAT + a / R . 401 + F I R S T OF YOUR K I N D S O C I E T Y D I V I N E + Fffl/+RST |V V | R KA*+NDX S O * S A * + > T I DIV A» ‘ + NX S T I L L V I S I T THUS MY N I G H T S * FOR YOU R E S E R V ' D . S T I + L V I + Z I T < > / + S M A » '■ NA* + T S . F | R Y U / R I Z 3 / + R V 8 D . AND MOUNT MY S O A R I N G SOUL TO THOUGHTS L I K E Y O U R S . <ND MA-+NT MAT S | +R I X S O ^ + L T U / ) | + T S L A* K Y j + P Z . S I L E N C E , THOJ LONELY POWER THE CCOR BE T H I N E J S A * + L > N S * ( A = L C * + N L I P A = + _ / R % ( > D | +S*/P P I / (_> N J SEE ON THE HALLOW'D HOUR THAT NONE I N T R U D E , S I / + | N ( > H < + L C !' 6D A =+_/R ( <T N > / + N I N T P U / + D , SAVE A FEW CHOSEN F R I E N D S , WHO SO ME T IM E S D E IG N S E * + V > F Y U / + T T O * + Z > N F P E + N D Z , H U / S > / + M T A * M Z DEH+N TO E3LESS MY HUMBLF R O O F , WITH S E N S E R E F I N ' D , T U / BL F t S MAT H > / + MP>L R U / + F , W I ) SE + NS P I F A T + N R D , L E A R N I N G D I G E S T E D W I L L , EXALTED F A I T H , La)/ + RNIX D I G E + S T I D W t + L , I G Z | + L T I D F E * + ) , U N S T U D Y 'D W I T , AND HUMOUR E V F P GAY. > / + N S T > / + D I 8 D W I + T , <ND H Y U / + M5>/P E+Vffl/R G E « + . OR FROM THE M U S E S ' H I L L W I L L POPE D E S C E N D , lR F R > / M ( > M Y U / + Z I Z ' H I + L WlL P O * + P D I S F + N D , $ 5 ° TO R A I S E THE SACRED HOUR, TO B I D I T S M I L E , T U / R E * + Z ( > S E v + K R I D A = + _ / R , T U / B I + D IT S M A + + L . AND WITH THE S O C I A L S P I R I T WARM THE H E A R T : <ND W I) ( > S Q * + i > L S P I = + R I T w | + P M ( > H A +RT ; FOR THO NOT SWFET FF H I S OWN HOME F S I N G S , F | R ( O r N | + T S W I / + T S / R H I Z 0 * + N HO« + M $ / R S l + t f Z . Y E T ( I ) I S H I S L I F E THE MOPE E N D E A R I N G S O N G . Y E + T I Z H I Z u A * + F ( > M | + P I N D I = + P I X S | + * . + WHERE ( 1 ) A R T ( 1 ) THOU, HAMMOND? T H O U ( l ) THE D A R L IN G P R I D E . + W F_ = +R A + RT ( A = , H < + M > ND ? (A = 4 {> OA + R L I X P R A * + D , THE F R I E N D AND L C V E P OF THE TUNEFUL THRONG ( > F R F + N P <ND L V + V 9 / R |V {> T Y U / + N F U L ) P | + # X AH WHY, DEAR YOUTH, IN ALL THE BLOOMING P RI ME A+ WAY+, D I = + R Y U / + ) , IN l + L ( > P L U / + M I X p p A * + M OF VERNAL G E N I U S , WHERE D I S C L O S I N G F A S T |V Vffl/+RN>L J I / + N Y > S , WE=R D I S K L C * + Z I X F A + S T EACH A C T I V E WDRTH EACH MANLY V I R T U E L A Y , I / + T $ < +K T IV W S / + F ) I / + T S M<+NL I V 3 / + R T Y U / LE-+ + , _ /f. WHY WERT THOU R A V I S H ' D FROM OUR HOPE SO SOON? **>0 WA+ + W 8 / R T ( A = R < +V I f f l T F P > / M _=ffl/R H O r + P SO* S U / + N ? WHAT( I ) NOW A V A I L S THAT NOBLE T H I R S T OF FAM E, W | + T NA=+ > V E * + L Z ( <T N O ? + B > L > a / + R S T |V F E ^ + M , WHICH STUNG THY F F R V F N T B R E A S T ? THAT T R E A S U R ' D STORE W I T S S T > / + # ( A * F a / + P V > N T B R E + S T ? ( <T TRF+Qffl/R8D S T | + R OF KNOWLEDGE, EARLY G A I N ' D ? THAT EAGER ZF AL |V N | + L I J , S I / + R L I G E * + N B D ? ( <T 1 / + G 3 / R Z I / + L TO SERVE THY COU N TRY , GLOWING I N THE BAND T U / S 8 / + R V (A* K > / + NT R I , GL O t + I X IN ( > 8 < + ND OF YOUTHFUL P A T R I O T S , WHO S U S T A I N HER NAME? | V Y U / + ) F U L P < + T F I = T 5 , H U / S > S T E * + N Hffl/R N E ^ + M ? WHAT( 1 ) NOW, ALAS THAT L I F E - D I F F U S I N G CHARM W | + T N A = + , >LA + SX ( <T L A * + F O IF Y U / + Z I X TSA+RM OF S P R I G H T L Y W I T ? THAT R A P T UR E FOR THE MUSE, JV S P R A ‘ + T L I W I + T ? ( <T R < + P T ? » / R F | R {> M Y U / + Z , THAT HEART OF F R I E N D S H I P , AND THAT SOUL OF J O Y , ( <T HA+RT |V F R E + N D 3 I P , < ND ( <T S O ^ + L |V J O = + , WHICH L3 A D E WITH S O F T E S T L I G H T THY V I R T U E S S M I L E ? WITT. B< + D WI) S | + F T 1S T L A * + T ( A * V a / + R T Y U / 7 SMA=*+L? AH ONLY S H E W ' D . TO CHECK OUR FOND P U R S U I T S , 5 7 0 A + % 0 « + N L I $ 0 * + 8 0 , T U / TSE + K _ = 8 / P F | + N D P 3 / R S U / + T S , AND TEACH CUR HUMBLED H O P E S THAT L I F E I S VAIN <ND T I / + T $ _ = a / R H > / + MB >LD H C - + P S <<T LA + +F I Z VE*+N% + THUS I N SOME DEEP R E T I R E M E N T WOUID I P A S S , + ( > / + S IN S > / + M D I / + P R I T A + + _ / R M > N T WUD P A + S , THE W I N T E R - G L O C M S , WITH F R I E N D S OF P L I A N T S O U L , <> WI + N T 8 / R G L U/MZ , W I ) F R E + NDZ |V P L A * + >NT SO *+ L , OR B L I T H E . OR S O L E M N , AS THE THEME I N S P I P ' D I | R B L A + + ( . |R S ( + L > M , <Z ( > ) I / + M 1 N S P A ? + / R 8 D : 402 WITH THEM(1» WOULD SEARCH. I F N A T U R E ' S BOUNDLESS FRAME WI) ( E + M WUD S 3 / + R T * , I F NE r + T *S)/RZ B A = + NDL I S FPE*>M WAS C A L L ' D , L A T E - R I S I N G FPCM THE VOID OF N IG H T , W>Z K | + L8D ♦ LE*+TRA«r+ZI X FR>/M ( > VO=+D |V N A v + T , OR SPRUNG ETERNAL FROM TH* ETERNAL MI NOJ | R S P P > / t # IT a)/ t R N > L FR >/M ( • ITa i/+ RN> L MA* + ND5 I T S L I F E , I T S LAWS, I T S PR O GR ESS , AND I T S END. I T S L A * + F , I T S L | +7. , I T S P R | + G P F S , <ND IT S E + ND. HENCE LARGER P PO PEC TS OF THE RFAUTEQUS WHOLF HE + NS LA+RJffi/R P P | + S P F K T S |V ( > F Y U / + T I = S HO^ + L WOULD!1 ) , GRADUAL, OPEN ON OUR OPENING MINDS? S t® WU+D, GP< + DY >L , C^ + P N | N A = 3 / R 0* +P_N I X MA^+NDZI AND EACH D I F F U S I V E HARMONY U N I T E . <ND I / + T * C I F Y U / + S I V HA + RM>NI Y U / N A * + T , IN FULL P E R F E C T I O N , TO TH ' A S T O N I S H ' D E Y E . IN FU + L PiD/p FE + K}>N'» T U / ( • > S T | + N I * 8 T A «r + . T H E N ( l ) WOULD WF TRY TO SCAN THE MORAL WORLD. (E + N WUD W I / TRA< + T U / SKC+N ( > M | + R > L W 3 / + P L Q . WHICH! 1 ), T HD * TO US IT SEEMS EMBRO IL'D, MOVES rN<5> WI+ TS , ! 0 * ' T U / > / S IT S I / + M Z I MBRO= +LBD, MU/ + VZ j + N 5 IN HIGHER ORDER; F I T T E D , AND I M P E L L 'D , IN H A + + 3 / R l + R D S / p ; F I + T I D , <ND I M P E + L 8 D , ■ BY WISDOM'S ~ I N E S T HAND, AND I S S U I N G ALL BA* W I + ZD >MZ F A + + N I S T H<+ND, < ND I + S Y _ / I X | + L IN GENERAL GOOD. THE SAGE H I S T O R I C MUSE IN JE + NS)/R_L GU + D. !> SE* + J H I S T | + R I K MYU/ + Z SHOULD NEXT CGNDUCT(V> US THRO T H E D E E P S OF T I M E : SUD NE+KTS K > N 0 > / + K T > / S )RO*+ ! > D I / + P S |V TA*+MJ SHEW US HOW EMPIRE GREW. D E C L I N ' D , AND F E L L , $ 0 * + > / S H A = E + MP *ai/R G R U / + . CIKLAW+N8D. <ND F F + L . . IN S C A T T E R 'D STATES? .WHAT MAKES THE NATIONS S M I L E , S i b IN SK <+Tffl/P8D S T F ' t + T S ; W|T ME * + KS ( > N E *+ S > N Z SM A^ + L , IMPROVES T H F I R S C I L , AND GIVES THEM DOUBLE SUNS ; IM PR U/ + V Z !E = P S O = + L , <NC GI+VZ {EM D > / + B > L S > / + M Z I AND WHY THEY P I N F BENEATH THE BR IG H T E S T S K I E S . < ND WA*+ ! F P A * + N E I N I / + ) {> BRA * +T I ST S K I / + Z , IN N A TU R E' S RICHE ST L A P . AS THUS WE T A L K ' D , IN N E T + T J 3 / R Z R I + T S I S T L < + P . <Z ! > / + S W I / T | + K 8 T , OUR HEARTS WOULD BURN WITHIN US. WOULD INHALE _ = 3 / R HA+RTS WUD B 3 / + R N W I J I + N > / S , WUD INH £* +L THAT PORTION OF D I V I N I T Y , THAT RAY ( <T P | + R * > N |V D I V I + N I T I , ! < T RF* + OF PUREST HEAVEN, WHICH L IG H T S THE P U B L IC SOUL |V PYU = +R 1ST HE + V _N , WIT* LA*+T S !> P > / + 8 L I K S O ’ -'+L OF P A T R I O T S , AND C'F HEROES. BUT I F DOOM'D, |V P < + T R I = T S , <ND IV H I = + R G * Z . B > / T IF D U /+ M 8 D . IN POWERLESS HUM3LE FORTUNE, TO RE PR ES S IN PA=+ / P L I S H>/+MB>1 F | + P T S > N , T U / P I P R E + S THESE ARDENT R I S I N G S OF THE K IN D L IN G S O U L ; ! I / Z A + RD>NT R A * + Z IX Z jV ( > K I + N D L I X S O + L J . . THEN! 1 ) . EVE V S U P E R I O F TO A M B I T IO N , WE <>00 ( E+ N, I / + V N SYUP I= + RIS)/R T _ / < M B I + * > N , W I / WOULD LEARN THE PRIVA TE V I R T U E S ! HOW TO GLIDE WUD L 3 / + R N <> P P A * + V I T V S / + R T YU/Z ! HA= T U / GL A* +D THRO SHADES AND P L A I N S , ALONG THE SMOOTHEST STREAM ) R 0 * + *E*+DZ <MD P L F * + N Z , > L | + # <> S M U / + ( I ST S T P I / + M OF RURAL L I F E : OF SNA T CH 'D AWAY PY HOPE, | V R » / + R>L LA* + F I |R SN< + T*BT >WE»+ BA* HO* + P , THRO THE DIM SPACF.S OF F U T U R I T Y , )RO* + {> DI+M SPE** + S I Z | V F YU/T YU= + R I T I , WITH EARNEST e y e A N T I C I P A T E THOSE SCENES W I ) 3 / + R N I S T A+ + < N T I + S I P E * T ( 0 * Z S I / + N Z OF H A P P I N E S S . AND WONDER! WHERE THE MIND. - . |V H< + P I N I S , <ND W>/ + D 3 / R ; WE = R ! > MAY + ND, IN ENDLESS GROWTH AND I N F I N I T E ASCENT, IN E + N D L I S GRC *+) <ND I + N F I N I T >SF. + NT, R I S E S FROM STATE TO S T A T E . AND WORLD TO WORLD. RA+ + Z I Z F R > /M S T E * + T T U / STE* +T , <ND W3/+R LD T U / W 3 / + R L D . BUT WHEN WITH THESE THE S E R I O U S THOUGHT I S F O I L ' D , B > / T WEN W I ) ( 1 / 7 (> S I = + R I = S ) | + T I Z F O = + L 8 D . WE( 1 ) , S H I F T I N G FOR RFLIEF, WOULD PLAY THE S H A P F S W I / + . T-I+FTIX F | F R I L I / + F , WUD PLE* + (> S E ^ + P S OF F R O L IC FANCY! AMD I N C F S S A N T FORM |V FP | t L I K F < + N S I J <NC I N S c‘+ S > N T F | + R M THOSE R A P I D =>ICTUPFS. THAT ASSEMBLED T RA IN ( D * Z R< + P I O P I+K T 3 n'/RZ* ( <T > 5 E + M B > L D T R E * + N OF F L E E T I D E A S , NEVER J O I N ' D F E F O P E , C | V F L I / + T A a D I = + 7 , NE + V B / R J D = + N 3 D B I F | + R , WHENCE L I V F L Y WIT E X C I T E S TO GAY S U R P R I S E ; WENS L A + + V L I WI+T I K S A - + T S T U / GE* + S B / P P R A + + Z ! OF F O L L Y - P A I N T I N G HUMOUR, GRAVE H I M S E L ^ , | V F | + L I P F + + N T I X HYU/ + M S / R , GRF*+V H I M S E + L F , CALLS LAUGHTER F O R T H ! 5 ) . D F E P - E H A K I N G EVERY N E R V F • K | + L Z L A + F T B / R c | +R ) E , D I / + P S F ’ +K IX E+VRT N B / + R V • + MEAN-TIME THE VILLAGE ROUZES U P ( 5 ) THE F I R E ! + V I / +NT A •‘M ( > V I + L I J PA = + Z I Z > / + P £ ( > F A T + B / R ! WHILE WELL A T T E S T E D , AND AS WELL B E L I E V ' D , WA + L WE+u > T E + S T I D , <ND <Z WE + L P I L I / + V 8 P , HEARD SOLEMN, GOES THF G O B L I N - S T O R Y R 0 U N D < 5 ) ; H B / + R O S | + L > M , G C - + 7 <> G | + B L > N S T | R I R A = + N DF J T I L L S U P E R T I T I O U S HORROR C R 5 F P S O ' E R A L L , « T I L S U / P B / R S T I + $ > S H | + R B / R K P I / + P S | 9 P l + L . OR ( 1 ) , FF'EQUrNT I N THE SOUNDING H A L L , THEY WAKE | + R , F RT /+ K W E N T IN ( > 5 A = + N D I X H | + L , ( E * WE ) +K THE RURAL GAMBOL, R U S T I C MIRTH GOES ROUNDJ <> R B / + P > L G < + M B > L , P > / + ST IK M B / + R ) G O H Z RA=+ NC! THE S I M P L E JOKE THAI TAKES THE S H E P H E R D ' S HE AR T , ( > SI + MP>L JD^+K, ( < T T E ^ + KS ( > SE+Pffl/RDZ H A + P T , E A S I L Y P E A S E ' D I THE LONG LCUD LAUGH, S I N C E P F J I / + Z I L I P I / + Z 8 D; <> L | + # LA = + D L A + F , S I N S I = +RJ THE K I S S , S N A T C H ' D HASTY F r o m THE S ID E L O N G M A I D , ( > K I + S . S N O T $ 8 T HE * +S T I f r > / m ( > S 4 * + D L O # MEt +D, ON PURPOSE G U A R D L E S S , OP P R E T E N D I N G S L E E P : | N P 3 / + R P > S G A + P D L I S , | R P P I T E + N C I X s l i / + p : THE L E A R , THE S L A P , THE HAUL! AND( 1 ) « SHOOK TO NOTES {> L I / + P , ( > SL < + P * ( > H | + L ; < + ND, SU+K T U / NO* +TS OF NATI VE M U S I C , THE RESPON DEN T DANCE. |V NE* + T I V M Y U / + Z I K , (> R I S P | + N D > N T D < + N S . THUS JOCUND F L E E T S WITH THFM THE W I N T E R - N I G H T . ( > / + S J | +K >ND F L . I / + TS W I ) (EM ( > WI+N T ® / P N A ~ T . ,- + THE C I T Y SWARMS I N T E N S E . THE P U B L I C HAUNT, + ( > S I + T I SW j+P MZ I N T E + N S . ( > P > / + BL I K H| + N T , FULL OF EACH THEME, AND WARM WITH MIXT D I S C O U R S E {N ) , FU+L |V I / + T $ ) I / + M, <ND W|+RM WI ) M I + K S T D I + S K | R S , HUMS I N D I S T I N C T . THE SONS OF R I O T FLOW H > / + MZ I N D I S T I + WKT. ( > S > / + NZ. |V RA-f+>T F L O * + DOWN( 5 ) THE L O O S E ( AD J ) STREAM OF F A L S E INCHANTED JOY DA=+N5 (> L U / + S STPI/+M | v F | + L S I N T S A + N T I D J O = + * TO SWIFT D E S T R U C T I O N . ON THE RANKLED SOUL T U / S W I + F T D T S T R > / + K * > N . |N ( > R<+WK>LD S O+ +L THE GAMING F J R Y F A L L S ! AND IN ONE GULPH ( > G E++ MI X F Y U = + R I F j + L Z ! <ND IN W > /+ N G > / + L F OF TOTAL R U I N , HONOUR, V I R T U E , P E A C E , |V TO * + T> L R J / + I N , | + N 5 ) / R , V B / + R T Y U / , P I / + S , F R I E N D S , F A M I L I E S , AND F O R T U N E , HEADLONG S I N K . F R E + N D Z , F < + M I L I 7 . <ND F | + R T * > N , H E + D L | * S I + N K . U P —S P R I N G S THE DANCF ALONG THE L I G H T E D DOME, > / P S P R I + W Z ( > D < + NS > L | + * (> LA* + T I D DO++M, M I X ' D , AND E V O L V ' D , A THOUSAND S P R I G H T L Y WAYS. MI + K S 8 T , <ND I V | + L V 8 D , > >A = + S >N P S P R A * + T L I WE* + Z . , THE G L I T T E R I N G COURT E F F U S E S EVFFY POMPJ & ( > G L I + T / R I X K | + R T I F Y U / + Z IZ E + V R I P | + M P ; THE C I R C L E D E E P E N S : BE AM 'D FROM GAUDY R O B E S . ( > Sffl/+RK>L D I / + P > N Z : R I / + M 8 C F R > / M G | + D I R Q * + R Z . T A P E R S . AND S P A R K L I N G GEMS, AND RAD IANT E Y E S , T E + + P B / R Z , <ND S P A + P K L I X J E + M Z , <ND R E * + D I = N T A 4 + Z , 404 A SOF T EFFULGENCE- O ' F R THE PALACE WAVES: > S | + F T I F > / + L J > N S | PR ( > P< +L I S WF-*+vZ: W H I L E ( l ) , A GAY I N S E C T IN H I S ( l ) SUMMER S H I N E * W A H L t > GF* + I + N S E K T I N HI + 7 S > / + M 3 / R 5 A * + N . THE F O P , L I G H T - F L U T T E F I N G i S P R E A D S H I S MEALY W I N G S . ( > F | + P , L A ^ + T F L > / + T n ' / R _ X , S P P E + OZ H I Z M I / + L . I W l + tf Z . + PPE AD O ' E R THE S C E N F , THE GHCST OF HAMLET S T A L K S ? + DRE+D | 9F> ( > S I / + N , ( > GO* + S T |V H< + ML I T S T | + K S I O THELLO P A G E S ; POOR MON 1 MIA MOURNS; f l M F > L C , - R E ^ + J I Z ; PU=-+R M O N I + M l = M | + R N Z ? AND OE LV ID ER A POURS HER SOUL IN L O V E . <ND R E L V I D I = + P.> P | + P Z Ho)/R S f + L IN L > / + V . TERROR ALARMS THF B P E A S T ; THF COMELY T E A P ( 1 ) TE = + RS)/R > L A + R V 7 (> BREi+ST? <> K > / + M L I T I = + R S T E E L S O ' F R T HF C H F F K : OP F L S f THF COMIC MUSE S T I / + L Z | 9 R ( > T 4 I / + K : | P E + L S ( > K | + M I K MYU /+Z HOLD TO THE WORLD A P I C T U R E CF I T S E L F , H O t + L D T U / ( > W3)/ + RLD > P I + K T S 3 / F |V I T S E + L F , AND R A I S E S S - Y THE FAIR. I M P A R T I A L LA UG H . <ND P F ^ + Z I Z S L A + ( > F E = + R I M P A + P $ > L LA + F . SOMETIMES SHE L I F T S HFR S T R A I N , AND P A I N T S THE S C E N E S S > / + M T A '-MZ 4 1 / L I + F T S H 9 / R S T RE *•+ N, <ND P F » + N T S ( > S I / + NZ OF BEAUTEOUS L I F f ; W H A T E 'E R CAN DECK MANKIND, | V 3 Y U / + T I = S L A r + F ; W | T E = + 9 R K<N DE+K M < N K A* + N D , OR CHARM THE HE AR T , IN GENEROUS B F V I L S H F W ' D . | R T4A+RM {> H A + R T , IN J E + N _ / R > S P E + V > L S C * + 8 D . + OF T H O U ( I I , WHOSE WISDOM, S O L I D YET R E F I N ' D , + | V < A = + , H U / Z WI + ZD> M, S j + L I O YET R I F A^ + Nfl D, WHOSE P A T R I O T —V I R T U E S , AND CONSUMMATE S K I L L H U / Z P < + T R I = T V f f i / P T U / Z , <ND K | + N S > / M I T SK I + L TO TOUCH THE F I N E R S P R I N G S THAT MOVE THE WORLD, T U / T > / + T $ ( > FA<+NS>/R S P R I + W Z <<T M U /+ V ( > WS)/ + P L D , J O I N ' D TO W H A T E 'E R THF GRACES CAN BF ST O W , J 0 = + N 3 D T U / W | T E ~ + 9 F ( > G F E * + S I Z K<N B I S T O * + , t AND ALL A P O L L O ' S A N I M A T I N G F I R E , <NO | + L > P | + L O * Z < + N I ME *' T IX F A * + a ) / P , G I V E T H E E ( l ) , WITH P L E A S I N G D I G N I T Y , TO S H I N E G I + V ( I / + , W I ) P L I / + Z I X D I + G N I T I , T U / $ A » + N AT ONCF. THE G U A R D I A N , ORNAMENT, AND J O Y , <T W > / + NS ( > GA + P D Y > N , | + R N > M > N T , <ND JO = + , OF P O L I S H ' D _ I F E ; P E P M I T ( V ) THE RURAL MU SE , fV P | + L I 4 8 T u A^ + F ; P S ) / R M I + T <> P » / + R > L M Y U / + Z , 0 C H E S T E R F I E L D , TO GRACE WITH THEE HER SONG 0 * + T $ E + S T S / F ? F I =L D , T U / G R F * + S W I ) ( 1 / H 3 / R S | + ff X ERE TO THE SHA DFS A G A I N SHF HUMBLY F L I F S , E = R T U / ( > I E * + D Z > G E* + N 4 1 / H>/+MBL.I F L A * + Z , INDULGE HER -OND A M P I T I O N , IN THY T R A I N , 1 ND > / + L J H i ) / ? F | +ND < M B I + 4 > N , IN (AH TRE'” + N. ( F O P EVERY MUSE H A S ( l ) IN THY T R A I N A P L A C E ) 3 F | R E + VRI MY U /+Z H< + Z IN ( A * T P E f + N > P L E ^ + S * TO MARK THY V A RI OU S F U L L - A C C O M P L I S H «D M I N D : T U / MA + RK ( A * V r = + P I = S F U+ L > K | +MP LI 4 BT MA^ + ND: TO MARK THAT S P I R I T , W H I C H ( l ) , WITH B R I T I S H SC O R N , T U / MA + RK ( <T S P I = + R I T , W I + T 4 , W I) F R I + T I 4 S K | + R N , R E J E C T S T H ' ALLUREMENTS OF CORRUPTED POW ER; R 1 J F + KTS ( • > L Y U = + P M > N T S |V K > P > / + P T I D PA = + o ) / R ! THAT ELEGANT P D L I T E N F S S , WHICH E X C E L S , ( < T E + L > G > N I P > L A * + T N I S . W I T S I K S E + L Z , EVEN IN THE JUDGMFNT OF PRESUMP TUO US F R A N C E , I / + V _ N IN ( > J > / + JM>NT |V PR I Z > / + M P T Y U = S F R A + N S , THE BOASTED MANNFPS OF HER S H I N I N G C O U R T ; ( > BO * + ST ID M<+NS)/RZ IV H5)/R 4 A > + N I X K | + R T ; THAT W I T , THE V I V I D ENERGY OF S E N S E , ( <T W I + T , ( > V I + V I D E + N a ) / R J I | V S E + N S , THE TRUTH OF N A T U R E , W H I C H ( l ) , WITH A T T I C P O I N T , ( > T R U / + ) |V N L * + T * 3 / R , W I + T 4 , W I ) < + T I K P C = + N T , 405 AND KIND W E L L - T F W P F R ' D S A T I P F , SMOOTHLY K E EN , <ND KA++MD Wr+LTE + MPS) / R 8 D S < + T A » / R , S M U / + ( L I K I / + N , STEALS THPCUGH THE SOUL, AND WITHOUT P A I N CORRE CTS . S T I / + L Z ) F U / (> S C - '+ L , <ND. W I ) A = + T PE++N K > R E + K T S . O P ( l ) , R I S I N G THENCF WITH YET A BRIGHTER FLAME, | + R , R A * + Z I X ( E + N S WI ) YET > DPA»+To)/R F L E * + M , 0 LET ME HAIL T U F F ON SOME GLORIOUS DAY, 0* + LET M I / H E * + L ( 1 / |M S > / + M G L | + R I = S D E * + , . W H E N ( l ) TO THE L I S T E N I N G SEN A TE , ARDENT, CROUD WE + N T U / {> i_ I + S _ N I X S E + N I T , A + PD>NT, K P A = + C RR IT ANN IA * S SONS TT HEAR HER PLEACED C A U S E . B R I T < + N Y > / S > / + N Z T U / H l = + R H S / R P L I / + D I D K |+Z . THEN DREST BY T H E E ( l ) , MORE AMIABLY F A I R , C (EN DRE + ST BA> ( I / + , M | + F E*+MY>BLT F E = + R, TRUTH THE SOFT ROBE CF MILD PERSUASION WEARS: T R U / + ) ( > S | +FT R C ' U B |V M A » 4 LD P5>/RSWF^ + Q>N WE= + PZJ T H O U ( l ) TO A S S E N T I N G REASON G I V ' S T AGAIN (A=+ T U / >SE + NTI X R I / + Z >N G I + V 5 S T >GE*+N HER OWN E N L I G H T F N ' D THOUGHTS? C A L L 'D FROM THE HE AR T , H55/R 0 * + N INL A *tT >M fi C ) | + T S ? K | + L E D F R > / M ( > H A +R T , TH' OBEDIANT P A S S I O N S ON THY VOICE ATTEND I ( ' 0 W 5 I / + D Y > N T P > + $ > NZ |N ( A t VO= + S >TE + ND? AND EVEN RELUCTANT PARTY F E E L S A WHILE <ND I / +V>N R _ L > / + K T > N T P A + R T I F I / + L Z > WA*L THY GRACIOUS POWER: AS THRO THE VARY'D MAZE ( A * G R E * + $ > S PA = + _ / F : <Z )RO-^+ ( > VF = + R I 8 D ME*+Z OF FLOQUENCF, NOW SMOOTH, NOW Q U IC K, NOW STRONG, |V E + LOK W> N S , N A - + SMU/ + ( . NA = + K'WI+K, NA= + S T R | + # , . PROFOUND ANO CL E A R , YOU ROLL THE COPIOUS FLO OD . UTO PR>FA= +ND <ND K L I = + R, Y U / RO t + L ( > K O * + P I = S F L > / + D . + TO THY L O V ' D HAUNT RETU RN, MY HAPPY MUSE: + T U / (A* L > / + V8D H | +NT P I T S ) / + R N , MAT H<+P I MYU/ + 7 .? FOR NOW, BEHOLD, THF JOYOUS WINTER-DAYS. F | R NA = + , F I H O + + L D . (> J O = + > S W I +N T S /R D E - 4 Z , F RO ST Y , SUCCEED? AND THRO THF. FLUE S ER E NE , F R l + S T I , S > K S £ / + D ; <ND )RO» + ( > E L U / + S I R I / + N , POR SIGHT TOC F I N E , TH* ETHER IAL NITRE F L I E S ? •=|R SA*+T TU / + FA* + N * ( • I ) I = + P I = L N A + + T S / R F L A * + Z ? K I L L I N G I N F E C T I O U S DAMPS, AND THE SPENT A I R K I + L I X I N F E + K T * > S D < + M P S , <NC ( > SPE+NT F = + R STORING AFRESH WITH ELEMENTAL L I F E . ST | +RI X > F R E + $ W I ) E L I M E + N T > L L A * + F . C L O S E ( A D J ) CROUDS THF S H I N I N G ATMOSPHERE; AND B I N D S KLO*+S KRA =+ D Z ( > $ A * + N I X < + T M > S F I = R ? <ND PA»+NDZ OUR S TR E NG T H E N' D BO D IE S I N I T S COLD EMBRACE, _=S»/R STE + # O N 8 D B | + D I Z IN I T S K0*+LD I M B R F - + S , c o n s t r i n g e n t ; f e e d s , and a n i m a t e s our b l o o d ; K>NSTR I + N J > N T ; F I / + D Z , <ND > + N I M E * T S =85/ R B L > / + D ; R E F I N E S OUR S P I R I T S , THRO THE NEW-STRUNG N E R V E S , «->£> R I FA* +NZ _ = ffi/R S P I = + R I T S , JRO+ + ( > N Y U / + S T R > / + # NS1/ + R V Z , IN SWIFTER S A L L I F S DARTING TO THE BRAIN? IN SWI+FToi/R S< + L I Z D A +RT IX T U / ( > B R F * + N ; WHERE S I T S THE SC.UL, I N T E N S E , COLLECTED, COOL, WE = R S I + T S (> S O * + L , I N T E + N S , K>LE + K T I D , K U / + L . BRIGHT AS THE S K I E S , AND AS THE SEASON K E E N , B R A * + T <Z (> S K I / + Z , <ND <Z ( > S I / + Z > N K I / + N. ALL NATURE F E E L S THE RENOVATING FORCE 1 +L NE* +T $85/ R F I / + L Z (> P E + N O + V E * T I X F | + R S OF WINTER, ONLY TO THF THOUGHTLESS EYE (V WI+NT55/R, 0 + + N L I T U / ( > ) | + T L I S A* + IN RUIN S E E N . THE F P C S T - C O N C O C T E D GLERE IN R U / + I N S I / + N . (> FP | +STK>NK. | + K T I D G L I / + B DRAWS IN ABUNDANT VEGFTABLE SOUL, D R | + Z IN > t > / + N D > N T V F + J I T > B > L S O * + L , AND GATHERS VIGOUR FOR THE COMING YEAR. .......... <ND G < + ( 5 V R Z VI +CS)/F F | P ( > K > / + MIX Yo)/+R, A STRONGER GLOW S I T S ON THF L I V F L Y CHEEK > S T R | + #G5)/E G L O « + S I + T S |N ( > LA ++VLI T S I / + K 406 OF PUDDY FIFE: AND L UCULE NT ALONG 7/0 |V R>/+DI FA*+_/P: <ND L>/+KYU/L>NT >L|+# THE PURER RIVERS FLOW S THEIR SULLEN DEEPS* (> PYU=+P»/R RI + VS/PZ FLO*+S <F'=R S>/+L>N OI/+PS, TRANSPAPFNT, OPFM TO THE SHEPHERD'S GAZE. TR<NZPE“ + R>NT , Q=-+P>N TU/ (> -TE+PS/PDZ GE++Z, AND M URM UR HOARSER A T THE FIXING FROST. <ND Ma/ + KM S)/R H | +PSSI/R <T (> FI+KSIX FR|+ST. ^ + WHAT(1) ART( 1 ) THOU, FROST? AND WHENCE(l) APE THY KEEN + W | + T A + RT (A=, FR|+ST? <ND W F + NS A R { A* KI/+N ST | + F Z DERIV'D, THOU SECRET ALL-INVADING POWER, DIRA‘+VRDi (A = SI/+KPIT |+LINVE*+DIX PA=+ffl/P, W H O M EVEN TH' ILLUSIVE FLUID CANNOT FLY? HU/M I/ + V N (* ILYU/+SIV FLU/+ID K<+N|T FLA++? IS < 1 ) NOT~THY POTENT ENERGY, UNSEEN, I+Z N|+T < A «* PO++T>NT E+Na/RJI, >/+NSI/+N, MYRIADS OF LITTLE SALTS, OF HOOK'D, OR SHAP'D MI+RI=D7. |V LI + T>L S | +LTS , )P HU+K8T. |P $E*+PBT LIKE DOUBLE WEDGES, AND DIFFUS'D IMMENSE LA+K D >/ + B>L W F + JIZ, <ND DIFYU/+Z8D IME+NS THRO WATER, EARTH, AND ETHER? HENCE AT EVE, JROT+ w|+T»/R, S>/+R), < N D I/+)®/F? HE+NS <T I/ + V, STEAM'D EAGER FROM THE RED HORIZON ROUND(5), STI/ + MSD I/+Gffl/P FH>/M (> RF+D H0RA^+Z>N RA= +ND5, WITH THE FIERCE RAGE CF WINTER DEEP SUFFUS'D, WI) (> FI= + RS RE‘ +J (V WI+NT&'/F: CI/ + P S>FYU/+Z8D, AN ICY GALE, OFT SHIFTING, O'ER THE POOL <N A* + SI GE> +L, |+FT9 SI+FTIX, | < ?r (> PU/ + L BREATHES A BLUE FILM, AND IN ITS MID CAREER 3RI / + ( 7 . > BLU/+ FT+LM. <ND IN ITS MID K>RI=+R ARRESTS THE BICKERING STREAM. THE LOOSEN'D ICE, >RE + STS (> Bt +K_/PI X STRI/+M. {> LU/+S>N8D A* + S, LET(1 > D 0 W N(5) THF FLOOD, AND HALF DISSOLV'D BY DAY, LE+T D A = + N5 (> FL>/+D, <ND HA+F CISi+LV8D BA* DE*+. RUSTLES NO MORE! BUT TO THE SEDGY BANK R>/+S>LZ NOi + M}+R; B>/T TU/ (> SE + JI P<+«K FAST GROWS, OR GATHERS ROUND<5) THE POINTF.D STONE, FA+ST GRO^ + Z, ]R G<+(®/RZ RA = + ND5 (> PO=+NTID STO>f*N, A CRYSTAL PAVEMENT, BY THE BREATH OF HEAVEN > KPI+ S T >L PE*+VM>NT, BAv (> BRE+) |V HE+V>N CEMENTED FIRM; TILL, SEIZ'D FROM SHORE TO SHORE, 730 SIME+NTID FS/+SM; TIL, SI/+ZBD FF>/M l|+R TU/ * |+R » THE WHOLE I M P R I S O N ' D R I V E P GPOWLS BELOW. <> HO*+L IMPRI + Z> N8 D RI+Va/R GRA=+LZ BIL0* + . LOUD RINGS THE FROZEN EARTH, AND HARD REFLECTS LA=+D Rl+tfZ (> FPO^ + Z>N a/+R ) , <ND HA+PD RIFLE+KTS A DOUBLE NOISE! WHILE, AT HIS EVENING WATCH, > D >/+B >L N0 = + Z; ^A«L, <T HIZ I/+VNIX Wj+T$. THE VILLAGE DOG DETERS THE NIGHTLY THIEF; C> VI+LIJ D | + G DIT3/+RZ C> N A * + T LI )T/+F; THE HEIKFP LOWS; THE DISTANT WATFR-FALL (> HE+Ffl/P LO*+Z; (> DI+ST >NT W|+T3/PF|L SWELLS IN THE BREEZE; AND, WITH THF HASTY TREAD SWE+LZ IN (> BRI/+Z; <NP, WI) (> HE*+STI TPE+D OF TRAVELLER, THE HOLLOW-SOUNDING PLAIN |V TR< + V>LS>/R, (> H|+LO*SA=+NDIX PLE*- + N SHAKES FROM AFAP. THE FULL ETHEPEAL POUND, SE++KS FR>/M >FA+R. (> FU+L I)I=+RI=L PA=+ND, INFINITE WORLDS DISCLOSING TO THE VIEW, I+-NFINIT wa/ + PLDZ D IS KL O* +Z I X TU/ (> VYU/+, SHINES OUT(5) INTENSELY KEEN; AND( I ) . ALL ONE COPE 740 $A*+NZ A=+T5 INTF+NSLI KI/+N; <+ND, j+L W>/+N KO/+P OF STARRY GLITTER, GLOWS FROM POLE TO POLE. |V STA+RI GLI+TS/P, GLO*+Z FR>/M PC*+L TU/ PO++L. FROM POLE. TO POLE THE RIGID INFLUENCE FALLS, FR>/M PO»+L TU/ PO*+L (> R I + J I D I+NFL.U=NS F|+LZ, THRO THE ST I_L NIGHT, INCESSANT, HEAVY, STRONG, )ROT + (> STI+L NA* + T, INSE+S>NT, HE + V I . STR| + W , 407 AND S E I Z E S NATURE F A S T . I T F RE E ZE S ONJ <ND S I / + Z I Z N E * + T I n'/P FA + S T . IT F R I / + Z I Z | N I T I L L MORN, L A T E - R I S I N G O *FR THE DROOPING WORLD, T I L M | + R N , LE*+TFA> + Z IX I 9R (> P P U / + P I X Wff/+RLD. L I F T S HEP PALE EYE UNJOYOUS. THFN APPEARS L I + F T S Hffl/R PE *+ L A-* + > / + N J 0 * + > 5 . ( EN > P I = + P Z THE VARIOUS _A 30 U R OF THE S I L E N T N IG H T : ( > VE= + RI = S . E U B S / R |V ( > S A »• +L> NT NA< + T: PRONE FROM THE D F I P P I N G EAVE, AND DUMB CASCADE, PRO++N FR>/M ( > DPI + P I X I / + V, <ND 0 > / + M K< SKE*+D» WHOSE IDLE TORRENTS ONLY SEEN TO ROAR, HU/Z A*+ 0>L T|+P>NTS C^+NLI SI/+M TU/ P|+R. ^ THE PENDANT ICICLE*. THE FROST-WCRK FAIR, (St (> PF + ND>NT A>(+SIK>L; <> FP|+STW£/RK FE=+R. WHERE TRANSIENT HU FS, AND FANCY• D F I G U R E S R I S E ; WE=R T R < + N ? I = N T H Y U / + Z , <ND F < + N S I 8 D Fl+GY SJ/R Z RA ++ Z; WIDF— SPOUTED O ' E R THE H I L L , THE FROZEN BROOK, W A * + D S P A = + T I 0 | 9 P ( > H I + L , {> F P C * + Z > N BRU+K, A L I V I D TRACT, COLD-GLEAMING ON THE MCRN5 > L I + V I D T f < < t K T « KO-+LDGL I / + VIX |N ( > M | + R N ; THE F O R F 5 T BENT FENFATH THF PLUMY WAVE*. (> F | + R I S T RE+MT P I N I / + ) ( > P L U / + M I WE*+V; AND BY THE FROST R E F I N ' D THE WHITER SNOW, <ND BA*: ( > F P | + ST FIFA*-+N8U ( > WA*+Tffl/P SNO *+ , INCRUSTED HARD, AND SOUNDING TO THE TREAD INK R > / + S TI D HA + RD, <ND SA = +NDIX T U / ( > TRE+D OF FAPLY S HFP HE RD, AS HE PENS I V E ’ SEEKS |V S / + R L I $E + Pf 9 /R D . <Z H I / P E + N S I V S I / + K S H I S P I N I N G F_ C CK , OP FROM THE M O UNT AI N-T OP, H I Z PAK+NIX - L | + K , |R F R> /M (> M A = + N T I N T | P , P L E A S ' D WITH THE S L I P P E R Y SURFACE, SWIFT DE SC EN D S. P L I / + Z 8 D W I ) (> S L I + P _ / R I S a V + P F I S , S W I + F T D I S E + N D Z . + ON BLITHSOME F RO L IC KS BE N T , THE YOUTHFUL S W A IN S , /b + |N BL A *+ (S> M F P | + L I K S BE +N T, ( > Y U / + ) FUL SWE*+NZ. WHILE EVERY WORK OF MAN I S L A I D AT R E S T , WA*L E + VRI W51/ + RK |V M< + N IZ L E^ + D <T RE + S T , FOND O ' E R THE RIVER CPOUD, IN VAPIOUS SPORT F | +ND | 9P ( > RI+V65/R KRA=+D, IN V E = + R I = S SP 1+RT AND REVELRY D I S S O L V ' D ; WHERE MIXING GLAD, < ND RE +V>LRI D I S l + L V B D ; WF = R M I + K S I X GL <+D, H A P P I E S T Or ALL THF TRA IN THE R A P T U R 'D BOY H< + P _ I ST |V | + L ( > TRE*+NK ( > R< + PT$S1/P8D BO= + LASHES THE WHIRLING T O P . OR, WHERE THE P H I N F L < + $ I Z (> W a ) / + R L I X T | +P • | P , WE =P (> R A * + N BRANCH'D OUT{ 5 ) IN MANY A LONG CANAL EXTENOS, BR A+NT$3T A = +TS IN ME+NI _ L | + # K>N< + L IK STE + ND Z , FROM EVERY PROVINCE SWARMING, VOID OF CARE, FR > /M E+VRI = R | + V I N S S W | + R M I X , VC=+D |V K F = + R , BATAVIA RUSHES FORTH*, AND AS THEY SWEEP, B > T E * + V I = E > / + T.TZ F | R > ; <ND <Z <F + S W I / + P , ON SOUNDING S KA T E S. A THOUSAND D IF F E R E N T WAYS, |N SA= +NDIX S K E + + T S , > ) A=+S>ND D I + F _ / P > N T WF++Z, IN C I R C L I N G P O I S E , SWIFT AS THE W I N D S ( N ) , ALONG, I/O IN S a / + R K _ L I X P O r + Z , S W I +F T <Z ( > W I + N D 7 , > L | + W , THE THEN GAY LAND I S MADDEN'D ALL TO JO Y . <> (EN GE*+ L < + ND IZ M<+D>N8C | +L T U / JO = + . NOR L E S S THE NORTHERN COURTS, WIDE O ' E R THE SNOW, N | R L E + S (> N | + R ( £ / P N K | + P T S , WA^+D | 9P ( > SNO + + , POUR A NEW POMP. E A G c R . ON R A P I D S L E D S , P 1+ R > N U / + P | + M P • IZ+Gffl/R, | N P < + P I D S L E + D Z , TH EI R VIGOROUS YOUTH IN BOLD CONTENTION WHEEL <E = R V I + G / R> S Y U /+ ) IN BO*+LD K>NTE + Nf->N W I / + L THE LONG-RESOUNDING COURSE. M E A N -T IM E , TC R A I S E ( > L | + # R I Z A = + NDIX K | +R S • M I / + NTA-+-M, T U / P E * + Z THE MANLY S T R I F E . WITH HIGHLY-BLOOMING CHARMS. ( > M< + NLI S T R A * + F , WI) HA A + L I B L U / + M I X TSA + PMZ. F L U S H ' D BY THE SFA SU N , S C A N D I N A V I A ' S DAMES, F L > / + $ 8 T . BA* ( > S I / + Z > N , SK <N D IN E *+ V Y> Z DE*+M.Z, 408 + PURE* Q U I C K , AND S P O R T F U L , I S THE WHOLESOME DAYS ■ + • P Y U = + R . KWI+K, <ND S P | + R TF U L * IZ (> H O »+L S>M D E » + » BUT SOON C L A S S ' D . THE HORI ZON TA L SU N, C B > / T S U / + N K L A + S P 8 T . ( > h | P I Z | + N T > L S > / + N , BROAD O ' E R THE SOU T H, HANGS AT H I S UTMOST NOONJ /* 8 R | + D 1 9R (> S A - + ) , H< + *Z <T H I Z > / + T M C + S T N U / + N J AND, I N E F F E C T U A L , S T R I K E S THE G E L ID C L I F F . < N D , I N I F F + K T Y U = L , 5 T R A * + K S ( > J E + L I D K L I + F . H I S AZURE GLOSS THE MOUNTAIN S T I L L M A I N T A I N S , H I Z < + Qii)/ R G_ | + S <> M A = + N T I N S T I + L M E *N T E *4 N Z , NOR F F E L S THE FEEBLE T O U C H . PER HA PS THE VALE N | R F I / + L Z ( > F I / + B > L T > / + T $ . P a / R H < + P S ( > V F * + L RELE NTS A WHILE TO THE R E F L E C T E D PAY? R I L E + N T S > WAAL T U / ( > R I F L E + K T I D P E « + ; OP FROM THE FOREST F A L L S THE C L U S T E R ' D SNOW, | R F R > / M ( > F | + R I S T F | + L Z ( > K L > / + S T 5)/ R 8D S N 0 * + . MYRIADS OF GEMS, THAT I N THE WAVING GLEAM M I + R I = D 7 }V J F + M Z , <<T IN C> WF‘! + V I X G L I / + M GAY-TWINKLE. AS THEY S C A T T E R . THICK AROUND GET+TWI VK>L <Z { E*' S K < + T a / R . ) I+K > P A = + N D THUNDERS THE SPORT OF T H O S E , WHO WITH THE GUN, ) > / + NDS>/R7 ( > SP | + 0 T IV < 0 * Z , H U / Wl> ( > G > / + N , AND DOG IM P A TI EN T B OU NDI NG AT THE S H O T , <ND D | + G I M P E * + S > N T R A = + N D I X <T ( > $ | + T , WORSE THAN THE S E A S O N , D F S O L A T E ( V ) THE F I E L D S ; t"° W S / + R S ( >N ( > S I / + Z > N , DE+SCL.t*.T ( > F I / + L D 7 ! A ND, ADD ING TO THE R U I N S OF THF Y E A R , < N D , < + DI X T U / ( > R U + I N Z | V <> YaV + R. D I S T R E S S THE FOOTED OP THE FFAT HF F * D GAME. D I S T R E + S ( > F U + T I D | P ( > F E + O / R B D GE" + M. + BUT WHAT I S T H I S ? ’ OUR INFANT WINTER S I N K S , + B > / T W | T IZ ( I S ? _= 6/ P I + N F > N T WI+NTSJ/R S I + # K S , D I V E S T E D OF H I S GP A ND F UR , SHOULD OUR EYE OIVE + S T I C |V H I Z GR < + N Jffl/R , SUP _ = a ) / R A-" + A S T O N I S H ' D SHOOT INTO THE F R I G I D ZONE J > S T | + N I S 8 T S.U/ + T I + N T U / ( > F R I + J I D ZO* + N*. WHERE. FOR R E L E N T L E S S MONTHS, CONTINUAL N I G H T , WF=R. F | R R I L E + N T L I S M > / + N ) S , K > N T I + N Y U = L N A A + T , HOLDS O ' E R THE G L I T T E R I N G WASTE HFR STARRY R E I G N . H O ' + L D Z | PR ( > GLI + T / R I X WE-' + S T Hol/R S T A + R I P E * + N . + TH E RE . THRO THE P R I S O N OF UNBOUNDED W I L D S , + ( F = R. ) R 0 * + ( > P P I + Z >N | V > / + N R A = + N D I D WA ^+L DZ , BA R R ' D BY THE HAND CF NATURE FROM E S C A P E , BA + R8D BA* ( > H< + ND | V N F * + TSS>/F FR > / M F S K E Y + P , WIDE-RO AMS THE R U S S I A N E X I L E . NOUGHT AROUND **>0 WAY+DRO*+MZ ( > R > / + S > N E + K S A i L • N | + T > R A ? + N D S T R I K E S H I S SAD E Y F , BUT D F S A P T S LOS T IN SNOW; S T R A T + K S H I Z S < + D A-f + . B > / T DE + ZARTS L | + S T IN SNO + +J AND HE AVY -LO AD ED GROVES 5 AND S O L I D F L O O D S , < ND HE + V I L C * + D I D GR O^ +V Z I <ND S | + L I D F L > / + D Z , THAT S T R E T C H , ATHWART THF S O L I T A R Y V AS T , ( <T S T R E + T S , > ) W | + R T ( > S I +L I T aV P I VA + S T , THEIR ICY HORRORS TO THE FROZEN MA IN ; ( E = P A ~ + S I H | + R 3) / P Z T U / ( > F R D » + Z > N M E * + N ; AND CHEAR LES S TOWNS F A R - D I S T A N T , NEVER B L E S S ' D , <ND T S I = + R L I S TA = + NZ FA + R D I S T > NT , N'E + V S / R BLE + S 9 T , SAVE WHEN I T S CGUPSE THE CARAVAN S E * + V WEN I T S K | + PS ( > K<+-P>V<N BENDS TO THE GOLDEN COAST OF R IC H CATHA Y, BE+NDZ T U / ( > GO+ + L O N KOF + ST |V R I + T $ K > ( E * + , WITH NEWS OF H U M A N - K I N D . YET THFRE L I F E GLOWS; WI ) N Y U / + Z |V H Y U / + M >N K A * ND . YET ( F = R LA* +F G L O * + Z : YET C H E R I S H ' D T H E R E , BENEATH THE S H I N I N G WASTE. YET T $ E = + RI $ 8 T (E = R . B I N I / + ) ( > S A + + N I X W E * + S T , THE FURRY N A T IO N S HARBOUR: T 1 P T WITH J E T , V.IO ( > FS)/ + RI NF^ + S>N Z H A + R R S I /R : T I + P T W I) J E + T , 409 F A I R ERMI NES , S P O T L E S S AS THF. SNOWS THEY P R E S S i F E= +R 3 / + R M I N 7 , S P | + T L I S <Z (> S N G* +Z < F - PRE + SI S A B L E S , OF G_QSSY BLACK; AND DARK-FMORCWN' D , S E * + B > L Z . |V GL | + S I E L < + K : <ND DA+RKI MSPA = + N 8 D , OR BEAUTEOUS FREAKT WITH MANY A MINGLED HUE, |R B Y U / + T I = S F R I / + K T WI) MF + NI M I+ G>LD H Y U / + , t h o u s a n d s b e s i d e s , t h e c o s t l y p r i d e OF CO URTS, )A = + S > N D Z R I S A * + DZ, ( > K | + S T L I PRA + + D |V K | + R T S . THERE, WARM IOGET HER P R E S S ' D , THE TROOPING DEER ( E = R , W|+RM T > G E + ( ® / R R R E + S 6 T , {> T P U / + P I X D I = + F SL E E P ON THE NEW-FALLEN SNOWS; AND, SCARCE H I S HEAD S L I / H P |N ( > N V U / + F [ + L N SNQ h. + z ; <ND, SKE= + RS HIZ HE + D R A I S ' D O'ER THE Ht'APY WREATH, THF BRANCHING ELK R E * + Z 8 D | 9R { > H I / + P I P I / + ) . ( > B R A + N T S I X E+LK L I E S SLUMBERING SULLFN IN THE WHITE A B Y S S , LA*: + Z S L > / + M 3 _ / P I X S > / + L>N IN ( > WA»4-T > B I F S . THE RUTHLESS HUNTER WANTS NOP DOGS NCR T O I L S , ( > R U / + J L I S H > / + N T a / R w | + N T S N | F D | + G Z N | R T C = + L Z , NOP. WITH THF DREAD OF SOUNDING B C W S ( l ) HE DR IV E S 9 2 0 N | R WI) ( > DRE + D |V S A= +NDIX B m + Z H I / DRA-UVZ THE FEARFUL F LY IN G RACE; WITH PONDEROUS C LU B S , ( > FI = + RF UL F L A + + I X R l f v + S ! WI) P ) + N D _ / P > S K L > / + E Z , AS WEAK AGAINST THE MOUNTA IN- HE APS THEY PUSH <Z W I / + K >G E * + N S T ( > M A = + N T I N H I / P S I E * P U + $ THEIR BEATING BREAST IN V A I N , AND P I T E O U S BRAY, ( E = R R I / + TIX BRE + ST IN VF. + + N 1 <ND P l + T t = S B PE ‘<+, HE LAYS THEM Q U IV E RI N G ON TH' E N S A N G U I N ' D SNOWS, H I / LE* + Z (EM KWI + V a) / R I X _ N ( ' TNSC + tfGWINBD S N O * + Z , AND WITH LOUD SHOUTS R E J O I C I N G BEARS THEM HOMF. <ND WI) LA = + D $ A = + T S R I J 0 = + S I X BF=+RZ (EM HO*+M. THERE THRO THE P IN Y FOREST H A L F - A B S O R P T , ( E = P )ROH+ (> P A »r + N I F | + P I S T HA+ F >B S | + R P T , ROUGH TENANT OF THESE S H A D ES , THE S H A P E L E S S B EAR , R > / + F TE+N>NT |V ( I / Z ! E * + D Z , ( > $ E * + P L I S B E = + R . WITH DANGLING ICE ALL HORRID . STALKS FORLORN; WI) D<+ #GLI X A * + S | + L H | + P I 0 , S T | + K S F | R L | + P N ; S L O W - P A C ' D , AND SOURER AS THE STORMS I N C R E A S E , S L 0 + F P E T + S 8 T , <ND S A = + S / R _ / R <Z ( > S T | + P M Z T M K R I / + S , HE MAKES H I S BED BENEATH TH' INCLEMENT D R I F T , 130 H I / MF*+KS HIZ E3E+C F ' I N I / + > ( • I+N L >M>N T D R I + F T , AND, WITH STEFN P A T I E N C E , SC 0 RNING~WEAK COMPLAINT, < N D , WI ) S T a V + P N PE ■* + $ > N S , S K | + R N l X W I / + K K>MPLF* + N T , HARDENS H I S HEART AGAINST A S S A I L I N G WANT. HA + RD>NZ HIZ HA+PT >G E * + N S T > S E * + L I X W | + N T . + WIDE O' ER THE S P A C I O U S REGIONS CF THE NORTH, WA*+D | 9R ( > S P F * + $ > S R I / + J> N Z |V ( > N | + R ) , THAT SEE BOOTES URGE H I S TARDY WAIN, ( < T S I / + R U / + TS S / + PJ HI Z TA + RDI WE*+N, A B O IS T E R O U S R A C E , BY FROSTY CAURUS P I E R C ' D , > 3 0 = + ST / R > S P E * + S , BA f F R | + £T I K|+R>S PI=+RS8T, WHO L I T T L E PLEASURE KNOW AND FFAR NO P A I N , H U / LI + T>L PLE+Q51/R NO? + <ND F I = + R N 1 * + PE^ + N , P R O L I F I C SWARM. THEY ONCE RELUM'D THE FLAME P R > L I + F I K S W |+ R M . ( E* W > / + N S P I L Y U / + M 8 D ( > FLE*+M OF LOST MANKIND IN P O L I S H ' D SLAVFRY SUNK, |V L | + S T M<NKA t + ND IN P | + L I * 8 T S L F * + V _ / P I S > / + NK, DROVE MARTIAL HCRDF LN HORDE, WITH DREADFUL SWEEP DROJ + V MA+R$>L H | + R D |N H | + R C , WI) DRE + DFUL S W I / + P R E S I S T L E S S RUSHING O • FP TH* ENF FFBLED SOUTH, t40 R I Z I + S T L I S R > / + TI X | 9 R ( ' I N F I / + B>LD SA = + ) , AND GAVF. THF V A N Q U I S H ' D WORLD ANOTHER FORM. <ND GE^+V ( > V<+#KW 1$ 8T W » / + P L D > N > / + ( S ) / P F | + R M . NOT 5UCH THE SONS OF LAPLAND: WISELY THF Y N [+ T S > / + TJ { > S > / + N Z 1v l < + p l < n d : WAT + ZLI ( E * D E S P I S E TH * I N S E NS A TE BAPRAPCUS TRADE OF WAR; DI SPA ( ' I NSE+N SE* T BA + FB R >S TRE *+D |V W | + R ; THEY ASK NO MORE THAN SIM PLE~NATUPE G I V E S , CE* A+SK N O » t M | + R O N S I + M P > L NE * + T $ 3 / R G I + V Z , 410 THEY LOVE T HE IR MOUNTAINS AND ENJOY T H E I R S T O R M S . <E * L > / + V (E = R MA = + N T I N Z <ND I N J 0 = + (E = R S T | + R M Z . NO F A L S E D F S I R L S . NO P R I D E - C R E A T E D WANTS. NOf + F | +L S DI ZA' +SJ/RZ , NO’*-+ PR A* OKR / E* + T I D W | + N T S . D I S T U R B THE PE ACEFUL CURRENT CF T HE IR T IM E ! D 1 S T 3 / + R B ( > P 1 / + S F U L KS)/<-R>NT |V (E = R T A* +M ; AND THRO THE R E S T L E S S E V E R - T O R T U R • D MAZE < ND )RC1:-+ ( > P E + S T L I S E + V 3 / R T | +PT $ a )/ R 8 D ME*+ Z , OF P L E A S U R E . OR A M B I T I O N , B I D IT R A G E . 241 | V P L E + Q S / R , |R < M B I + $ > N , P I + O IT R E ^ + J . T H E I R R A I N —DEER FORM THEIR R I C H E S . THOSE T HE IR T E N T S . ( E =P R E * + N D I = R F | + R M ( F = R R I + T J I Z . ( D * Z ( E=R T E + N T S , T H E I R R O B E S , T H F I R B E D S , AND ALL T H E I R HOMFLY WFALTH (E = R R O H B Z . ( E = P B E + D Z , <ND | +L ( E=R HO*+MLI W t + L ) S U P P L Y , THEIR WHOLESOME B A R E , AND CHEARFUL C U P S . S > P L A + + , <E=R H O «+L S>M F E = + R , <ND T $ I = + R F U L K > / + P S . O B S E Q U IO U S AT T HE IR C A L L , THE D OC IL E T R I B E > B S I / + K W I = S <T <E = R K | + L » ( > D J + S > L T RA ++ R Y I E L D TO THE S L ED T HE IR N E C K S , AND WHIRL THEM SWIF T Y I / + L D T U / ( > S L F + D ( E = R N F + K S , <ND W 3 / + R L (EM S W I + F T O ' E R HI LL AND D AL E , H E A P ' D INTO ONE E X P A N S E | 9 R H l f L <ND DE* + L , H I / + P 8 T I + N T U / W > / + N I K S P < + NS OF MARBLED SNOW, OR CAR AS EYE CAN SWEEP | V MA + R B>LD S N C * + , |R FA + R <Z A * + K<N S W I / + P WITH A BLUE CRUST OF ICE UNBOUNDED G L A Z ' D . WI ) > B L U / + K R > / + S T {V A * + S > / + NBA= + N D I D G L E fc+ Z R D . BY DANCING METEORS TH E N, THAT C E A S E L E S S SHAKE B A* D < + N S IX M I / + TYo)/RZ ( F N , ( < T S I / + S L I S SET + K A WAVING BLAZE REFRACTED O ' E R THE H E A V E N S • > WE-HV IX BL E + + Z R I F R < + KT ID | PR ( > H E + V > N Z I AND V I V I D MOONS, AND STAR S THAT KEENER PLAY TbO <ND V I + V I D MU/ + N Z , <ND STA + RZ < <T K I / + N B / R P L E * + WITH DOUBLED LUSTURE FROM THE RAD IANT WA STE , W I ) D > / + B>LD L > / + S T f f l / R F P > / M ( > F E * + D I = N T W F * + S T , EVEN IN THE DEPTH OF POLAR N I G H T , THEY F I N D I / + V_N IN ( > D F + P ) | V PO*+Ln>/R N A * + T , ( E * F A + + N D A WONDEROUS DAY: ENOUGH TO LIGH T THE CHA CE, > W > / + N D _ / R > S DE* + : I N > / + F T U / L A U T ( > T * E * + S , OR GUIDE T HE IR DARING S T E P S TO F I N L A N D - F A I P S . | R GAT+D (E = R D E = + R I X S T E + P S T U / F I + N L > N D F E = R Z . W I S H ' D S P RI NG R E T U R N S ; AMD FROM THE HAZY SO U T H, W I + I S T S P RI + V R I T S / + RNZ; <ND F P > / M ( > HE* + ZI S A = + ) , WHILE DIM AURORA SLOWLY MOVES B E F O R E , WA*L D I+ M > R O * + R > S L O r + L I M U /+ V Z B I F J +R , THE WELCOMF S U N , J U S T V ERG IN G U P ( 5 > AT F I R S T , C> WE + LK>M S > / + N , J > / + ST V P / + R J I X > / + P 5 <T F 3 / + F S T , BY SMALL DEGREES EXT END S THE SWELLING CURVE; BA* SMA+L D I G R I / + Z I K S T E + N D Z ( > S W E +L IX K 3 / + R V ; T I L L SEEN AT LAST FOR GAY R E J O I C I N G MONTHS, T I L S I / + N <T L A + S T F | R GE* + P I J O = + S I X M > / + N ) S , S T I L L ROUND AND R OUN D, H I S S P I R A L COURSE HE W I N n S C V ) , ® * 0 S T I + L RA=+ND <ND RA = + N D , H I Z S P A ^ + a / R . L K | + R S H I / W A-+ +NDZ, AND AS HE NEARLY D I P S H I S FLAMING O R B , <ND <Z H I / N I = + RLI D I + P S HIZ FLE*' +MIX 1 + R B . WHEELS U P ( 5 ) A G A I N , AND R E A S C E N D S THE S K Y . W I / + L Z > / + P 5 > G ! i » + N , <ND R I / + > S E + MDZ ( > SKA-+ + . I N THAT GLAD S E A S O N , FROM THE LAKFS AND F L O O D S . IN ( <T GL < + D S I / + Z > N , F R > / M ( > t E * + K S <ND F L > / + D Z , WHERE PURE N I E M I ' S FA IR Y MOUNTAINS R I S E , WF=R P YU= +R N I / E + M I Z F E = + R J M A = + N T IN Z R A * + Z . AND F R I N G ' D WITH R D S E S T E N G L IO ROLLS H I S ST REAM, <ND F R I + N J 6 D W I) RO^ + Z IZ TO + WGL I _ R D * + L Z H I Z S T R I / + M, THEY DRAW THE C O P I O U S F R Y . WITH T H E S E , AT E V E . ( E * D R | + ( > K O ' + P I = S FR A* + . WI) ( I / Z , <T I / + V , THEY C HE A R F U L -L O A D E D TO THEIR T EN T S R E P A I R ; < E * T $ I = + RFU L LO >; + DI D T U / <F=R T E + N T S R I P E = + R; WHERE. ALL DAY LONG IN USEFUL CA P E S E M P L O Y ' D , W E=R. 1 +L D E + + L | + # IN Y U / + S F U L K L = + R Z I M P L O = + e D , 411 T H E I R K I N D UNBL E M I S H ' D W IV E S THE F I R E P R E P A R E . HO ( E = P K A * + N D > / N R L E + M I $ 8 T WA^+VZ ( > F A * t _ / R P R I P E = + R . T H R I C E HAPPY RACE BY POV ERT Y S E C U R ' D IRA + + S H< + P I RE k + S% B A t P | + V n ) / P T I S I K Y U = f R 8 D FROM LEGAL PLU ND FR AND R A P A C I O U S POWER: F R > / M L I / + G > l PL > / + ND 31/R <ND R > P E * + S > S P A = t 5 ) / R : I N WHOM F EL L I N T E R E S T NEVER YET HAS SOWN I N HU/ M F E + L 1 + N T _ / P I S T N E + V 3 / P YET H> Z S O * + N THE S E E D S OF V I C E ? WHOSE S P O T L E S S S W A I N S N E ' E R KNEW ( > S I / + O Z | V V A i + S ; H U / Z S P | + T L I S S W E * + N Z N 5 = + ® R N U / + I N J U R I O U S D E E D . N O R . B L A S T E D BY THE BRE ATH 1NJS1/ + R I - S D I / + D . N j R , DLA + S T I D BA ^ ( > B R E + ) OF F A I T H L E S S L O V E . T H E I R BLOOMING D A U G H T F R S WOE. | V F E ^ + ) L I S L > / + V . ( F = R B L U / + M I X D | + T 3 / R Z WO'<+. + S T I L L P R E S S I N G O N , BEYOND T O P N E A ' S L A K E . C * S T I + L O R F t S I X | N , B I Y | + N D T l + R N I = Z L E + t K , AND HECLA FL A MI N G THRO A WASTE OF SNOW, <N D HE * K L > F L E ' + M I X ) P O * + > ViE»+ST | V SNCH>+, AND F A R T H E S T G R E E N L A N D , TO THE PCL E I T S E L F , <N D F A + R { 1 S T G R I / + NL > N D , T U / ( > P C * + L I T S E + L F , WHERE F A I L I N G GRADUAL L I F E AT L F N G T H GOES 0 U T < 5 > , WE=R F F ■ < + L I X GR < T D Y >L L A w + F <T L E + # ) GO* + Z A = + T 5 , THE MUSE E X P A N D S HER S O L I T A R Y F L I G H T ; T ? 0 ( > MY U/ + Z I K S F < + NDZ H a / R S | + L I T a / R I F L A * + T f A N D . HO VE R IN G O ' E R THE WILD S T U P E N D O U S S C E N E , < N D , H> / 4 - V _ / R I X | 9R ( > WAv+LD S T Y U / P F + N D > S S I / + N , B EH OL D S NEW S E A S B EN EAT H ANOTHER S K Y . B I H O < + L D Z N U / + S I / + Z B I N I / + ) > N > / + ( S ) / R S K A Y + . T H R O N ' D IN H I S P A L A C E CF C F R U L E A N I C E , )R0*-»-N8D I N H I Z P < +L I S | V S I R U / + L I = N A * + S , HERE WINTER HOLDS H I S U N R E J O I C I N G C O U R T ; HI = R W I + N T S i/ R H O * + L D Z H I Z > / + NR I J 0 = + S I X K | + R T ; AND THRO H I S A I R Y HALL THE LOUD M I S R U L F - <ND ) R O H H I Z F-= + RI H | + L ( > LA = +D M I S R U / + L OF D R I V I N G T E M P E S T I S FOF- EVER HF A R D : | V O R A T + V I X T E + M P I S T IZ F | R E + V 55/R H S / + R D : HERE THE GRIM TYR ANT M E D I T A T E S H I S WWATHJ H I = R ( > GRI+ M T A + R > N T M E +D I T E >r T S H I Z R f + JJ HERE ARMS H I S W I N D S ( N ) WITH A L L - S U B D U I N G F R O S T ; H I = R A+RMZ H I Z W l+ N D Z W I ) ( + L S > B C Y U / + I X F R | + S T ; MOULDS H I S F I E R C E H A I L , AND T R E A S U R E S U P ( 5 > H I S SN OW S , MO* +LD Z H I Z - I = +R S H E * + L . <ND T R E + Q S / R Z > / + P 5 H I Z S N T * + Z , W IT H WHICH HE NOW O P P R E S S E S HALF THE G L O B E . %>0 W I) WIT'S H I / NA = + > PR E ♦ S I Z HA + F ( > GLO-^+B. *■ THENCE W IN D I N G EASTWARD TO THE T A R T A R ' S C O A S T , + ( E + N S W A* + NDI X I / + S T W 5 ) / R D T U / ( > TA + R T S / P Z K O * + S T , SHE S W E EP S THE HOWLING MARGIN CF THE M A IN ? $ 1 / S W I / + P S ( > HA = + LI X M A + R J I N (V ( > M F * + N J WHERE U N D I S S O L V I N G . FROM THE F I F S T OF T I M E . - ... WE=R > / + NDI Z | + L V I X , F R > / M ( > F 8 I / + R S T | V T A * + M , SNOWS SWELL ON SNOWS AMAZING TO THE S K Y ; 5 N O * + Z SWF + L | N S N O ^ + Z > M E * + Z I X T U / ( > S K A * + ; AND I C Y M O U N T A IN S H I G H ON MO U N TA IN S P I L ' D , < N D A* + S I M A = + N T I N Z H A * + | N MA = + N T I N Z P A + + L 8 D , SEEM TO THE S H I V E R I N G S A I L O R FROM A F A R , S I / + M T U / ( > $ I + V _ / R I X ST k + L S / P F R > / M > F A + R , S H A P E L E S S AND W H I T E . AN ATMOSPHERE O^ C L O U D S . £ E * + P L I S <ND WA * + T « < N < + T M > S F I = R | V KL A = + D Z . P R O J E C T E D HUGE, AND H O R R I D , O ' E R THE S U R G E . P R > JE + K T I D H Y U / + J , <ND H | + R I D , | 9 P ( > S51/ + R J , A L P S FROWN ON A L P S ! OR R U S H I N G H I D E O U S D O W N I 5 ) , < t L P S F R A = + N | N < + L P S ; | P R > / + f I X H I + D I = S D A = + N 5 , AS I F OLD CHAOS WAS A G A I N R E T U R N ' D . Y/O < Z I F O^ + LD K E * + > S W>Z > G F * + N F I T 3 / + R N 8 D , W I D E - R F N D THE D E E P , AND SHAKF THE S O L I D P O L E . W A* +D RE +N D ( > D I / + P . <ND tF -i + K ( > S | + L I D P O * + L • OCEAN I T S E L F NO LONGER CAN R E S I S T 0 * * S > N I T S E + L F N 0 * + L | + # G S > / R K<N R I Z I + S T 412 THE B I N D I N G FU R Y: BUT* IN ALL I T S RAGE <> B A ' + N D I X F Y U = + R I I B > / T , IN |+L I T S R E + + J OF TEMPEST TAKEN BY THE B OU NDL ESS F R O S T , |V T E + M P I S T T E * + K > N BA* ( > O A = + N D L I S F R j + S T . I S MANY A FATHOM TO THF BOTTOM C H A I N ' D . I Z M5 + N_ > F < + { > M T U / C> 8 | + T > M T $ E * + N 8 D , AND B I D TO ROAR NC MOPEt A BLEAK E X P A N S E , <ND R I + D T U / R | +R NOt + M | + P : > B I . I / + K I K S P < + N S . SHAGG'D O ' E R WITH WAVY ROCKS, C H F A R L F S S , AND VOID * < + G 8 D | 9 R WI) WE— + VI R | + K 5 , T $ I = + R L I S , <ND VO = + C OF EVERY L I F E , THAT FROM THE DREARY MONTHS | V E + VRI L A * + F , ( <T F R>/M <> D R I = + R I M > / + N ) S F L I E S C O N S CI O US SOUTHWARD. M I S F P A B L F THEY F L A + + Z K | + N £ > S S A = + ) W 5 ) / R D . MI + Z S i / P > B > L ( E * « WHO( 1 ) • HERE ENTANGLED IN THE GATHERING I C E . nZO H U / + , H I = « I NT < + # O L D IN (> G < + { _ / R I X A* + S , TAKE T H E I P LAST LOOK OF THE D E S C E N D I N G SUN I T E * + K ( F = R L A + S T LU+K |V ( > D I S E + N D I X S > / + N J WHILE. FULL OF D E A T H . AND F I E R C E WITH TENFOLD F R O S T , WA*L. F U+ L |V D E + ) , < ND F I = + R S WI) T £ + N F O * L D F R | + S T , THE LONG LONG N I G H T , INCUMBENT C ' E R THE I P H E A D S , ( > L | + * L | + # N A H T , I N K > / + MB>NT | 9R ( E = R H F + D Z . F A L L S H O R R I B L E . SUCH WAS THE B R I T O N ' S F A T E , F | + L Z H | + R I R > L • S > / + T $ W>Z ( > B P I + T > N Z F E * + T , AS WITH P I R S T PROW, (WHAT HAVE NOT B R I T O N S D A R • D ) <Z WI) F 9 / + P S T P R A = + . 3 W|T H>V N | + T B R I + T > N Z D E = + R 8 D 4 HE FOR THE P A S S A G E SOUGHT, ATTFMPTED S I N C E H I / F | R ( > P < + S I J S | + T , >TE+ MPT ID S I N S SO MUCH IN V A I N . AND SEEMING TO PE SHUT SO* M>/ + T*T. IN V E » + N , <MD S I / + MIX T U / B I / * > / + T BY JEALOUS NATURE WITH ETERNAL B A R S . BAY J E + L > S NE + +T S'ffi/R W I) I T 9 / + P N >L BA + R Z . IN THESE FELL R E G I O N S , IN A R Z IN A CAUGHT, IN ( I / Z F E + L R I / + J > N Z . IN A R Z A * + N > K | + T , ^ AND TO THE STONY DEEP H I S ID L E S H I P l 3 0 <ND T U / ( > S T O fc + N I D I / + P HIZ A* +D>L $ I + P IMMEDIATE S E A L ' D , HE WITH H I S H A P L E S S CREW, I M I / + D Y > T S I / + L 8 D , H I / W i ) H I Z H < + P L I S K R U / + , EACH FULL EXERTED AT H I S SEV E R AL T A S K , I / + T S FU+L I G Z 5 5 / + P T I D <T HIZ S E + V a ) / R _ L TA + S K , FROZE INTO S T A T U E S ; TO THE CORDAGE GLUED F R O * + Z I + N T U / S T < + T Y U / Z J T U / ( > K | + R D I J G L U / + D THE S A I L O R , AND THF P IL O T TO THE HELM. ( > S E * + L a / R . <ND ( > P A * + L > T T U / ( > HE +L M . +H A R D BY THESE S H O R E S , WHERE SCARCE H I S F R E E Z I N G STREAM +HA+RD BA* ( I / Z $ | + R Z , WE=R S K E = + P S H I Z F P I / + Z I X S T R I / + M ROLLS THE WILD O B Y , L I V E ( V ) THE L AS T OF MEN; RO *+L Z (> WAT+LD 0 « + D I , L I + V ( > L A + S T |V ME+N? A N D , H A L F - E N L I V E N ' D BY THE D I S T A N T S U N , < N D , H A + F I N L A * + V I N 8 D BAY ( > D I + S T > N T S > / + N , THAT REARS AMO R I P E N S MAN, AS WFLL A S P L A N T S . ( <T RI = + P. Z < ND RA>; +P >N Z M< + N , < 7 WE + L <Z PLA + N T S , HERE HUMAN NATURE WEARS I T S R U D ES T FORM. H I = R H Y U /+ M >N N E * + T t > 8 / R WE=+PZ I T S R U / + D I S T M + R M . DEEP FROM THE P I E R C I N G SEASO N SUNK IN C A V E S . W D I / + P F R > / M ( > P I = + R S I X S I / + Z > N S > / + NK IN KE* + V Z , HERE BY DULL F I R E S , AND WITH UNJOYOUS CHE AR , HI =R BA+ D > / + L F A * + i ) / R Z , <ND W I ) > / + N J O * + _ S T S I = + R , THEY WASTE THE T E D I O U S GLOOM. I M M E R S 'D IN F U R S , ( E* WEY+ST ( > T I / + D I ~ S G L U / + M . IMSV+R SOT IN F 9 / + P Z , DOZE THE GROSS P A C E . NOP S P R I G H T L Y J E S T . NOR SO N G, DO * + Z ( > GRO<-+S P E v + S . N | R S P R A + + TLI J E + S T , N | R S | + « , NOR T EN DER NES S THFY KNOW; NOP AUGHT OF L I F E . N j R T E + N D 3 / R N I S ( E* NO t + ; N | P J+T | V L A * + F . BEYOND THE K I N D R E D BEARS THAT STALK WITHOUT, B I Y | + N D ( > K I + N D R I D B E = +R Z ( <T S T | + K W I ) A = + T . T I L L MORN AT L E N G T H . HFR RO S E S DROO PIN G A L L , 4 1 3 T I L M | + R N <T L E + * > , Hffl/ R P C ^ + Z I Z O P U / + P I X | +L , S H E D S A LONG T W IL IG H T B R I G H T E N I N G O * ER THE TP F I E L D S , S F + D Z > L | + # TWA + + LA*-T B R A * + T _ N 1 X | 9R (E = R F I / + L D Z . AND C A L L S THE Q U I V E R ' D SAVAGE TC THE C H A C E . < ND K | + LZ ( > K W I + V 3 / R Q D S < + V I J T U / <> T I E V + S . niln + WHAT CANNOT A C T I V E GOVERNMENT P F R F O R M , l“n + W | T K < + N | T < t K T IV G > / + V 3 / P N M > N T P ciVRR | +R M , NEW-MOULDING MAN? W I D E - S T R E T C H I N G FROM THE SE S H C R E S , N Y U / + MO' + L D I X M < + N? W A ' + D S T R F + T $ I X F R > / M ( I / Z $ ( + R Z , A P EO P LE SAVAGE FROM REMOTEST T I M E , > P I / + P > L S< + V I J F R > / M PIMQ:s + T I S T T AT+ M, A HUGE NEGLECTED EMPIRE ONE V AS T M I N D , > H Y U / + J N I G L E + K T I D E + M P _ + 3 / P W > / + N VA + ST M A * + N C , BY HEAVEN I N S P I R ' D , FRC-M GOTHIC D A R K N E S S C A L L ' D . B A * HE + V N I N S P A + + _ / R 8 D , F p > / M G | + ) I K D A + R K N I S K | + L 8 D . IMMORTAL” PETER F I R S T OF MONARCHS HE I M | + R T > L P I / + T » / R ? £ F 3 / + R S T |V M | + Nffi / R KS% H I / H I S STUBBORN COUNTRY T A M ' D , HER R O C K S , HER F E N S , H I Z S T > / + B 3 / R N K > / + NTRI T E * + M 6 D . HO /R R | + K S , H 3 / R F F + NZ, HER F L O O D S , HER S E A S , HER I L L - S U B M I T T I N G SONSS HSJ/R F L > / + D Z , H 3 / R S I / + Z . H 3 / E I + L S > B M I + T 1 X S > / + N Z S AND WHILE THE F I E R C E B A R B A R I A N HF S U B D U ' D , <ND WA*L ( > F I = +R S B A R B F = + R I = N H I / S > B D Y U / + B O , TO MORE EXA LTED SOUL HF R A I S E D THE MAN. T U / M | + R I G Z | + LT I D S D ' + L H I / R t * + Z D ( > M < + N . YE SHA DES OF ANT I ENT H E R O E S . YE WHO T O I L ' D Y I / $ E v + D Z |V E * + N $ > N T HI = + R C * Z , ' YI / H U / T 0 = + L 8 D THRO LONG S U C C E S S I V E AGE S TO B U I L D U P < 5 ) vfcfc> )RO* + L | + t f S > K S E + S I V F . * + J I Z T U / B I + L D > / + P 5 A L A B ' R I N G PLAN OF S T A T E , BEHOLD AT ONCE > L E * + B 9 R I X =>L< + N |.V ST E * - + T , RlHO>V + LD <T W > / + N S THE WONDER CONE BEHOLD THE MATCHLESS P R I N C E ( > W > / + 0 3 / P D > / + N ? i B IH O T + L C ( > M K + T S L I S P R I + N S X WHO L E F T H I S N A T I V E T HR ON E, WHFPE R E I G N ' D T I L L THEN H U / L E + F T H I Z N E + + T I V ) R O * + N , WE=R R E * + N 8 D T I L (E N WHO GREATLY S P U R N ' D THE S L OT HF U L POMP OF C O U R T S ; H U / G R E * + T L I S P 3 / + R N 8 D ( > S L | + ) F U L P | + M P |V K | + R T S J AND ROAMING EVERY L A N D , IN EVERY P O R T , < ND R O * + M I X E + VRI L < + N D , IN E + VRI P | + P T . H I S S C E P T E R L A I D A S I D E , WITH G L O R I O U S HAND H I Z S E + P T 3 / R L E ^ + D > S A * + D , W I) G L | + R I = S H< +ND UN WE ARY 'D P L Y I N G THE MECHANIC T O O L , > / N W l = + R I B D P L A T + I X ( > M l K < + N I K T U / + L , G A T H E R ' D THE SP ED S OF T R A D E , OF U S E F U L A R T S , G< + ( S ) / R 8 D ( > S I / + D Z (V T P . E » + D , | V Y U / + S F U L A + R T S , OF C I V I L WISDOM, AND OF MARTIAL S K I L L . | V S I + V>L W I + Z D > M , <ND | V MA + P $ > L S K I + L . C H A R G 'D WITH THE S T O R E S OF EUPOP E HOME HE GO ES " 7 0 T S A + R J 8 D WI) ( > S T | + R Z | V Y U = + R > P HO*+M H I / GO*+ZX THEN C I T I E S R I S E AMID T H ' I L L U M I N ' D WASTE; ( E N S I + T I Z RA* + Z > M I + D ( • I L Y U / + M I N 8 D WE^-+ST; O ' E R J O Y L E S S D E S A R T S S M I L E S THE RURAL R F I G N ; | 9 R J 0 = + L I S D E + Z A R T S S M A t + L Z ( > P 3 / + R> L RE* + N? F A R - D I S T A N T FLOOD TO FLOOD I S S O C I A L J O I N ' D ; F A + P D I S T > N T F L > / + D T U / F L > / + D IZ S O * + I > L J O = + N 6 D ; T H ' A S T O N I S H ' D E U X I N E HEARS THE B A L T I C R OA R! ( ' > S T | + N I £ 8 T Y U / + S A * N H I = + RZ ( > E | + L T I K R | + R ; PROUD N A V I E S R I D E ON S E A S THAT NEVER F O A M 'D P R A = + D N E * + V I / Z R A + + D | N S I / + Z ( < T M E + V 3 / R F O * + M 8 D WITH D AR IN G KEEL B E F O R E ; AND A R M I E S ST RE T CH WI) DE =-+P IX K I / + L B I F | + R ; <NO A+RMIZ S T R E + T t EACH WAY THEIR D A Z Z L I N G F I L E S , R E P R E S S I N G HERE I / + T S WE5* + ( £ = R D < + ZL IX F A * + L Z » R I P R E + S I X H I = R THE F R A N T I C ALEXANDER OF THE NORTH. . ( > FR< + N T I K < L IG Z A + N D ff l/ R |V ( > N 1 + R ) , AND AWING THERE S T ER N O T H M A N 'S S H R I N K I N G S O N S . <N D | + I X (E = R S T 3 / + RN | + ) M > N Z S R I + W K I X S > / + N Z . S L O T H F L I E S THE L A N D . AND IG N O R A N C E , AND V I C E . 1*0 414 S L | + > F L A * + Z ( > L < + ND * <ND I + G N 3 / R > N S , <ND V A * + S , OF OLD DISHONOUR PROUD: IT GLOWS AROUND* |V 0 * + L D D I S | + N S > / R PR A =+ D 3 IT GLO-+ + Z > R A = + N 0 , TAUGHT BY THE ROYAL HANC THAT R O U S ' D THF WHOLE. T | + T B A * <> R O = + > L H< + ND ( <T P A = + Z S D ( > HO' +L . ONE SCENE OF A R T S , OF ARMS, CF R I S I N G TRADE: W > / + N S I / + N JV A + R T S , J v A+RMZ, |V RA* ■ + ZIX T R E + + D I FOR WHAT H I S WISDOM P L A N N ' D , AND POWER E N F O R C ' D , F | R W | T H I Z WI + Z O M P L < + N 8 D , <ND PA = + / R INF | +R S fi T , MORE POTENT S T I L L , H I S GREAT FXAMPLE S H E W ' D . M | +R P O * + T > N T S T I + L , HIZ GR E *+T IGZ AH MP>L $ C * + f l D . + MUTTERING, THE W I N D S ( N ) AT E VE . WITH BLUNTED P O I N T , + M > / + T 3 / R _ X . ( > WI+NDZ <T I / + V , WI) B L > / + N T I D P O = + N T . BLOW H O L LO W -B L US T ER IN G FROM THE SO U T H . S U B D U ' D . BLOA+ H ) + L O * B L > / + S T _ / R I X F R > / M (> S A = + > . S > P D Y U / + 8 D . THE FRO ST RF S O LV E S INTO A T R I C K L I N G THAW. ( > F R } + S T R I Z | + L V Z I + N T U / > T P I + K L I X ) | + . SPOTTED THE MOUNTAINS S H I N E ; L C O S E ( A D J ) SLEE T D E S C E N D S , S P j + T I D ( > MA = + NT IN Z $ A * + N ? L U / + S S L I / + T D I S F + N D Z . AND FLOODS THE COUNTRY ROUND. THE R I V E R S SWELL, W O <ND F L > / + DZ ( > K > / + NT RI PA= + N D . ( > RI+Vffl/RZ SWE+L . OF BONDS I M P A T I E N T . SUDDEN FROM THE H I L L S , |V B | + NDZ I M P E + + $ > N T . S > / + D > N F R> /M ( > H I + L Z , O ' E R ROCKS AND WOODS, IN BROAD BROWN CAT ARA CT S, | 9 R R | + K S <ND WU+DZ, IN B R | + D BP A =+ N K < + T > R < K T S , A THOUSAND SNOW-FED TORRENTS SHOOT AT ONCE 5 > ) A = + S > N D S N O + + F E + D T | + P > N T S S U / + T <T W > / + N S ! AND, WHERE THEY P U S H , THE W ID E -R E S O UN DI N G P L A I N < N D , WE=R I E * R > / + $ , {> W A * + O R I Z A = + N D I X P L E ^ + N I S LEFT ONE SLIMY WASTE. THOSE SULLEN S E A S , IZ LE + FT W > / + N S L A * + M I WE + + S T . (0>*Z S > / + L > N S I / + Z , . THAT WASH TH' UN GEN IA L P O L E . WILL REST NO MERE ( <T W | + $ ( • > / + N J I / + N I = L P O * + L , WIL R E + S T N O * + M|+R BENEATH THE SHACKLES OF THE MIGHTY NORTH? B I N I / + ) ( > $ < + K > L Z |V ( > MA* +TI N | + R ) J B U T . ROUSING ALL T H E I R WAVES, R E S I S T L E S S HEAVE - S > / T , R A = + Z I X | + L CE=R WET+VZ, R I Z I + S T L I S H I / + V - AND HARK THE LEN GTHENING ROAR CONTINUOUS RUNS <ND HA+RKX ( > L E+ # ) _ N IX R| +R K > N T I + N Y U = S P > / + NZ ATHWART THE R I F T E D DEE P: AT ONCE IT B U R S T S , > ) W | +R T ( > R I + P T I D D I / + P : <T W > / + N S I T B 5 J / + R S T S , I 000 AND P I L E S A THOUSAND MOUNTAINS TO THE C LO U D S . <ND P A « + L Z > )A=+-S>ND MA = + NT INZ T U / ( > KLA= + D Z . ILL FAR ES THE BARK WITH TREMBLING WRETCHES C H A RG 'D , I + L F E = + R Z (> BA+RK Wl> TRE +MBLIX R E + T S I Z T S A + P J 8 D . THAT, TOST AMID THE FLO AT IN G FRAGMENTS, MOORS ( < T , T | + S T > M I + D ( > FLO* + TI X F R < + G M > N T S , MU=+RZ BENEATH THE SHELTER OF AN ICY I S L E , B I N I / + ) ( > I E + L T S / R |V <N A* + S I A* + L , WHILE NIGHT O'ERWHELMS THE SF A , AND HORROR L(?OKS WA*L NA* + T | 9RWE + LMZ ( > S I / + , <ND H | + R 3 / R L U+ K S MORE H O R R I B L E . CAN HUMAN FORCE ENDURE M | + P H | + R I B > L . K<N HY U /+M >N F | + R S INDY U=+R TH* ASSEMBLED M I S C H I E F S THAT B E S I F G E THEM RCUND? ( • > S 5 + M B > L D M I + S T 5 I F S ( <T B I S I / + J (EM P A = + N D ? HEART-GNAWING HUNGER, F A I N T I N G W E A R IN E S S . HA+RTNj + IX H > /+ W G 8 >/ P , F L E * + N T I X WI= + R I N I S , THE ROAR OF W l N D S ( N ) AND WAVES. THE CRUSH OF I C E , ( > R | + R | V WI+NDZ < ND W E * + V Z , ( > K R > / + $ | V A * + S . NOW C E A S I N G , NOW RENEW'D WITH LOUDER RAG F, 1010 NA=+ S I / + S I X , N A = + R I N Y U / + B D WI) L A = + D 3 / R P E * + J . AND IN D I R E ECHOES BELLOWING ROUND THE M A I N . <ND IN D A * + _ / R E + KO* Z B E + L * I X RA = + ND ( > MET+N. 415 MORE TO E M B R O IL THE D E E P . L E V I A T H A N M |+ R T U / I MBR 0 = +L ( > D I / + P , I I V P + > ) > N AND H I S U N W IELD Y T R A I N , IN DREADFUL S P O R T , <NO H I Z > / + NW 1 = +LD I T R E '* + N » I N D P E + D F U L S P l + R T . T E M P E S T THE L O O S E N ' D B R I N E , WHILF THRO THE GLOOM, T E + M P I S T ( > L U / + S > N O D B R A - + N , W A M ) P 0 * + { > G L U / + M, F A R , FROM THE BLEAK I N H O S P I T A B L E S H O R E , F A + R , F R > / M ( > 8 L I / + K I N H | S P I + T > B > L $ | + R , L O A D IN G THF W I N D S ( N > . I S HEARD THE HUNGRY HOWL L O + + D I X ( > W I + N D Z . I Z HS>/ + RD ( > H > / + * G R I H A=+L OF F A M I S H ' D M O N S T E R S , T H E R E A W A I T I N G W R ECK S. |V F<+M I SOT M | + NS TrD/ R 7. , ( E = R > W F » '+ T I X R E + K S . YET P R O V I D E N C E . THAT E V E R - W A K I N G E Y E , YET PR | + V I D >NS , ( <T E +V B/R W E*’ + K I X A* + , LO O K S DOWN( 5 ) W ITH P I T Y CN THE F E E B L E T C I L L U + K S O A = + N 5 W I ) P I + T I | N ( > F I / + 6 > L T O = + L OF MORTALS LO ST TO HORF , AND L I G H T S THEM S A F E , l 0 ^ 0 |V M | +R T > L Z L | + ST T U / HO’- + P , < ND L A * + T S L E (P O E T #02 ) N U M B E R O F 1.2.3 ETC . SY L L A B L E C L A U SE S r . C c 0 0 C l o 0 1 C 0 0 1 3 c 0 0 4 r . r 0 1 7 1 6 0 2 C , * > 0 5 • j 6 0 ...............5 c c 0 47 c £ c 10 1 6 0 8 c n 0 . 8 . c. ..................C .. 0 23 c 0 0 1 4 1 c 0 20 c r \ c 7 1 0 0 5 c o 0 7 c c 0 37 c c 0 23 1 0. 0 6 0 n 0 9 c 0 I 20 c 0 0 7 c c 0 1 5 c r . 0 1 1 c C ■ 0 1 c 0 0 2 c c 0 14 ........ c ' < 2 0 1 1 o 0 0 8 c c 0 2 c 0 0 4 c 0 0 1 0 0 0 5 c c 0 6 c c ....... c 0 c 0 0 1 c 0 0 9 0 0 0 4 0 _ _ _ _ _ _ _ _ _ _ 0_ _ _ _ ___ . 0 6 0 0 0 4 0 0 0 0 c c 0 1 c _ .... 0._______ 0 1 c n .........0 1 c 0 0 2 c 0 0 1 c c 0 5 c 0 0 1 c c 0 9 c c c 4 c c 0 2 c c 0 ■ 4 0 0 0 2 r c 0 ............................0 .. ......... c r 0 0 o 0 0 1 1 0 Q 3 c 0 0 o.*>o o o o ^ o o r" > o o o (» o o o r t'3 o o o o o o o o n n o o o ^ o o o o o o ^ O '* > o o o o ^ « * > r » c » c o o o o o o o o r > 417 6 THE S E A S O N S ! W IN TER ooo f l n o o i o ^ i o ^ a o o n o o o o o o o f l o o n i i o o f i o c o o o o o o ' i o o o ^ o c o o ^ o n n o o r ' H O O r i o 418 6 THE S E A S O N S ! WINTER NUMBER OF 1 , 1 0 1 0 2 , 3 E T C . 796 WORD L I N E S 11 0 c 1C 10 A 4 9 11 0 c 1 ' 1 0 1 3 1 8 0 c 1 L 1 0 * 1 9 8 c c ................. I C O 6 1 1 1 . c c 9 6 7 1 1 1 c 0 6 THE s e a s o n s : WINTER NUMBER CF S E N T E N C E S NUMBER 0 F C L A U SE S NUMBER CF WOP D S NUMBER OF S Y L L A B L E S —AV--SFNT- LENGTH- IN WORD AVERAGE CLAUSE AV SENT LENGTH IN SY AVERAGE CLAUSE LENG AV W ORD-LENGTH IN- SY 220 4 5 6 7 A 69 1 0369 -33.9500 1 6 .379A 1.6773 C. B092 -C - .0 A 9A 6 THE S E A S O N S : WINTER NUM OF I , 2 . 3 E T C . WORD S E N T E N C E S 0 0 1 2 . A 2 A 5 . . . 3 _ 3 A 3 . 6.. 1 0 1 1 7 - 2 3 3 3 7 1 2 5 . A 5 A 7 . 3 5 1 C 5 . . 3 A 3 A 2 1 1 A 2 A 2 A 2 - 3 1 3 3 6 2 0 1 A 1 r . 2 1 1 0 1 0 0 1 .2 0 1 1 0 1 0 1 1 1 0 o o 0 0 2 1 c r 3 1 1 C r 2. 1 0 c - c 1 0 1 c «' 2 419 t h e s e a s o n s : w i n t e r NUM OF 1 , 2 , 5 2 1 2 1 7 2 8 42 4 E T C . SYL ICC 6 C WORDS 0 0 0 0 0 0 T h o m s o n : c o m p l e t e s a m p l e ( p o e t # C 2 ) NUMBER O F S E N T E N C E S 22C- NUMBER OF C L A U S E S NUMBER OF WORDS 456 74 69 NUMBER O F S Y L L A B L E S 1 0 3 6 9 AV SENT L E N G T H IN WORD AVERAGE C L A U S F AV SENT L E N G T H I N SY -33.9500 16.3794 I .6773 AVERAGE C L A U S E LENG AV. WORD- L E N G T H - I N SY 0.8092 -2 .0494 THE S E A S O N S : W IN TER NUMBER OF 1 , 2 , 3 0 ____ 1 14 10 13 ___ 12 2 6 2 9 1 4 ________ 2 > 2 4 30 26 ___ 2 6 2 9 1 6 . . . . . 1 1_____________________ 15 16 10 ETC • - 20 7 10 8 3 5 7 4 3 4 5 6 1 3 2 3 _2 _ 1 2 2 WORD C L A U S E S 2 ___________0 . - c 4 c 0 1 0 0 1 0 c 0 .......................... _________ 0 .......................... 1 .. C 0 0 2 0 0 0 0 c n _ 0 c 1 0 c 0 0 c c 0 c 0 ................................... ....................0 . . . 0 1 c c 0 0 0 c 1 0 c 1 __________________ 1 _____________ _ u ______________ 0 Q o ' 0 c c 0 0 1 420 T ABLE. 0= TOTALS FOR A SS IG N M EN T P O S S I B I L I T I E S FROM 0 TO 8 9 9 J 1 3 ( c 2 3 c c 6 4 c 0 59 0 0 15 c c 2 c 0 J 0 - u . .. 0 c r. 0 c n 0 c 0 ..2 - - c r ry V c 0 0 c 0 0 0 c 0 c 0 . . . 6 c 0 0 c 0 0 c c . . . 0 ....................................... c c 0 c c 0 c 0 0 c c - ... . 0 c c . . . . 0 c 0 . ." i c 0 0 c 0 0 0 0 0 0 o A c Q J 0 c . . . . 0 . . .................... ... . c _ . . . 0 . . . . 0 0 0 0 c o 0 0 c ... 0 ____________________ c _______ A 1 0 5 0 0 0 0 c 0 0 0 0 T h o m s o n : c o m p l e t e s a m p l e ( p o e t # 6 2 ) NUM OF 1 . 2 . 3 E T C . SYL WORDS . 5 2 12 - - ICG . 0 - 0 1 7 2 8 6 C 0 4 2 4 0 0 0 1 0 2 1 RECORDS P R O C E S S E D 1 5 1 3 P O S S I B L E S C A N S I G N S WILL BE P R O C E S S E D L I N E WITH THF GREATEST P O S S I B L E NUMBER OF A S S IG N M EN TS I S 6 0 5 8 3 WITH 3 5 P O S S I B I L I T I E S . 6 THE SEASONS! WINTER NUM BER OF SYLLABLES..................................................................................................................................... NUM BER OF STRESS M AXIM A .......................................................................................................... 2350 PERCENTAGE OF STPESS M AXIM A .... ................................................................ 23 NUM BER OF LINES................................................................................................................................................ PERCENTAGE OF STRESS M AXIM A LINES....................................................................... 10G NUM BER OF LINES WITHOUT STPESS MAXIMUM......................................................... C NUM BER OF IAMBIC LINFS........................................................................ ...........................................1C13 PERCENTAGE OF IAMBIC LINES.............................................................. 9 9 NUM BER OF TPCCHAIC LINES.......................................................................................................... r PERCENTAGE OF TROCHAIC LINES............................................................................................ T NUMBER OF IRREGULAR LINES ................................................................................................... 0 PERCENTAGE OF IRREGULAR LINES..................................................................................... 'J NUM BER OF AMBIGUOUS LIMES ................................................................ 63 PERCENTAGE OF AMBIGUOUS LINES ..................................................................................... 6 NUMBER OF HR LINES........................................../ . ............................................................................ 2 NUM BER Op M R LINES.............................................................. 86 NUM BER OF LR LINES....................................................... 15 NUM BER OF ASSONATING SYLLABLES. . . . . . . .................................... 3975 PERCENTAGE OF ASSONATING SYLLABLCS. . . .. .................................... 35 NUM BER OF ASSCNATING LINES................................................................................................... 823 PERCENTAGE OF ASSONATING LINES..................................................................................... 80 421 NUMBER OP ASSONATING PATTERNS . . . . . . ........................................... 1207 NUM BER OF ALLITERATING SYLLABLES.......................................................................................1366 PERCENTAGE OF ALLITERATING ................................................................ 13 NUM BER OF ALLITERATING LINES............................................................................................ 538 PERCENTAGE OF ALLITERATING LINES. . . .................................................. 52 NUM BER OF ALLITERATING PATTERNS . . . . . ........................................... 644 NUM BER of LINES WITH COINCIDENT ASSON £ • ALLIT......... 309 PERCNT OF LINES WITH COINCIDENT ASSON 6 ALLIT . . . . . 3'j NUMBER OF SYLLABLES WITH COINCIDENT ASSON & ALLIT . . . 478 PFRCNT OF SYLLABLES WITH COINCIDENT ASSON f, ALLIT . . . 4 NUMBER OF LINES EXCEFDING SPECIFIED COMPLEXITY. . . .. 112 PERCNT OF LINES EXCEEDING SPFCIFIFD COMPLEXITY. .. .. 1C AVERAGE COMPLEXITY.................................. 2 NUMBER OF AMETRICAL LINES . . . . . . . . . 8 PERCNT OF AMETRICAL LINES . . T NUM BER OF LINES TO BE ELIDED............................................................................................. 156 NUMBER OF LINES SHORTER THAN SPECIFIED LENGTH ................................ 43 AVERAGE NUM BER OF W ORDS PFP LINE. . ................................................................... 422 NUMBER OF F O S S I F L F A SSIGNMENTS OF SYLLARLFS TO P O S I T I O N S 1 3 ^ 8 SYLLABLE ADJUSTMENT R A T IO ................................................................................................... 1 2 3 NUMBER OF E L ID A B L E A D JU S T M E N T S ................................................................................... A 5 3 NUMBER OF CA TA C LEC TIC A D J U S T M E N T S ..................................................................... A;' NUMBER OF O PTIO N A L E . . . . . . O NUMBER OF OPTIONAL. E AFTER E L I S I O N ....................................................... f PERCENTAGE OF O PTIO NA L E .......................................................................................................... D NUMBER OF CRTHOGEAPHICALLY I M IT A T E D E L I S I O N S ..................................... 2 * 2 NUMBER 0 ^ O RTH O GPA PH IC—P H O N E T IC E L I S I O N S ................................................. 6 9 NUMBER OF P A R T I C L E S ...................................................................................................................... A2 NUMBER OF L I N E S VvITH ONE S T R E S S M A X I M U M .................................................... 1 7 9 NUMBER OF L I N E S WITH TWO, S T R E S S MAXIMA. ' .................................................... 3 7 3 NUMBER OF L I N E S WITH THREE S T R E S S MAXIMA................................................. 3 2 8 NUMBER OF L I N E S WITH ROUR S T R E S S M A X I M A .................................................... ll-O NUMRER OF L I N E S WITH F I V E S T R E S S MAXIMA .................................................... 1 423 424 L I N E S T R E S S 6 THE S E A S O N S : W I N T E R MAXIMUM V A L U E : 9 7 6 S C A L E 1 : 1 , Q - 0 GR A PH I N P E R C E N T A G E OF T O T A L T O T A L 4 8 6 8 P O S VALUE P E R C E N T I 3 5 2 7 . 2 1 6 0 2 7 3 2 1 5 . C C 6 C 3 1 1 5 2 . 3 5 7 5 4 9 3 6 1 9 . 1 8 8 0 5 5 6 1 . 1 4 f C 6 7 7 9 1 5 . 9 6 9 5 7 6 1 1 . PEC 5 8 8 1 4 1 6 . 6 8 7 ' 9 4 6 j . 9 ^ 3 t - 1G 9 7 6 2 ? . c o e r 1 1 1 0 • C 2 f 5 X X X XX XX x x x x x x x x x x x x x x x XX XXXXXXXXXXXXXXXXXXX X x x x x x x x x x x x x x x x X x x x x x x x x x x x x x x x x xx xx xxx xx xxx xxx XXX XX S T R E S S MAXIMUM 6 THE S F A S O N S : W I N T E R MAXIMUM V A L U E : 6 q r S C A L E i : i G RA PH I N P E R C E N T A G E OF T O T A L T O T A L 2 3 5 C P O S VALUE P ER CF NT 1 0 r , . C O C O 2 5 0 8 21 ■ 5 9 0 G 3 1 3 . 0 4 2 5 4 61 8 2 6 . 2 6 5 0 5 1 . 0 . 0 4 2 5 6 5 10 21 . 6 7 5 C 7 6 3 . 2 5 F C 8 6 9 0 2 9 . 3 2 EC 9 U 0 . 0 CC D 1 0 1 6 0.6 80 G 11 0 o. r oc c XXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXX 425 ASSONANCE 6 THE SEASONS: WINTER M AXIM UM VALUE: 3P3 SCALE 1:1 GRAPH IN PERCENTAGE OF TOTAL TOTAL POS VALUE PERCE NT 1 203 1 .’ 1 . 8389 X xxxxxxxxx 2 328 12.5624 xxxxxxxxxxxx 3 1 54 5.8962 xxxxx A 383 14.6689 xxxxxxxxxxxxxx 5 163 6*2429 xxxxxx 6 356 13 . 634 8 X xxxxxxxxxxxx 7 1 44 5.5152 xxxxx 8 3 ' ) 8 11.796* X XX xxxxxxxx 9 150 5.74EC xxxxx 1 C ! 338 12.9454 xxxxxxxxxxxx 11 2 ' 3 .t 76 6 ALLITERATION 6 THE SEASONS: WINTER MAXIM UM VALUE: 2E8 SCALE 111 GRAPH IN PERCENTAGE OF TOTAL TOTAL POS VALUE PERCENT 1 155 11 .3 46C xxxxxxxxxxx 2 1 64 12.C 048 xxxxxxxxxxxx 3 76 5.5632 xxxxx 4 20 3 14.8596 xxxxxxxxxxxxx - 5 58 4 .2456 xxxx 6 20 U 1 4 . 6 4 r: C xxxxxxxxxxx XX 7 70 5.124 0 XXXXX 8 179 13.1C28 xxxxxxxxxxxxx 9 53 3 . P 7 96 XXX 10 208 15.2256 xxxxxxxxxxxxx 11 0 0 • C 0 c c 26C9 1 366 426 THE SEASONS: WINTER COINCIDENCE TP ASSONANCF AND ALL T TPPAT I ON 6 MAXIMUM VALUE: 84 SCALE III GRAPH IN PERCENTAGE OF TOTAL TOTAL 4 7 8 POS VALUE PERCENT 1 55 1 1 « 506f xxxxxxxxxxx 2 60 12.552C xxxxxxxxxxx 3 23 4.8116 xxxx 4 84 17.5726 xxxxxxxxxxx 5 1 9 3.97*8 XXX 6 7 1 14.8532 X xxxxxxxxxx 7 17 3.5564 XXX 8 60 12.552C xxxxxxxxxxx 9 1 3 2.7196 XX 76 15.8992 XXXXXXXXXXX 11 0 C.C 3L 0 PUNCTUATION 6 THE SEASONS: WINTER MAXIMUM VALUES 726 SCALE l*.l GRAPH IN PERCENTAGE OF TOTAL TOTAL 2363 POS VALUE PERCENT 1 57 2.4 111 XX 2 126 5.3296 XXXXX 3 1 24 5.2452 xxxxx 4 247 1C.4481 xxxxxxx 5 31 1 13.1553 xxxxxxx 6 3C 4 12.6592 xxxxxxx 7 267 11.2941 xxxxxxx 8 1 16 4.906 8 xxxx 9 71 3.CP33 XXX 10 726 3 7.7098 xxxxxxx 11 14 3.5922 427 THF S E A S C N S : W I N T S 9 O P T H O G R A P H I C A L L Y I M I T A T E D E L I S I O N : 8 - C O U N T 6 MAXIMUM V A LU F : 5 6 S C A L E j : i GRAPH IN PER C EN TA G E CF TO TA L TO TA L 2 4 2 P O S VALUE P E R C E N T 1 iC 1 ? . 3 9 6 0 2 I 4 5 . 7 8 4 6 3 2 4 9 . 9 1 6 8 4 19 7 . 8 5 C 8 5 2 0 8 . 2 6 4 C 6 2 9 8 . 2 6 4 C 7 10 4 . 1 3 2 0 8 1 7 7 . C 2 4 4 9 2 8 1 1 . 5 6 9 6 10 5 8 2 3 . 9 6 5 6 11 2 0 . 8 2 6 4 XXXXXXXXXXXX XXXXX XXXXXXXXX XXXXXXX xxxxxxxx xxxxxxxx xxxx xxxxxxx xxxxxxxxxxx XXXXXXXXXXXXXXXXXXXXXXX THE S E A S O N S : W IN TER O R T H O G R A P H I C - P H O N E T I C E L I S I O N : 9 - C O U N T 6 MAXIMUM V A LU E: 2C S C A L E 1 U GRAPH I N P ER C E N T A G E OF TO TA L T O T A L 6 7 POS VALUE P E R C E N T 1 4 5 . 9 7 C C XXXXX 2 2 0 2 9 . 8 5C C XXXXXXXXXXXXXXXXXXXXXXXXXXXXX 3 5 7 . 4 6 2 5 XXXXXXX 4 6 8 . 9 5 5 0 XXXXXXXX 5 2 2 . 9 8 5 C XX 6 1 0 1 4 . 9 2 5 0 XXXXXXXXXXXXXX 7 0 C-.c o l c 8 1 4 2 9 . 8 9 5 0 XXXXXXXXXXXXXXXXXXXX 9 4 5 . 9 7 F C XXXXX 10 2 2 . 9 8 5 0 XX 11 0 O .O O O C 428 P A R T I C L E L O C A T I O N : S - C G U N T 6 THE S E A S O N S ! W IN T E R MAXIMUM V A L U E : H S C A L E 1 J 1 GRAPH I N P E R C E N T A G E OF T O T A L TO TA L 4 2 P O S VALUE P F R C F NT 1 2 A . 7 6 1 8 2 14 3 3 * 3 3 2 6 3 1 2 . 3 8 r 9 A 4 9 . 5 2 3 6 5 J &.C3CC 6 2 A . 7 6 1 8 7 0 o . c o c r. 8 7 1 6 . 6 6 6 3 9 1 2 . 3 8 C 9 1G 1 1 2 6 . 1 8 9 9 11 0 c .COCO XXXX X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X XX XXXXXXXXX xxxx X X XXX X X X X X X X X X X X XX X X X X X X X X X X X X X X X X X X X X X X X X X X TH OM SO N: C O M P L E T E S A M P L E ( P O F T # 0 2 ) 1 7 9 L I N E S W IT H ONE S T R E S S MAXIMUM. P A G E 1 OF 1 6C 0 I 1 6 0 1 9 1 6 0 3 0 9 60C 1 6 6 0 1 9 2 6 0 3 1 0 6 0 J 1 7 6 C 1 9 3 6 0 31 6 6 0 0 1 8 6 0 1 9 7 6 0 3 2 5 6 0 0 2 ) 6 0 2CC 6 r> 3 4 0 6 0 ) 4 5 6 0 2 C 4 6 0 3 5 1 6 0 0 5 0 61 2 1 1 6 0 3 5 5 6 0 3 5 5 6C 21 9 6 0 3 6 2 6 0 0 6 1 6 0 2 2 5 6 0-368 6 0 0 6 7 6C 2 2 8 6 0 37 1 6 0 0 7 0 6 3 2 3 T 6 0 3 7 5 6 0 0 7 3 6 C 2 3 4 6C 3 9 6 6 0 C 8 1 60 2 3 6 6 0 3 9 8 6 1C 9 5 6 0 2 3 8 6 0 4 0 5 6 - > 0 9 7 6 0 2 3 9 6 0 4 0 9 6 0 f 9 S 6 0 2 4 3 6C 4 1 3 6 0 0 9 9 6 0 2 5 2 6 ) 4 1 8 6 0 1 0 1 6 0 2 5 4 6 0 4 2 0 6 0 1 0 4 6 0 2 6 0 6 0 4 2 5 6 0 1 0 5 6C 2 6 4 6 0 4 2 6 6C 1 2 ' e: 2 6 9 6 r 4 2 9 6 1 3 0 f c v 2 7 C 6 0 4 1 2 6C 1 3 2 61 2 7 1 6 0 4 3 5 6 0 1 3 9 6 C 2 7 2 6 ’’ 4 4 4 6 3 1 4 4 6 C 2 7 8 6 0 4 5 5 6 0 1 4 6 6 C 2 8 0 6 0 4 6 5 6 0 14 8 6 0 2 9 8 6 0 4 6 6 6 3 1 6 1 6 0 3t 2 61 4 71 6 0 1 8 5 6 C 30 3 6 0 4 7 2 6 0 1 8 8 6 C 3 C 4 6 0 4 7 6 6 6 4 8 5 6 C 6 5 6 6 0 8C 5 6 0 4 9 7 6 0 6 6 4 6 0 8 1 1 6 0 5 C C 60 6 7 6 6C 8 2 7 6 0 5 0 6 6 0 6 7 9 6 0 8 2 8 6 0 51 1 6 9 6 8 2 6 n P 3 1 6 0 5 1 2 6 " 6 e 9 6 0 8 3 4 6 3 5 1 5 6 0 6 9 1 6 C 8 6 5 6 9 5 1 9 6 0 6 9 5 60; 8 7 3 6 C 5 2 3 6 0 7 0 3 6 C 8 8 2 6 C 5 2 4 6 C 7 1 4 6 0 8 e 4 6i.) 5 2 7 6 0 7 1 8 6 0 ) 8 9 7 6 0 5 3 1 6 0 7 2 3 6 ° 9 0 7 6 0 5 4 2 6 0 7 2 7 - 6 C 9 1 0 6 0 5 4 6 6C 7 3 6 6C 9 1 7 6 0 5 5 9 6 9 7 4 0. 6 C 9 1 9 6 3 5 7 2 6 C 7 4 3 6 C 9 2 1 6 0 5 7 6 6 9 7 4 5 6 0 9 ? 3 6 C 5 7 8 6 * 7 5 2 6 0 9 2 4 6 0 5 3C 6 C 7 5 3 6 0 9 2 9 6 n 5 8 4 6 0 7 6 5 6 0 9 3 6 6C 5 8 9 6 v 7 7 0 6 ° 9 4 3 6 C 6 C 4 6 0 7 7 ? 6 0 9 4 7 6 0 61 0 6 0 7 7 9 6 0 9 8 C 6 9 6 1 6 6 0 7 S L 6 D 9 8 3 6 0 61 9 6 0 7 8 6 6 C 9 8 7 6 0 6 2 1 6 C 7 8 7 6C 9 8 9 6 0 6 2 5 6 C 7 8 P 6 C 9 9 2 6 0 6 3 1 60 7 9 0 6 C 9 9 5 6 0 6 3 7 6 0 7 9 1 6 1 0 1 3 6 0 6 4 5 6 C 7 9 8 429 Th o m s o n : c om pl e- t e s a m p l e ( p o e t 2 ) 31 IAMBIC L I N E S WITH NO S T P E S S MAXIMUM PAGE 1 OF 1 6 0 0 3 3 6 C .:: 1 2 6 13 1 4 63 0 7 7 6* 1 C 6 60 I 1 7 6C 21 e 60231 6C 2 4 1 6C 2 7 5 6f 32 1 6C 3 E 2 60 3 9 4 6 0 4 3 7 6 0 4 5 1 6C 46 : 6', 5 5 3 6 0 6 2 4 6 0 6 2 7 6 0 6 4 4 6 3 6 7 7 6*. 7 2 4 60 7 4 6 6 3 8 1 6 60 857 6 0 8 8 6 6 0 91 2 6i: 9 2 5 6^941 6 0 9 5 C 6 3 9 9 6 THOMSON! CO M PLETE SAMPLE ( P O E T tfC2 ) 1 0 9 L I N E S WITH FOUR S T P E S S MAXIMA. PAGE 1 OF 1 6 3 0 1 3 6 0 1 9 8 6 0 0 2 3 6 0 20 8 6 3 0 2 5 6 0 2 1 0 6 3 9 6 3 6 7 2 1 4 6 0 0 6 8 6 C 2 2 G 6 C 0 7 1 6 0 2 4 ? 6 0 0 8 3 6 3 2 8 5 6 0 1 0 3 6C 2 9 1 60 1 2 7 6 9 2 9 4 6 0 1 2 8 6 C 2 9 9 6 0 1 2 9 6 f 3 5 0 6 0 1 3 3 6 0 3 5 3 6 3 1 3 5 6 C . 3 6 4 6 0 1 4 7 6*. 3 6 6 6 0 1 5 2 6 C 3 8 3 6 3 1 5 3 6 0 3 8 6 60' 1 7 1 6 0 3 8 8 6 0 1 7 5 6 0 3 9 5 6 0 1 8 6 6 0 4 0 4 6 0 4C 6 6 0 5 8 8 6 0 4 1 b 6 0 5 9 2 6 0 4 1 9 6 0 6 1 4 61 421 6 0 6 1 7 6 ■'*42 3 6 0 6 2 3 6 0 4 3 0 60 6 3 8 6 C 4 4 1 6 0 6 4 0 6T 46 1 6 C 6 5 2 6 0 4 6 9 6 3 6 5 8 6 0 4 Ot 6 3 6 6 0 e:; 4 9 0 6 3 6 6 8 6 C 50 5 6 0 6 3 1 60 5 1 8 6 0 6 3 7 60 5 2 2 6 0 7 1 5 60 5 2 8 6 3 7 2 9 6 0 5 4 3 6 0 7 3 1 6 0 5 6 2 6 0 7 3 4 6 0 5 6 9 6 0 7 4 2 6 C 5 7 1 6 0 7 4 9 6 C 7 5 4 6 0 8 8 7 6 0 7 6 1 6 C 8 9 4 6 0 7 7 4 6 0 8 9 5 60 7 8 2 6 0 8 9 8 6 0 8 1 3 6 0 9C 5 6 0 8 19 6 0 9 3 9 - 6 0 8 2 6 6 0 9 4 5 6 0 8 3 8 6 0 9 5 4 6 0 8 4 1 6 0 9 5 8 6 3 6 4 8 6 0 9 6 2 6 0 8 5 9 6 C 9 6 4 6 C 8 6 4 6 3 9 7 2 6 0 6 6 6 60 9 7 4 6 0 8 6 8 6 0 9 9 9 . 6 0 8 6 9 6 0 8 7 4 6 0 8 7 5 6 0 8 7 9 6 0 8 8 1 THOMSON: COMPLETE SAMPLE ( P O E T # 0 2 ) 1 L I N E S WITH F I V E S T R E S S MAXIMA. PAGE 1 OF 1 6 0 4 4 9 THOMSON: COM PLETE SAMPLE ( PC T T # 0 ? ) 3 5 I A M B I C P EN T A M E T FR L I NF S WITH WEAK E N D IN G S PAGE 1 OF 1 6 3 3 1 7 6 3 3 3 2 6 0 3 8 9 6 0 3 9 3 6 3 1 1 2 6 9 1 2 2 6 f 2 3 7 6C 2 4 C 6 3 2 5 4 6 0 2 5 5 6 C 4 3 9 6C 4 4 6 6 f 4 5 2 6-7 * 6 9 6 6 5 2 1 6 9 54 4 6 C 6CC 6 3 6( 4 6 0 6 2 9 6 0 6 3 1 6 9 6 8 7 6 0 6 9 2 6 0 7 3 5 6 0 7 4 4 6 0 7 5 8 6 0 8 4 2 6C 8 6 4 6 0 9 1 9 6 C 9 2 6 6 0 9 5 4 6 0 9 6 3 6 0 9 7 7 6 0 9 9 2 6 1 C 0 8 61 C 1 2 430 THOMSON: C O M P LETE SAM PLE ( M E E T V* 2 ) 3 2 8 L I N E S ' W ITH T H R F F S T R E S S M AXIMA. 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6 0 6 3 1 6.0 6 3 5 6 r* 6 3 7 60 64 6 6C 6 5 3 6 C 6 5 F 6 0 6 6 3 6 0 6 6 5 6 i./ 6 6 6 6C 6 6 9 6C 6 7 6 6.* 6 8 9 6 C 69(. 6 5 6 9 1 6 0 6 9 4 6 C 7 < r 6 0 7 0 3 6 0 7 0 4 6 0 7 0 9 6 0 7 1 3 6 0 716 6 0 7 2 7 6 0 7 2 8 6 0 7 2 9 6 0 7 3 0 6 C 7 4 1 6 0 7 4 2 6 0 7 4 4 6 0 7 4 8 6C 7 4 9 6f. 7 5 1 6 0 7 5 8 6 0 7 5 9 6 0 7 6 9 6C 7 7 0 6 0 7 7 2 6C 7 7 3 6 0 7 7 9 6 0 7 80 6 0 7 8 2 6 0 7 8 3 6 0 7 8 5 6 0 7 9 2 6 0 7 9 3 6C 8 0 1 6 C 8 0 3 6 0 8C G 6 0 8 0 7 6 0 8 1 4 6 1 0 2 0 6 3 8 1 7 6 0 81 8 6 0 8 1 9 6 0 R 2 3 6 0 8 2 7 6 :> 8 3 C 6 C 8 3 2 6 0 8 3 6 6 0 8 3 9 6 3 8 4 2 6 0 8*+4 6">84 6 6<" 8 5 4 6 0 8 5 5 6 0 8 6 1 6 C 8 6 3 6 0 8 6 5 6 0 8 6 8 6 C 8 7 C 6 0 8 7 3 6 9 8 7 5 6 0 8 8 1 6 0 8 8 3 6 0 8 8 9 6 ) 8 9 2 6 0 9C 3 6 0 9 0 4 6 0 9 t 5 6 0 9C 8 6 0 9 2 2 6 0 9 2 3 6 0 9 2 4 6 0 9 2 5 6 0 9 2 6 6 0 9 2 7 6 0 9 3 1 6 9 9 3 5 6 0 9 3 9 6 0 9 4 C 6 0 9 4 3 6 0 9 4 4 6 0 9 5 5 6 0 9 5 6 6 0 9 5 8 6 0 9 5 9 6 9 9 6 4 6 0 9 6 9 6 0 9 7 0 6C 9 7 3 6 0 9 8 2 435 THOMSON: COMPL ETF s a m p l e ( P C F T # L 2 > 1 30 L I N E S WITH MOPE THAN ONE 4 S S O N / A L L I T SYLL ABL E PAGE 1 PF 1 60 0 0 7 60 1 6 2 6 * 2 6 6 6 0 4 9 5 6 0 6 9 1 6 0 8 7 0 60 j 1 1 6T 1 6 6 6 r 2 6 9 6 0 4 8 8 6 0 6 9 4 6 0 8 7 3 60 0 1 2 60 1 6 7 6 0 3C2 6 0 4 9 3 6 C 7 ( 3 6 * 8 7 5 60 : 1 6 6 f 1 7 5 6 “ 3 * 5 60 5 0 0 6 C 7 3 0 6 r 8 8 3 60 0 2 0 6( 1 7 6 60 31 6 60 51 8 6 ^ 7 4 1 60 9 ' 4 6 0-" 2 4 60 1 3 9 6 r 31 7 6 C 5 3 4 6 0 7 4 ? 6 0 90 5 6 0 C • 2 6 6f 1 9 4 6 0 33 1 6 0 5 3 5 6 C 7 4 9 6 0 9 2 3 6 0 0 2 7 6 0 1 9 7 60 3 3 3 6 0 5 4 3 6C 7 5 9 6 0 9 3 5 6 0 0 4 8 6 C * 1 9 9 6 0 3 3 6 6 0 5 4 6 6 0 7 6 9 6 0 9 4 0 6 0 C 4 9 6 0 2 : 4 60 3 4 1 6 0 5 5 1 6 0 7 7 2 6 0 9 4 3 6 0 0 5 3 6C 20 6 6 ' 34 2 60 5 6 0 60 7 73 6 Z 9 4 4 6 0 0 6 1 6 r 2 0 9 6 0 3 5 6 6 9 5 9 4 6 . 1 7 P 3 6 0 9 5 5 6 0 0 6 4 5 : 2 1 1 6 0 3 6 0 C 0 6 9 8 6 0 7 8 5 6 0 9 5 6 6 0 0 7 3 6C 2 1 7 6 0 3 6 3 60 6 1 C 6 0 8 1 4 60 9 5 9 6 0 1 0 0 6C 21 8 60 3 6 5 e c e i 1 6 0 8 1 6 6 0 9 6 9 6 0 1 C 8 6C 23C 6 0 3 8 5 6 0 6 1 8 6 3 8 1 9 6 0 9 7 3 6 0 1 1 I 6 r 2 3 9 6 0 4 1 8 6 0 6 3 7 6 0 8 2 7 6 0 9 8 4 6 0 1 1 3 6 1 , 2 4 9 6 ‘. 4 2 5 6 0 6 5 3 6 . 1 8 3 2 6 0 9 9 5 6 0 1 1 5 6C 2 5 8 6C 43 1 6 C 6 6 3 6C 3 3 6 6 1 0 C 2 6 0 1 2 5 6 C 2 7 2 6 ' 4 7 5 6 0 6 7 6 6 1 8 3 9 61 0 1 C 6 0 1 4 4 61 2 6 2 60 4 7 9 6 0 6 8 9 6 9 8 4 2 6 0 1 4 7 61 2 8 4 60.4 8 4 6 C 6 9 0 6 0 8 4 6 THOMSON: COMPLETE SAMPLE < P C F T # ( 2 ) 7 5 L I N E S WITH IA M B IC A S S O N / A L L I T * PAGF. 1 OF 1 6 0 0 2 4 6 0 1 7 6 6 ’) 2 8 4 60 4 7 5 6 0 7 3 0 6 0 0 2 6 6 0 1 8 9 6<l2 8 6 6 6 4 8 8 6 0 7 4 1 6 0 " 4 9 6C 1 9 4 6s; 3'- 2 6 0 5 1 8 6 0 7 4 2 6CC 5 3 6 1 1 9 7 6 0 3 3 1 6 0 5 3 4 6 C 7 5 9 6 0 9 6 1 6 0 1 9 9 6C 3 3 3 6 9 5 3 5 6C 7 6 9 6 0 0 6 4 6 : 2 C 9 60 3 3 6 6 0 6 1 1 6 0 7 8 3 6 0 0 7 3 6 f 21 1 6 0 34 1 6 0 6 1 8 6 0 7 6 5 6 0 19 ) 6C 2 1 7 6* 3 4 2 6 0 6 3 7 6 0 8 1 4 6 0 1 0 8 61 2 30 6 0 3 5 6 6 0 6 5 3 6 9 8 16 6 0 1 4 4 6<" 2 4 9 6 *36 5 6 0 6 7 6 6 ‘ 8 2 7 6C1 4 7 6 C 2 5 8 6 0 3 8 5 6 0 6 9 C 6 3 8 3 9 6 0 1 6 6 61 2 7 2 6 0 4 1 a 6 0 6 9 4 6 0 8 4 2 6 0 1 7 5 6 0 2 8 2 6 0 43 1 6 0 70 3 6 f 3 7 0 6 C 8 7 3 6 0 8 7 5 6 C 8 6 3 6 C 9 C 5 6 0 9 3 5 6 0 9 4 0 60969 6 0 9 7 3 6 0 9 8 4 61 C 02 436 TABLE OF STRESS MAXIMA P AT TE RNS (THOMSON) 8 , 1 C 6 0 01 1 8 6 0 C 1 8 8 6 3c 4 6 8 6 ' , ' 6 7 8 6 0 - 7 0 8 6 0 C 7 3 8 6 0 0 9 5 8 6 0 C 9 3 8 6 0 C 9 9 8 6 0 10 1 8 6 ) 1 0 5 8 6 0 1 3 0 8 6 0 1 4 8 8 6 0 1 8 3 8 6 0 1 9 1 8 6 0 1 9 2 8 6 0 2 0 0 8 6 C 2 2 5 8 6 0 2 2 3 8 6 0 2 3 0 8 6 0 2 3 6 8 6 0 2 3 9 8 6 0 2 6 0 8 6 0 2 6 9 8 6 0 2 7 1 8 6 0 2 8 0 8 6 0 3 0 4 8 6 0 3 0 9 8 6 0 3 6 2 8 6 0 3 6 8 8 6 C 3 7 1 8 6 0 4 3 2 8 6 0 4 7 1 8 6 0 4 7 6 8 6 0 5 0 0 8 6 0 5 1 5 8 6 0 5 3 1 8 6 0 5 4 6 8 60 5 5 9 8 6 0 5 7 6 8 6 0 5 8 0 8 6 0 6 0 4 8 6 0 6 1 0 8 6 0 61 6 8 6 0 6 2 5 8 6 0 6 4 5 8 6 0 6 9 1 3 6 0 7 0 3 8 6 0 7 2 7 8 6 0 7 3 6 8 6C 7 4 5 8 6 6 7 5 2 8 6C 7 7 3 0 6 r 7 7 0 8 6 6 7 8 0 8 6 0 7 8 6 8 6C 81 1 8 6t 8 2 7 8 6 C 8 3 1 8 6 6 8 6 5 8 6<: 8 7 3 8 6 6 91 C 8 6 C 9 2 1 8 6C-92 4 8 6 0 9 2 9 B 6 C 9 3 6 8 6C 9 8 3 8 6C 9 9 5 3 61 C 1 3 8 6C 5 1 9 7 6 0 0 0 1 6 , 8 6 0 0 0 2 6 , 8 6 0 0 0 7 6 , 8 6 0 0 2 7 6 , 8 6 0 0 2 8 6 , 8 6 0 0 3 3 6 , 8 6 0 0 4 8 6 , 8 6 0 0 4 9 6 , 8 6 0 0 5 1 6 , 8 6 0 0 5 3 6 , 8 6 0 0 6 4 6 , a 6 0 0 7 0 6 , 8 6 0 0 9 4 6 , 8 6 0 1 0 2 6 , 8 6 0 1 1 3 6 , 8 6 0 1 2 5 6 , 8 6 0 1 4 5 6 , 8 6 0 1 5 8 6 , 8 6 0 1 5 9 6 , 8 6 0 1 6 7 6 , 8 6 0 1 7 4 6 , 8 6 0 1 7 9 6 , 8 6 0 1 8 9 6 , 0 6 0 1 9 6 6 . 8 6 0 2 0 1 6 , 8 6 0 2 0 3 6 , 8 6 0 2 0 7 6 , 8 6 0 2 1 6 6 , 3 6 0 2 2 9 6 , 8 6 0 2 6 2 6 , 8 6 0 2 6 5 6 , 8 6 0 2 8 7 6 , 8 6 0 2 9 3 6 , 8 6 0 3 3 4 6 , 8 6 0 3 4 3 6 , 8 6 0 3 6 9 6 , 8 6 0 3 7 0 6 , 8 6 0 3 7 4 6 , 8 6 0 3 9 9 6 , 8 6 0 4 4 6 6 , 8 6 0 4 7 3 6 , 8 6 0 4 7 9 6 , 8 6 0 4 8 1 6 , 8 6 0 5 0 4 6 , 8 6 0 5 3 6 6 , 8 6 0 5 4 9 6 , 8 6 0 5 5 5 6 , 8 6 0 5 5 7 6 » 8 6 0 5 7 0 6 , 8 6 0 6 0 2 6 , 8 6 0 6 0 9 6 , 8 6 0 6 3 2 6 , 3 6 0 6 3 3 6 , 8 6 0 6 3 9 6 , 8 6 0 6 4 6 6 , 8 6 0 6 5 0 6 , 8 6 0 6 8 3 6 , 8 6 0 6 9 2 6 , 8 6 0 6 9 3 6 , 8 6 0 6 9 4 6 , 8 6 0 72 0 6 , 8 6 0 7 2 1 6 , a 6 0 7 2 2 6 , 8 6 0 7 2 6 6 , 8 6 0 7 3 8 6 , 8 6 0 7 7 1 6 , 8 6 0 7 9 3 6 , 8 6 0 8 0 1 6 , 8 6 0 8 1 4 6 , 8 6 0 8 2 5 6 , 8 6 0 8 4 4 6 , 8 6 0 8 5 1 6 , 8 6 0 8 7 0 6 , 8 6 0 8 7 2 6 , 8 6 0 8 7 8 6 , 8 6 0 8 9 1 6 , 8 6 0 8 9 2 6 , 8 6 0 8 9 9 6 , 8 6 0 9 0 9 6 , 8 6 0 9 1 1 6 , 8 6 0 8 9 7 6 0 9 2 ? 6 , 8 6 0 9 0 7 6 0 9 3 5 6 , 8 6 0 9 2 3 6 0 9 5 6 6 , 8 6 0 9 4 3 6 0 9 8 5 6 , 8 6 0 9 4 7 6 0 9 9 4 6 , 8 6 0 9 8 0 6 1 0 0 6 6 , 8 6 ^ 3 1 4 6 1 0 1 0 6 , 8 6 6 7 0 6 1 0 1 1 6 , 0 6 0 0 1 0 6 1 0 1 6 6 , 8 6 0 0 1 9 &t: ' ' 8 0 6 , 1 0 6 0 0 2 4 6 0 0 2 0 6 6 0 0 3 5 6 0 0 5 5 6 6 0 0 3 7 6 0 0 8 1 6 6 0 0 3 8 6 0 1 4 4 6 6 0 0 4 5 6 0 1 8 5 6 6 0 0 5 2 6 0 1 9 3 6 6 0 0 6 5 6 0 1 9 7 6 6 0 0 7 2 6 0 2 5 4 6 6 0 0 7 5 6 0 2 7 8 6 6 0 0 8 5 6 0 3 0 3 6 6 0 0 0 9 6 0 3 5 1 6 6 0 0 9 0 6 0 3 5 5 6 6 0 0 9 3 6 0 3 9 6 6 6 0 1 0 7 6 0 3 9 8 6 6 0 1 2 2 6 0 4 0 5 6 6 0 1 3 4 6 0 4 1 3 6 6 0 1 5 0 6 0 4 2 0 6 6 0 1 5 5 6 0 4 2 5 6 6 0 1 5 7 6 0 4 3 5 6 6 0 1 6 3 6 0 4 6 5 6 6 0 1 7 7 6 0 4 6 6 6 6 0 1 7 8 6 0 5 0 6 6 6 0 1 8 0 6 0 5 2 4 6 6 0 1 8 3 6 0 5 2 7 6 6 0 1 8 7 6 0 5 7 2 6 6 0 1 9 5 6 0 5 7 8 6 6 0 1 9 9 6 0 5 8 4 6 6 0 2 0 5 6 0 6 1 9 6 6 0 2 0 6 6 0 6 2 1 6 6 0 2 1 3 6 0 6 3 1 6 6 0 2 2 2 6 0 6 3 7 6 6 0 2 3 2 6 0 6 6 4 6 6 0 2 3 3 6 0 6 7 6 6 6 0 2 4 7 6 0 7 1 4 6 6 0 2 6 1 6 0 7 4 3 6 6 0 2 6 6 6 0 7 8 7 6 6 0 2 8 6 6 0 7 9 1 6 6 0 2 9 0 6 0 8 3 4 6 6 0 3 1 7 6 0 0 8 2 6 6 0 3 2 0 6 6 0 3 2 1 4 8 6 6 0 3 2 6 4 8 6 6 0 3 3 3 4 8 6 6 0 3 6 0 4 8 6 6 0 3 6 1 4 8 6 6 0 4 0 0 4 8 4 8 , 1 C 6 0 4 1 6 4 8 4 6 , 1 C 6 0 4 3 3 4 8 4 8 6 0 4 3 6 4 8 4 8 6 0 4 5 6 4 8 4 Q 6 0 4 6 3 4 8 4 8 6 0 4 7 0 4 8 4 8 6 0 4 9 3 4 8 4 8 6 0 5 0 3 4 8 4 8 6 0 51 7 4 8 4 8 6 0 5 2 9 4 a 4 8 6 0 5 3 3 4 8 4 8 6 0 5 4 8 4 8 4 8 6 0 5 5 0 4 8 4 8 6 0 5 6 0 4 8 4 8 6 0 5 7 4 4 8 4 8 6 0 5 7 9 4 8 4 8 6 0 6 0 0 4 8 4 8 6 0 6 0 8 4 8 4 8 6 0 6 2 9 4 a 4 8 6 0 6 4 2 4 8 4 8 6 0 6 4 9 4 8 4 a 6 0 6 5 3 4 8 4 8 6 0 6 7 2 4 8 4 8 6 0 6 7 8 4 8 4 8 6 0 6 9 6 4 8 4 8 6 0 7 3 2 4 8 4 8 6 0 7 4 8 4 8 4 8 6 0 7 6 2 4 8 4 8 6 0 7 7 7 4 8 4 a 6 0 7 7 8 4 8 4 8 6 0 7 8 1 4 a 4 8 6 0 7 9 6 4 8 4 a 6 0 8 1 2 4 8 4 8 6 0 8 1 5 4 8 4 8 6 0 8 1 7 4 8 4 8 6 0 8 1 8 4 8 4 8 6 0 8 2 9 4 8 4 8 6 0 8 3 9 4 8 4 8 6 0 8 4 6 4 8 4 8 6 0 8 5 2 4 8 4 8 6 0 8 5 4 4 8 4 8 6 0 8 9 3 4 8 4 8 6 0 9 0 1 4 8 4 8 6 0 9 2 0 4 8 438 6 0 92 0 4 8 6 0 4 8 4 6 0 9 3 2 4 8 6 0 4 8 6 6 0 9 3 3 4 8 6 0 4 8 9 6 0 9 3 7 4 8 6 0 5 0 8 6 0 96 a 4 8 6 0 52 6 6 0 9 7 7 4 8 6 0 5 3 0 6 0 9 3 4 4 8 6 0 5 4 4 6 0 9 6 6 4 8 6 0 5 4 5 6 0 9 9 8 4 8 6 0 5 5 2 61 0 0 0 4 8 6 0 5 5 4 61 0 1 2 4 8 6 0 5 6 1 6 1 0 1 4 4 8 6 0 5 6 6 6 1 0 1 9 4 8 6 0 5 8 3 6 1 ° 1 5 4 7 6 0 6 2 0 60 3 8 3 4 6 8 ♦ 1 C 6 0 6 4 8 6 0 5 2 8 4 6 8, 1C 6 0 6 6 5 60 6 1 7 4 6 8 . 1 0 6 0 6 0 4 6 0 71 5 4 6 8 , 1 0 6 0 7 1 6 6 0 0 0 4 4 6 8 6 0 7 2 8 6 0 0 3 0 4 6 8 6 0 7 5 5 6 0 0 3 1 4 6 8 6 0 7 6 4 6 0 0 7 4 4 6 8 6 0 7 6 6 6 0 0 8 7 4 6 8 6 0 7 8 5 6 0 1 0 0 4 6 8 6 0 7 9 7 6 0 1 0 9 4 6 a 6 0 80 7 6 0 1 1 1 4 6 8 6 0 8 2 0 6 0 1 1 8 4 6 8 6 0 8 3 2 6 0 1 3 1 4 6 8 6 0 8 4 3 6 0 1 6 0 4 6 8 6 0 8 7 1 6 0 1 6 5 4 6 8 6 0 9 0 0 6 0 1 9 4 4 6 8 6 0 9 3 0 6 0 2 1 7 4 6 8 6 0 9 4 0 6 0 2 2 7 4 6 8 6 0 9 7 0 6 0 2 3 7 4 6 8 6 0 9 7 3 6 0 2 7 7 4 6 8 6 0 9 7 5 6 0 3 0 0 4 6 8 6 0 9 8 2 6 0 3 1 9 4 6 8 61 0 0 2 6 0 3 2 2 4 6 8 61 0 0 3 6 0 3 2 4 4 6 8 6 0 0 15 6 0 3 4 9 4 6 8 6 0 0 4 1 6 0 3 7 9 4 6 8 6 0 0 4 4 6 0 3 0 0 4 6 8 6 0 0 5 4 6 0 3 9 2 4 6 8 6 0 0 5 9 6 0 3 9 7 4 6 8 6 0 0 7 9 6 0 4 0 0 4 6 8 6 0 1 2 4 6 0 4 0 7 4 6 8 6 0 1 2 6 6 0 4 1 7 4 6 8 6 0 1 6 8 6 0 4 5 0 4 6 8 6 0 181 6 0 4 5 9 4 6 8 6 0 1 8 2 6 0 4 8 3 4 6 8 6 0 2 0 9 4 6 8 6 0 2 5 3 4 6 4 6 8 6 0 2 5 7 4 6 4 6 8 6 0 2 9 6 4 6 4 6 8 6 0 3 0 7 4 6 4 6 8 6 0 3 6 5 4 6 4 6 8 6 0 3 7 2 4 6 4 6 8 6 0 3 7 6 4 6 4 6 8 6 0 4 1 1 4 6 4 6 8 6 0 4 2 4 4 6 4 6 8 6 0 4 2 8 4 6 4 6 8 6 0 4 4 5 4 6 4 6 a 6 0 4 6 7 4 6 4 6 8 6 0 4 9 5 4 6 4 6 8 6 0 50 9 4 6 4 6 8 6 0 5 2 1 4 6 4 6 8 6 0 5 3 4 4 6 4 6 8 6 0 5 4 1 4 6 4 6 8 6 0 6 5 1 4 6 4 6 8 6 0 6 5 9 4 6 4 6 8 6 0 6 6 1 4 6 4 6 8 6 0 6 7 4 4 6 4 6 8 6 0 6 8 0 4 6 4 6 8 6 0 6 9 7 4 6 4 6 8 6 0 7 0 4 4 6 4 6 8 • 6 0 7 0 7 4 6 4 6 8 6 0 7 1 7 4 6 4 6 8 6 0 7 3 9 4 6 4 6 8 6 0 7 5 9 4 6 4 6 8 6 0 7 9 9 4 6 4 6 8 6 0 8 0 0 4 6 4 6 8 6 0 8 0 3 4 6 4 6 8 6 0 8 0 6 4 6 4 6 8 6 0 8 3 3 4 6 4 6 8 6 0 8 4 2 4 6 4 6 8 6 0 8 6 2 4 6 4 6 8 6 0 8 8 0 4 6 4 6 8 6 0 9 0 4 4 6 4 6 8 6 0 9 0 6 4 6 4 6 6 0 9 5 7 4 6 4 6 6 0 9 6 0 4 6 4 6 61 0 2 1 4 6 4 6 6 0 0 1 6 4 4 6 6 0 0 1 7 4 4 6 6 0 0 5 0 4 4 6 6 0 1 0 4 4 4 6 6 0 1 2 0 4 4 6 6 0 1 4 6 4 4 6 6 0 1 61 4 4 6 6 0 2 0 4 4 4 6 6 0 21 1 4 439 6 0 2 1 9 4 6 0 3 3 7 2 8 6 0 3 6 3 2 6 8 6 0 2 3 8 4 6 0 3 4 4 2 9 6 0 3 0 4 2 6 8 6 0 2 6 4 4 6 0 4 4 2 2 8 6 0 3 8 7 2 6 8 6 0 2 7 0 4 6 0 4 4 7 2 8 6 0 4 0 2 2 6 8 6 0 2 7 2 4 6 0 4 9 1 2 a 6 0 4 3 8 2 6 8 6 0 3 1 0 4 6 0 4 9 6 2 a 6 0 4 5 3 2 6 8 6 0 3 1 6 4 6 0 5 3 5 2 8 6 0 4 6 4 2 6 8 6 0 3 4 0 4 6 0 5 3 7 2 8 6 0 4 7 7 2 6 a 6 0 3 7 5 4 6 0 6 6 7 2 3 6 0 4 9 8 2 6 8 6 0 4 5 5 4 6 0 7 0 2 2 8 6 0 5 1 6 2 6 8 6 0 4 7 2 4 6 0 7 0 5 2 8 6 0 5 2 5 2 6 8 6 0 4 8 5 4 6 0 7 0 9 2 8 6 0 5 3 2 2 6 8 6 0 4 9 7 4 6 0 71 2 2 8 6 0 5 6 3 2 6 8 6 0 5 1 2 4 6 0 7 3 0 2 8 6 0 5 7 3 2 6 8 6 0 5 2 3 4 6 0 7 3 3 2 8 6 0 5 7 5 2 6 8 6 0 5 4 2 4 6 0 7 5 8 2 8 6 0 5 8 7 2 6 8 6 0 5 8 9 4 6 0 7 6 3 2 8 6 0 5 9 0 2 6 8 6 0 6 5 6 4 6 0 7 8 4 2 8 6 0 5 9 1 2 6 8 6 0 6 7 9 4 6 0 7 9 5 2 8 . 6 0 5 9 6 2 6 8 6 0 6 9 5 4 6 0 8 5 3 2 8 6 0 6 0 3 2 6 8 6 0 7 1 8 4 6 0 8 5 5 2 8 6 0 6 5 4 2 6 8 6 0 7 4 0 4 6 0 8 6 7 2 8 6 0 6 5 5 2 6 8 6 0 7 6 5 4 6 0 9 1 6 2 8 6 0 6 6 3 2 6 8 6 0 7 3 8 4 6 0 9 1 8 2 8 6 0 6 8 8 2 6 a 6 0 7 9 0 4 6 0 9 3 1 2 8 6 0 6 9 0 2 6 8 6 0 7 9 8 4 6 0 9 4 4 2 8 6 0 7 0 6 2 6 8 6 0 9 1 7 4 6 0 9 7 9 2 8 6 0 7 3 5 2 6 8 6 0 9 1 9 4 6 0 9 8 8 2 8 6 0 7 3 7 2 6 8 6 0 9 8 7 4 6 0 9 9 3 2 8 6 0 7 5 1 2 6 8 6 0 9 8 9 4 6 0 6 1 3 2 7 6 0 7 6 9 2 6 8 6 0 1 1 6 3 . 6 6 0 6 5 7 2 7 6 0 7 7 6 2 6 8 6 0 4 9 1 2 , 8 6 0 3 2 3 2 7 6 0 8 0 9 2 6 8 6 0 0 4 7 2 , 8 6 0 3 8 1 2 7 6 0 8 3 5 2 6 8 6 0 0 6 3 2 , 8 6 0 0 6 6 2 6 . 8 6 0 8 3 7 2 6 8 6 0 0 8 4 2 , 8 6 0 0 8 8 2 6 , 8 6 0 8 5 6 2 6 8 6 0 0 8 6 2 . 8 6 0 0 9 2 2 6 , a 6 0 8 6 0 2 6 8 6 0 0 9 6 2 , 8 6 0 1 1 2 2 6 , 8 6 0 8 6 3 2 6 8 6 0 1 1 9 2 , 8 6 0 1 3 7 2 6 , 8 6 0 8 8 5 2 6 8 6 0 1 2 3 2 , 8 6 0 2 4 4 2 6 , 8 6 0 9 4 6 2 6 8 6 0 1 3 8 2 , 8 6 0 2 4 8 2 6 , 8 6 0 9 5 3 2 6 8 6 0 1 4 1 2 , 8 6 0 2 4 9 2 6 , 8 6 1 0 1 8 2 6 8 6 0 1 4 3 2 , 8 6 0 2 7 4 2 6 , 8 6 0 5 2 0 2 6 10 6 0 2 2 1 2 , 8 6 0 2 8 9 2 6 , 8 6 9 5 9 5 2 6 6 0 2 4 0 2 , 8 6 0 3 1 1 2 6 , 8 6 0 5 9 7 2 6 6 0 2 4 6 2 , 8 6 0 3 2 7 2 6 , 8 6 0 10 8 2 6 6 0 2 5 8 2 , 8 6 0 3 3 5 2 6 , 8 6 C 6 C 6 2 6 6 0 2 6 7 2 , 8 6 0 3 4 5 2 6 , 8 6 C 0 3 9 2 6 6 0 2 6 8 2 , 8 6 0 3 5 2 2 6 , 8 6 0 2 1 2 2 6 6 0 2 7 9 2 . 8 6 0 3 5 9 2 6 * 8 6C 6 7 1 2 6 6 0 2 8 4 2 . 8 6 0 3 5 9 2 6 , 8 6 C 4 1 0 2 6 6 0 3 3 6 2 , 8 440 60699 2 6 60282 60 71 r > 2 6 60233 6075b 2 6 60238 6<'245 2 6 60292 60510 2 6 60305 6* 794 2 6 60306 60 393 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C V j W C \ J f v j C \ J C J W N A J O J C \ J O J f y w r j C \ J C J C J W P J W P J < V J t \ j C \ J f J ( \ i W < \ J ( V J N ( \ J C M f V J ( U < \ J f \ i ( V ) W ^’©®0'^r0O«»i0>OO©®0J©(\j0'^*ffl{\J<t©aoC'J®®«HN«^<tWC''tf-^^,C\jr0C''C®"*®<t®C0''«}-lP o o — -*(\jcMn<t'0'OBO'o.-ic\i^,©vONffiO'-*c\j©-tfir>if>®®©roro<j-.cnn\ON®f*-*(\im-a'^©vcvoici>wN ^<f<t<t^<t^<f4,it<njinirnninKiiniflinwiOiDj;o'S'C'0'0\ONNNNNNNNBS)atD(OBcoccccscoco '0'0'0'0'CvD'C'0'0'0«0'0'C'0>0®'C®'0®'C'OCa'0'Oa'C®S©§®§©SSSS®SSSS©§®SSS C C O ® C O ® © ® C O ® C O ® © ® B C O 0 0 ® ® ® ffl ffi tt ® ® ® ® ® ® ® © ffi ® B ffl ® ® ®®CCB®©B®®®®©CtO©vO»C>O'0®v0©>0'O'Ov0'0'C®'0'C©®'0®'0©'0®'0®'0©'0©'0'C®© aiM C \lC \!(VJtM CM W (\iW W C V:C \JC 'J(\l C\;cjWWCVWCMWCV)(\J(VJC\lCVJCVi(\Jt\JC\lfVjC\JCMfU('JWf\lWCVJCJC\irj<Mf\JCM(\itMC\J N.O'-<'C—O N O - i t W N O ' N O O ' r . — ® © N B 0 ' r 0 © S C V J © « - < © © ® f f i O < J ’O © « ' 4 - 0 ' O © < t ® C f f i i f i sC'ONr'CC'o>ooooo^a<trtt\i(\j»£3vosfflowcv4wrfi^<f©©r>-N©0'OT-«ojffiO'0'CiiOio®c©®0' CO'O'O'^O'O'OOOOCiOO-doOOOOOOH^ri^-rtw-frtHrt-.HNNOJWWNWWmCil^imflrj ®cScSScvCvOO'0'0'0'cSS§S§S©SSSSS'oSS'0'0©0'0'C'0'0®©'0'0'0'C'0'C'0'0'C'0'0 6 0 5 Q 1 2 4 6 6 0 5 8 5 2 . 4 6 0 3 0 1 N U LL 6 0 5 9 4 2 4 6 6 0 6 2 2 2 , 4 6 0 3 8 2 NULL 6 0 5 9 8 2 4 6 6 0 6 3 5 2 , 4 6 0 3 9 4 N U LL 6 0 6 0 1 2 4 6 6 0 6 3 6 2 . 4 6 0 4 3 7 N U LL 6 0 6 0 5 2 4 6 6 0 6 6 2 2 . 4 6 0 4 5 1 NULL 6 0 6 0 7 2 4 6 6 0 6 8 5 2 , 4 6 0 4 6 0 N U LL 6 0 6 1 5 2 4 6 6 0 7 0 0 2 . 4 6 0 5 5 3 NULL 6 0 6 6 6 2 4 6 6 0 7 6 8 2 , 4 6 0 6 2 4 NULL 6 0 7 0 I 2 4 6 6 0 7 7 2 2 , 4 6 0 6 2 7 N U LL 6 0 7 6 7 2 4 6 6 0 7 7 5 2 . 4 6 0 6 4 4 N U LL 6 0 7 8 9 2 4 6 6 0 8 0 8 2 , 4 6 0 6 7 7 N U LL 6 0 8 1 0 2 4 6 6 0 8 3 0 2 , 4 6 0 7 2 4 N U L L 6 0 8 2 2 2 4 6 6 0 0 7 6 2 , 4 6 0 7 4 6 N U LL 6 0 8 3 6 2 4 6 6 0 9 5 5 2 , 4 6 0 8 1 6 N U LL 6 0 8 4 7 2 4 6 6 0 9 9 1 2 , 4 6 0 8 5 7 N U LL 6 0 8 5 0 2 4 6 6 0 0 6 1 2 6 0 8 8 6 N U LL 6 0 8 8 9 2 4 6 6 0 0 9 7 2 6 0 9 1 2 N U LL 6 0 8 9 0 2 4 6 6 0 1 3 2 2 6 0 9 2 5 N U LL 6 0 9 0 2 2 4 6 6 0 1 3 9 2 6 0 9 4 1 N U LL 6 0 9 4 8 2 4 6 6 0 2 3 4 2 6 0 9 5 0 N U LL 6 0 9 4 9 2 4 6 6 0 2 4 3 2 6 0 9 9 6 N U L L 6 0 9 5 2 2 4 6 6 0 2 9 8 2 6 0 9 5 9 2 4 6 6 0 3 0 2 2 6 1 0 0 1 2 4 6 6 0 3 2 5 2 6 0 0 0 5 2 4 6 0 4 0 9 2 6 0 0 0 9 2 4 6 0 4 1 8 2 6 0 0 4 0 2 4 6 0 4 2 6 2 6 0 0 5 7 2 4 6 0 4 2 9 2 6 0 0 7 6 2 4 6 0 4 4 4 2 6 0 1 4 9 2 4 6 0 5 1 1 2 6 0 1 5 6 2 4 6 0 6 8 2 2 6 0 1 6 2 2 4 6 0 6 8 9 2 6 0 1 7 2 2 4 6 0 7 2 3 2 6 0 1 7 3 2 4 6 0 7 5 3 2 6 0 2 5 0 2 4 6 0 7 7 0 2 6 0 2 5 1 2 4 6 0 8 0 5 2 6 0 2 5 9 2 4 6 0 8 2 8 2 6 0 2 6 3 2 4 6 0 8 8 4 2 6 0 2 7 3 2 4 6 0 9 9 2 2 6 0 2 7 6 2 4 6 0 2 5 2 1 0 6 0 2 9 5 2 4 6 0 0 0 3 N U LL 6 0 2 9 7 2 4 6 0 0 1 2 N U LL 6 0 3 3 1 2 4 6 0 0 1 4 N U LL 6 0 3 9 1 2 4 6 0 0 7 7 N U LL 6 0 4 1 2 2 4 6 0 1 0 6 N U LL 6 0 4 3 9 2 4 6 0 1 1 7 NULL 6 0 4 8 8 2 4 6 0 2 1 8 N U LL 6 0 5 0 I 2 4 6 0 2 3 1 N ULL 6 0 5 1 3 2 4 - 6 0 2 4 I N U LL 6 0 5 6 4 2 4 6 0 2 7 5 N U LL 443 WANK ORDER L I S T FDR S T P F S S MAXIMA P A T T E R N S ( TH O M S O N ! 1 AT 2 . 4 , 8 1 0 5 4 t 9 1 0 0 2 « 4 , 6 « 6 3 9 6 . 8 7 0 4 . 6 . 8 6 9 8 5 3 2 . 6 . 8 5 7 2 , 4 , 6 5 3 4 , 6 4 8 2 , e 4 5 6 41 2 . 4 3 9 4 31 NULL 2 3 2 , 6 2 4 2 4 2 , 7 4 4 , 6 . 8 , 1 0 3 2 . 4 , 8 , 1 0 2 4 , 8 , 1 0 2 2 , 4 , 6 , 1 0 1 3 , 6 1 8 , 1 C 1 2 , 4 , 6 , 8 , 1 0 1 7 1 2 , 6 , 1 0 1 6 , 1C 1 4 , 7 1 2 , 5 1 10 444 TABLE OF ASSONANCE PATTERNS (THOMSON) 6 0 0 5 1 12 3 3 2 1' oC 1 5 7 1 2 2 1 6 0 7 7 9 1 2 2 1 6 0 4 4 7 1 2 3 3 2 1 6C 1 7 5 1 2 2 1 6 0 7 8 8 1 2 2 1 6 r 3v 1 1 2 3 3 1 2 6C 1 7 6 1 2 2 1 6 0 8 0 2 1 2 2 1 6 0 6 7 6 1 2 3 3 1 2 60 1 8 4 1 2 2 1 6 9 8 1 8 1 2 2 1 6 0 9 5 4 12 3 3 1 1 3 2 6 0 2 0 6 1 2 2 1 6 0 8 7 8 1 2 2 1 6 0 0 1 2 1 2 3 2 3 1 6 0 2 C 7 1 2 2 1 6 0 9 1 6 1 2 2 1 6 0 1 4 0 1 2 3 2 3 1 ot. 2 1 1 1 2 2 1 6 0 9 1 7 1 2 2 1 6 0 1 9 7 1 2 3 2 3 1 6 0 2 3 9 1 2 2 1 60 9 2 ? 1 2 2 1 6 0 9 4 1 1 2 3 2 3 1 6 0 2 7 2 1 2 2 1 6 0 9 2 7 1 2 2 1 6 6 2 10 1 2 3 2 2 3 1 61V3C5 1 2 2 1 60 9 5 9 1 2 2 1 6 0 2 3 0 1 2 3 2 1 3 6 0 0 3 5 1 2 2 1 6 0 9 6 3 1 2 2 1 6 0 4 8 8 1 2 3 2 1 3 6 0 3 1 8 1 2 2 1 6 0 9 9 6 1 2 2 1 6 0 5 9 7 1 2 3 2 1 3 6 0 3 6 1 1 2 2 1 6 1 C C 2 1 2 2 1 6 C 8 4 5 1 2 3 1 3 ? 6 C 3 6 1 1 2 2 1 6 1 0 1 4 1 2 2 1 6 0 9 0 9 1 2 3 1 3 2 6C 4 13 1 2 2 1 6 0 2 6 4 1 2 1 3 3 4 2 4 6 0 1 9 4 1 2 3 1 2 3 6 C 4 17 1 2 2 1 6 0 2 8 4 1 2 1 3 3 2 60 5 4 7 1 23 1 2 3 6 f 4 3 4 1 2 2 1 6 0 3 2 3 1 2 1 3 3 2 6 0 5 5 9 1 2 3 1 2 3 6 0 4 3 9 1 2 2 1 6 0 5 86 1 2 1 3 3 2 6 0 1 2 8 1 2 2 3 3 1 3 6 0 4 5 1 1 2 2 1 6 0 60 1 1 2 1 3 3 2 6 0 7 13 1 2 2 3 2 1 3 6 C 4 5 7 1 2 2 1 6 0 6 3 6 1 2 1 3 3 2 6 0 4 18 1 2 2 3 1 3 1 6 0 4 6 1 1 2 2 1 6 0 6 5 4 1 2 1 3 3 2 6 9 4 2 4 12 2 3 1 3 6 6 4 6 5 1 2 2 1 6 C 6 7 9 1 2 1 3 3 2 6 0 6 3 7 1 2 2 3 1 3 6 C 4 7 4 1 2 2 1 6C 11 1 1 2 1 3 3 2 6 0 1 4 4 1 2 2 2 1 6 C 4 7 5 1 2 2 1 6 0 3 4 1 1 2 1 3 2 4 3 4 6 0 3 7 6 12 22 1 6 0 4 7 9 1 2 2 1 6 0 1 6 2 1 2 1 3 2 3 6 0 6 8 9 1 2 2 2 1 6 0 4 9 5 1 2 2 1 6 0 3 6 2 1 2 1 3 2 3 6 6 8 7 9 1 2 2 2 1 6 C 5 4 6 1 2 2 1 6 0 6 0 8 1 2 1 3 2 3 6 0 9 4 7 1 2 2 2 1 60 5 5 1 1 2 2 1 6 0 7 5 7 1 2 1 3 2 3 6 0 9 3 0 1 2 2 2 1 6 6 5 5 5 1 2 2 1 6 0 9 8 1 1 2 1 3 2 3 6 0 6 3 1 1 2 2 1 3 3 1 61 5 5 7 1 2 2 1 6 C 5 53 1 2 1 3 2 2 3 6 0 0 4 9 1 2 2 1 3 3 60 5 6 2 1 2 2 1 6 9 8 5 1 1 2 1 3 1 2 3 6 0 1 12 1 2 2 1 3 3 er 5 6 7 1 2 2 1 6 0 9 4 9 1 2 1 2 3 3 1 6 0 8 4 2 1 2 2 1 3 3 6 0 5 9 5 1 2 2 1 6 0 8 5 6 1 2 1 2 3 3 6 0 1 8 7 1 2 2 1 2 2 6 0 6 4 2 1 2 2 1 6 0 8 9 6 1 2 1 2 3 3 6 0 3 C 7 1 2 2 1 2 6 C 6 4 4 1 2 2 1 6 0 7 i e 1 2 1 2 2 2 6 0 35 1 1 2 2 1 2 6 0 6 5 3 1 2 2 1 6 C 0 7 8 1 2 1 2 2 1 6 0 5 4 3 1 2 2 1 2 60 6 6 0 1 2 2 1 6 0 3 3 6 1 2 1 2 2 6 0 7 9 3 1 2 2 1 2 6 0 6 6 1 1 2 2 1 6 0 4 8 2 1 2 1 2 2 6 0 9 6 9 1 2 2 1 2 6 0 6 7 8 1 2 2 1 6 0 6 2 0 1 2 1 2 2 6 0 4 4 9 1 2 2 1 1 6( 6 9C 1 2 2 1 6 0 6 5 C 12 1 2 2 6 0 9 3 5 1 2 2 1 1 6 C 6 9 1 1 2 2 1 6 C 8 1 4 1 2 1 2 2 6 0 0 4 4 1 2 2 1 6 C 6 9 5 1 2 2 1 6 0 9 5 5 12 1 2 2 6 0 001 1 2 2 1 6 1 . 6 9 7 1 2 2 1 6 0 2 8 7 1 2 1 2 1 6 0 0 7 5 1 221 60 7 0 4 1 2 2 1 6 0 3 3 9 1 2 1 2 1 6 0 0 7 7 1 2 2 1 6 0 7 0 6 1 2 2 1 6 P 4 C 4 1 2 1 2 1 6 0 0 9 2 1 2 2 1 6 C 7 10 1 2 2 1 6 0 4 2 6 1 2 1 2 1 6 0 1 0 0 1 2 2 1 6C 7 3 1 1 2 2 1 6 0 7 1 4 1 2 1 2 1 6 0 1 18 1 2 2 1 6 0 7 6 1 1 2 2 1 6( 9 0 5 1 2 1 2 1 6 0 1 2 3 1 2 2 1 6 0 7 6 4 1 2 2 1 6 9 9 8 3 1 2 1 2 1 6 0 1 2 5 1 2 2 1 6 0 7 6 8 1 2 2 1 6 0 0 0 5 1 2 1 2 445 6 0 0 1 6 1 2 1 2 . 6 0 5 9 4 1 2 1 2 6 0 3 5 9 1 I 2 2 1 6 0 0 6 1 1 2 1 2 6 0 6 0 3 1 2 1 2 6 0 6 1 1 1 1 2 2 1 6 0 0 7 2 1 2 1 2 6 0 6 1 6 1 2 1 2 6 0 6 1 8 I 1 2 2 1 6 0 0 7 6 1 2 1 2 6 0 6 5 7 1 2 1 2 6 0 9 8 4 1 1 2 2 1 6 0 0 9 0 1 2 1 2 6 0 6 5 8 1 2 1 2 6 0 9 8 8 1 1 2 2 1 6 0 0 9 4 1 2 1 2 6 0 6 7 3 1 2 1 2 6 0 0 1 3 1 1 2 2 6 0 0 9 5 1 2 1 2 6 0 7 3 5 1 2 1 2 6 0 0 2 0 1 1 2 2 6 0 1 0 3 1 2 1 2 6 0 7 4 8 1 2 1 2 6 0 0 2 2 1 1 2 2 6 0 1 0 8 1 2 1 2 6 0 7 4 9 1 2 1 2 6 0 0 4 1 1 1 2 2 6 0 1 10 1 2 1 2 6 0 7 6 9 1 2 1 2 6 0 0 4 3 1 1 2 2 6 0 1 2 9 1 2 12 6 0 7 8 7 1 2 1 2 6 0 0 5 3 1 1 2 2 6 0 1 4 7 1 2 1 2 6 0 7 8 9 1 2 1 2 6 0 0 6 2 1 1 2 2 6 0 1 7 2 1 2 1 2 6 0 7 9 5 1 2 1 2 6 0 0 7 0 1 1 2 2 6 0 1 7 3 1 2 1 2 6 0 8 2 2 1 2 1 2 6 0 0 7 9 1 1 2 2 6 0 1 9 9 1 2 1 2 6 0 8 4 4 1 2 1 2 6 0 0 8 3 1 1 2 2 6 0 2 0 I 1 2 1 2 6 0 8 5 5 1 2 1 2 6 0 1 1 3 1 1 2 2 6 0 2 0 4 1 2 1 2 6 0 8 5 8 1 2 1 2 6 0 1 1 5 1 1 2 2 6 0 2 16 1 2 1 2 6 0 8 6 3 1 2 1 2 6 0 1 5 6 1 I 2 2 6 0 2 3 6 1 2 1 2 6 0 8 8 3 1 2 1 2 6 0 1 6 4 1 1 2 2 6 0 2 4 0 1 2 12 6 0 8 8 7 1 2 1 2 6 0 1 6 6 1 1 2 2 6 0 2 4 9 1 2 12 6 0 9 0 3 1 2 1 2 6 0 2 0 3 1 1 2 2 6 0 2 5 9 1 2 1 2 6 0 9 0 4 1 2 1 2 6 0 2 3 1 1 1 2 2 6 0 2 6 I 1 2 1 2 6 0 9 6 1 1 2 1 2 6 0 2 5 3 I 1 2 2 6 0 2 6 8 1 2 1 2 6 0 9 6 5 1 2 1 2 6 0 2 7 3 1 1 2 2 6 0 2 7 1 1 2 1 2 6 0 9 5 6 1 2 1 1 3 3-2 6 0 3 2 6 I 1 2 2 6 0 3 2 8 1 2 1 2 6 3 7 0 3 1 2 1 1 2 2 6 0 3 3 0 1 1 2 2 6 0 3 3 5 1 2 1 2 6 0 2 B 2 1 2 1 1 2 6 0 3 3 3 1 1 2 2 6 0 3 4 2 1 2 1 2 6 0 3 1 7 1 2 1 1 2 6 0 3 5 3 1 1 2 2 6 0 3 5 0 1 2 1 2 6 0 4 3 1 1 2 1 1 2 6 0 4 3 7 1 1 2 2 6 0 3 5 6 1 2 1 2 6 0 5 6 8 1 2 1 1 2 6 0 4 7 7 1 1 2 2 6 0 3 5 7 1 2 1 2 6 0 5 7 4 12 1 1 2 6 0 4 8 0 1 1 2 2 6 0 3 6 4 1 2 1 2 6 0 7 8 5 1 2 1 1 2 6 0 4 8 4 1 1 2 2 6 0 3 9 2 1 2 1 2 6 0 4 2 0 1 2 1 1 1 2 1 6 0 4 9 2 1 1 2 2 6 0 3 9 4 1 2 1 2 6 0 4 5 6 1 1 2 3 3 2 6 0 5 1 6 1 1 2 2 6 0 3 9 7 1 2 1 2 6 0 0 8 0 1 1 2 3 3 2 6 0 5 2 9 1 1 2 2 6 0 4 0 0 1 2 12 6 0 5 7 9 1 1 2 3 3 2 6 0 5 3 4 1 1 2 2 6 0 4 3 3 1 2 1 2 6 0 5 6 3 1 1 2 3 2 3 6 0 5 4 2 1 1 2 2 6 0 4 3 5 1 2 1 2 6 0 7 2 0 1 1 2 3 1 2 3 6 0 5 4 9 1 1 2 2 6 0 4 4 5 1 2 1 2 6 0 1 7 7 1 1 2 2 2 3 3 6 0 5 6 0 1 1 2 2 6 0 4 6 3 1 2 1 2 6 0 0 3 3 1 1 2 2 2 6 0 5 6 5 1 1 2 2 6 0 4 9 3 1 2 1 2 6 0 3 6 3 1 1 2 2 2 6 0 5 7 2 1 1 2 2 6 0 5 2 5 1 2 12 6 0 5 1 8 1 1 2 2 2 6 0 5 7 8 1 1 2 2 6 0 5 3 0 1 2 1 2 6 0 5 4 1 1 1 2 2 2 6 0 6 1 0 1 1 2 2 6 0 5 3 8 1 2 1 2 6 3 7 0 8 1 1 2 2 2 6 0 6 1 5 I 1 2 2 6 0 5 3 9 1 2 1 2 6 0 9 4 3 1 1 2 2 2 6 0 6 2 1 I 1 2 2 6 0 5 6 1 1 2 1 2 6 0 6 9 4 1 1 2 2 1 1 6 0 6 5 5 1 1 2 2 6 0 5 7 5 1 2 1 2 6 0 0 0 7 I 1 2 2 1 6 0 6 6 3 1 1 2 2 6 0 5 7 6 1 2 1 2 6 0 0 5 7 1 1 2 2 1 6 0 6 7 4 1 1 2 2 6 0 5 7 7 1 2 1 2 6 0 1 3 6 1 1 2 2 1 6 0 7 4 2 1 1 2 2 6 0 5 7 9 1 2 1 2 6 0 3 4 8 1 1 2 2 1 6 0 7 8 0 1 1 2 2 446 NW mcCC'O^t-O^CM'O^W ’ -'sf-M 'O O 'O O C M 'D v0NnnT0inni0vDc0T)ocvjnf*-ooo^t(vio o N N C O K } O O C O C O C O C O o O cO C '0 'C '0 'O o O O O °0 O O O O O O O O O O O O O O O fiH H H rtO O v0\D'Dv0v C'C'C'0'0vD'0(0'0'0'0'0'0'G'0O'®'^ •^■tfina'S(vjf0<pr0^c0w-d'v0n<>p r )if)0'O'0S'-N'a<«f,i'00"0 0"0cvjCJ'oc0o0'o-4-0'v0'0>D — — meow scoo^.>oocco'-»(NJ{vj<MnNcocoai7'0'0-<vin'(j-int)C'0'^o-wnifi4 oNO'Oioci'--<rO'-'^in!flin1 o o«-irt-.-«rt-<(vjc\i(\j<\iOjf\jcvjcuc\i(\jcvjronnfi^rf;rO'<>nn^-^'<t<t<}'^"!i> o-u, )inirt'0'OvOvON^.NSNN O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O >0'0'£)'0'C'0'0'G'0'10'C'C'C'0'0'0'C'0'0'0\0'C'0'Ov G'0'0'G'C'0'0'0'00'Ov O\0'0'C'0'C'0'0'0'00>0'00'C O J • tv 1 cmcmcmcvjojcm—cjcmcmM — N CM CM N 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6 0 6 0 2 6 0 6 0 6 6 0 6 0 7 6 0 6 0 9 6 0 6 1 2 6 0 6 1 3 6 0 6 1 7 6 0 6 2 2 6 0 6 2 4 6 0 6 2 5 6 0 6 2 6 6 0 6 2 7 6 0 6 2 8 6 0 6 3 0 6 0 6 3 2 6 0 6 3 3 6 0 6 3 5 6 0 6 4 0 6 0 6 4 1 6 0 6 4 3 6 0 6 4 7 6 0 6 5 1 6 0 6 5 2 6 0 6 5 6 6 0 6 6 2 6 0 6 6 4 6 0 6 6 5 6 0 6 6 7 6 0 6 6 8 6 0 6 6 9 6 0 6 7 1 6 0 6 7 2 6 0 6 8 0 6 0 6 8 2 6 0 6 8 3 6 0 6 9 5 6 0 6 8 7 6 0 6 8 8 6 0 6 9 3 6 0 7 0 0 6 0 7 0 2 6 0 7 0 5 6 0 7 0 9 6 0 7 1 I 6 0 7 1 5 6 0 7 1 9 6 0 7 2 1 6 0 7 2 3 60727 449 6 0 0 3 1 11 6 0 9 5 7 1 1 6 0 1 6 3 N U LL 6 0 8 3 5 1 1 6 0 9 5 8 1 1 6 0 1 6 5 N U LL 6 0 8 3 6 1 1 6 0 9 6 2 1 1 6 0 1 9 0 N U LL 6 0 8 3 7 11 6 0 9 6 8 1 1 6 0 2 0 2 N U LL 6 0 8 4 5 1 1 6 0 9 7 I 1 1 6 0 2 1 2 NU LL 6 0 8 4 7 1 1 6 0 9 7 3 1 1 6 0 2 1 4 N U LL 6 0 8 5 3 1 1 6 0 9 7 5 1 1 6 0 2 1 5 N U LL 6 0 3 5 3 1 1 6 0 9 7 9 1 1 6 0 2 2 6 N U LL 6 0 8 5 7 1 1 6 0 9 8 2 1 1 6 0 2 2 9 N U LL 6 0 8 5 9 1 1 6 0 9 8 5 1 1 6 0 2 3 2 N U LL 6 0 8 6 3 1 1 6 0 9 3 6 1 1 6 0 2 3 4 NU LL 6 0 8 6 5 1 1 6 0 9 9 0 1 1 6 0 2 3 5 N U LL 6 0 8 6 6 1 1 6 0 9 9 4 1 1 6 0 2 4 5 N U LL 6 0 0 6 8 1 I 6 0 9 9 5 1 1 6 0 2 5 0 N U LL 6 0 8 7 1 1 I 6 0 9 9 7 1 1 6 0 2 5 5 NULL 6 0 8 7 2 1 1 6 1 0 0 3 1 1 6 0 2 5 6 NULL 6 0 8 7 4 11 61 0 0 4 1 1 6 0 2 6 0 N ULL 6 0 8 7 5 1 1 6 1 0 0 7 6 0 2 6 3 N U LL 6 0 8 7 6 1 1 6 1 0 11 1 1 6 0 2 6 9 NULL 6 0 8 7 7 11 6 1 0 1 5 1 1 6 0 2 7 0 N U LL 6 0 8 8 0 1 1 6 1 0 1 7 1 1 6 0 2 7 4 N U LL 6 0 8 8 5 11 6 1 0 1 8 1 1 6 0 2 7 8 N U LL 6 0 8 8 9 1 1 6 1 0 2 1 1 1 6 0 2 8 5 NU LL 6 0 8 9 0 1 1 6 0 0 1 5 NU LL 6 0 3 0 4 N U LL 6 0 8 9 2 1 1 6 0 0 1 9 N U LL 6 0 3 0 6 N U LL 6 0 8 9 8 1 1 6 0 0 2 1 NULL 6 0 3 0 9 NULL 6 0 8 9 9 1 1 6 0 0 2 5 N U LL 6 0 3 1 0 NULL 6 0 9 0 1 1 1 6 0 0 3 2 N U LL 6 0 3 1 1 N ULL 6 0 9 0 2 1 1 6 0 0 3 4 N U LL 6 0 3 1 2 NU LL 6 0 9 0 4 1 1 6 0 0 3 8 N U LL 6 0 3 2 1 NULL 6 0 9 0 8 1 1 6 0 0 4 6 N U LL 6 0 3 2 4 N U LL 6 0 9 1 0 1 I 6 0 0 5 4 NULL 6 0 3 2 7 N U LL 6 0 9 1 2 11 6 0 0 5 9 NULL 6 0 3 3 2 N U LL 6 0 9 1 4 11 6 0 0 7 1 N U LL 6 0 3 4 3 NULL 6 0 9 1 8 11 6 0 0 7 4 NULL 6 0 3 4 5 N U LL 6 0 9 1 9 1 1 6 0 0 9 7 NULL 6 0 3 5 2 N U LL 6 0 9 2 0 I 1 6 0 0 9 8 N U LL 6 0 3 5 8 NU LL 6 0 9 2 4 1 1 6 0 1 0 7 N U LL 6 0 3 6 7 N ULL 6 0 9 2 5 1 1 6 0 1 2 4 NULL 6 0 3 6 8 N U LL 6 0 9 2 6 1 1 6 0 1 2 6 NULL 6 0 3 7 1 NU LL 6 0 9 2 8 1 1 6 0 1 3 0 N U LL 6 0 3 7 3 N U LL 6 0 9 2 9 1 I 6 0 1 3 2 N U LL 6 0 3 7 7 N U LL 6 0 9 3 2 I 1 6 0 1 3 7 N U LL 6 0 3 9 9 NULL 6 0 9 3 6 1 1 6 0 1 3 8 N U LL 6 0 4 0 3 N U LL 6 0 9 3 7 1 1 6 0 1 4 1 N U LL 6 0 4 0 6 N U LL 6 0 9 3 9 1 1 6 0 1 4 2 N U LL 6 0 4 0 7 N U LL 6 0 9 4 5 11 6 0 1 4 6 NULL 6 0 4 0 8 NU LL 6 0 9 4 6 1 1 6 0 1 5 0 N U LL 6 0 4 1 1 N U LL 6 0 9 4 8 11 6 0 1 5 2 N U LL 6 0 4 1 4 N U LL 6 0 9 5 2 11 6 0 1 5 4 N U LL 6 0 4 1 5 N U LL 6 0 4 1 9 NULL 6 0 6 7 0 NULL 6 0 9 2 1 NULL 6 0 4 2 1 NULL 6 0 6 7 5 NULL 6 0 9 3 0 NULL 6 0 4 2 8 NULL 6 0 6 7 7 NULL 6 0 9 3 4 NULL 6 0 4 3 0 NULL 6 0 6 8 1 NULL 6 0 9 5 0 NULL 6 0 4 4 0 NULL 6 0 6 8 4 NULL 6 0 9 5 1 NULL 6 0 4 4 2 NULL 6 0 6 3 6 NULL 6 0 9 6 0 NULL 60 4 4 6 NULL 6 0 6 9 2 NULL 6 0 9 6 6 NULL 6 0 4 4 8 NULL 6 0 6 9 8 NULL 6 0 9 6 7 NULL 6 0 4 5 3 NULL 6 0 6 9 9 NULL 6 0 9 7 2 NULL 6 0 4 5 8 NULL 6 0 7 0 1 NULL 6 0 9 7 6 NULL 6 0 4 5 9 NULL 6 0 7 0 7 NULL 6 0 9 7 7 NULL 6 0 4 6 2 NULL 6 0 7 1 2 NULL 6 0 9 8 9 NULL 6 0 4 6 4 NULL 6 0 7 1 7 NULL 6 0 9 9 3 NULL 6 0 4 7 1 NULL 6 0 7 2 2 NULL 6 0 9 9 8 NULL 6 0 4 0 6 NULL 6 0 7 2 4 NULL 6 0 9 9 9 NULL 6 0 4 8 9 NULL 6 0 7 2 5 NULL 6 1 0 0 0 NULL 6 0 4 9 6 NULL 6 0 7 2 6 NULL 61 0 0 8 NULL 6 0 4 9 7 NULL 6 0 7 3 2 NULL . 61 01 2 NULL 6 0 5 0 7 NULL 6 0 7 3 3 NULL 61 0 1 3 N U LL 6 0 51 4 NULL 6 0 7 3 4 NULL 61 0 1 6 NULL 6 0 5 2 0 NULL 6 0 7 4 0 NULL 61 01 9 NULL 6 0 5 2 1 NULL 6 0 7 4 6 NULL 6 0 5 2 6 NULL • 6 0 7 5 0 NULL 6 0 5 2 7 NULL 6 0 7 5 2 NULL 6 0 5 3 3 NULL 6 0 7 5 4 NULL 6 0 5 3 6 NULL 6 0 7 5 6 NULL 6 0 5 3 7 NULL 6 0 7 7 4 NULL 6 0 5 5 0 NULL 6 0 7 7 8 NULL 6 0 5 5 2 NULL 6 0 7 8 6 NULL 6 0 5 5 8 NULL 6 0 7 9 6 NULL 6 0 5 6 4 NULL 6 0 7 9 8 NULL 6 0 5 7 3 NULL 6 0 8 0 4 NULL 6 0 5 8 2 NULL 6 0 8 1 I NULL 6 0 5 8 3 NULL 6 0 8 2 1 NULL 6 0 5 8 7 NULL 6 0 8 2 4 NULL 6 0 5 9 6 NULL 6 0 8 3 4 NULL - 6 0 5 9 3 NULL 6 0 8 4 0 NULL 6 0 5 9 9 NULL 6 0 8 6 9 NULL 6 0 60 4 NULL 6 0 8 8 4 NULL 6 0 6 0 5 NULL 6 0 8 8 8 NULL 6 0 6 2 3 NULL 6 0 8 9 1 NULL 6 0 6 2 9 NULL 6 0 8 9 3 NULL 6 0 6 3 4 NULL 6 0 8 9 4 NULL 6 0 6 3 8 NULL 6 0 8 9 5 NULL 6 0 6 3 9 NULL 6 0 8 9 7 NULL 6 0 6 4 8 NULL 6 0 9 0 0 NULL 6 0 6 4 9 NULL 6 0 9 0 6 NULL 6 0 6 5 4 NULL 6 0 9 1 1 NULL 6 0 6 5 9 NULL 6 0 9 1 3 NULL 6 0 6 6 6 NULL 6 0 9 1 5 NULL 451 RANK ORDER L I S T FOP A S S 0 N A N C F P A T T E R N S 40 3 1 1 1 1 9B NULL 1 7 9 1 1 1 1 7 5 1 2 1 2 1 7 3 1 2 2 1 6 2 1 1 2 2 10 1 1 1 1 9 1 1 2 2 1 9 1 2 1 3 3 2 7 1 2 1 2 1 6 1 1 2 2 2 6 1 2 1 1 2 6 1 2 1 2 2 6 1 2 2 2 1 5 1 2 1 3 2 3 5 1 2 2 1 2 4 1 1 1 2 2 4 1 1 2 1 2 4 1 2 3 2 3 1 3 1 1 1 1 1 3 1 2 3 2 1 3 3 1 2 3 1 2 3 3 1 1 2 3 3 2 3 1 2 2 1 3 3 2 1 2 3 3 1 2 2 1 2 3 3 2 1 2 1 2 3 1 3 2 2 1 2 1 2 3 3 2 1 2 2 1 1 2 1 2 2 3 1 3 1 1 2 1 3 1 2 3 1 1 2 2 3 2 1 3 1 1 2 3 2 2 3 1 1 1 2 1 1 3 3 2 1 1 2 1 1 2 2 1 1 2 2 1 3 3 1 1 1 2 1 1 1 2 1 1 1 2 1 3 2 2 3 1 1 1 2 3 2 3 1 1 1 2 3 1 2 3 1 1 1 2 2 2 3 3 1 1 2 2 3 1 3 1 1 1 1 2 2 1 1 1 1 2 1 3 2 4 3 4 1 1 2 2 3 3 1 3 1 1 1 2 1 2 2 1 1 1 2 1 2 1 1 1 2 1 2 2 1 I 1 1 2 1 1 2 1 1 2 2 1 2 2 1 2 1 3 3 4 2 4 1 2 1 2 2 2 1 2 3 3 1 1 3 2 1 2 1 2 3 3 1 (THOMSON) 452 TABLE OF A L L I T E R A T I O N PATTE RNS (THOMSON) 6«" 7 3 9 12.31 2 4 3 4 6 C 4 P 4 1 2 1 2 6C 1 9 6 6 3 SCO 1 2 2 3 3 1 6 0 5 C 3 1 2 1 2 6 0 2 3 9 6 0 6 7 0 1 2 2 3 1 3 6 0 5 1 e 1 2 1 2 6 0 4 2 5 6 0 9 2 2 1 2 2 ! 2 6 0 5 5 1 1 2 1 2 6 0 4 8 9 6 0 O 2 4 1 2 2 1 6 0 6 1 0 12 1 2 6 0 4 9 3 6 0 3 2 6 1 2 2 1 6 C 0 1 6 1 2 1 2 6 0 5 2 2 6 ' (.'9 3 1 2 2 1 6 C 6 9 1 12 12 6 0 9 0 4 6 .1 1 0 1 1 2 2 1 6<L 8 9 2 1 2 1 2 6 0 1 3 1 6 0 1 4 4 1 2 2 1 6 1 9 4 3 1 2 1 2 6 0 1 4 6 6 C 2 4 9 1 2 2 1 6(. 9 5 9 1 2 1 2 6 0 1 6 2 6 0 5 2 9 1 2 2 1 6C. 9 8 2 1 2 1 2 6 0 1 6 5 6 0 5 4 5 1 2 2 1 6 0 6 8 9 1 2 1 1 2 6C 1 7 4 6 0 5 5 2 1 2 2 1 6C 2 8 9 I 1 2 2 2 6 0 1 7 5 6 0 5 5 3 1 2 2 1 6 0 C 4 9 1 1 2 2 2 6 C 2 2 8 6 0 6 3 5 1 2 2 1 6C 0 6 4 1 1 2 2 1 6 0 2 5 0 6 0 6 6 9 1 2 2 1 6 0 5 8 3 1 1 2 2 1 6C 2 5 9 6 0 6 7 6 1 2 2 1 6 0 0 0 6 1 1 2 2 6 0 2 7 1 6 9 7 4 2 1 2 2 1 6 0 0 4 5 1 1 2 2 . 6 0 2 7 2 6 0 6 3 1 1 2 2 1 6 0 0 4 8 1 1 2 2 6C -2 9 5 6 0 6 3 6 1 2 2 ! 6 0 0 5 3 1 1 2 2 6 0 3 1 0 6 0 6 3 9 1 2 2 1 6 0 0 5 5 1 1 2 2 6 0 31 7 6 0 6 B 9 1 2 2 1 6 0 0 9 7 1 1 2 2 6 C 3 3 5 6 0 1 1 1 1 2 1 3 2 3 6 0 1 0 9 I 1 2 2 6 0 3 5 6 6 0 6 0 8 1 2 1 3 2 3 6 0 1 2 5 1 1 2 2 6 C 3 6 5 6 0 2 9 G 1 2 1 2 2 6 0 1 4 7 1 1 2 2 6 L 0 6 7 6 0 3 9 9 1 2 1 2 2 6 0 1 8 9 1 1 2 2 6 0 4 2 8 6 0 9 9 5 1 2 1 2 2 6 0 2 0 4 1 1 2 2 6C 4 6 3 6 0 6 2 2 12 121 6 0 2 19 1 1 2 2 6 0 4 6 6 6 0 1 0 6 1 2 1 2 6 0 2 3 1 1 1 2 2 6 0 4 8 8 6 0 1 I 3 1 2 1 2 6 0 3 0 2 1 1 2 2 6 0 0 8 2 6 0 1 1 5 1 21 2 6 0 3 3 I 1 1 2 2 6 0 5 9 0 6 0 1 3 8 1 2 1 2 6 0 4 3 1 1 1 2 2 6 0 5 9 4 6 0 1 9 4 1 2 1 2 6 0 5 4 3 1 1 2 2 6 0 6 1 1 6 0 2 1 1 1 2 12 6 0 5 6 0 1 1 2 2 6 0 6 1 8 6 0 2 1 5 1 2 1 2 6 0 5 6 9 1 1 2 2 6 0 6 2 4 6 0 2 1 8 1 2 1 2 6 0 7 0 2 1 1 2 2 6 0 6 3 7 6 0 2 3 3 1 2 1 2 6 0 7 4 1 1 1 2 2 6 0 6 5 3 6 0 2 4 2 1 2 1 2 6 0 8 3 0 1 1 2 2 6 C 6 9 4 6 0 2 8 2 1 2 1 2 6 0 8 9 8 1 1 2 2 6 0 7 2 6 6 0 2 8 3 1 2 12 6 0 9 0 0 1 1 2 2 6 0 7 5 9 6 0 2 8 6 1 2 1 2 6 0 9 1 4 1 1 2 2 6 0 7 8 4 6 0 2 8 8 1 2 1 2 6 0 9 4 8 1 1 2 2 6 0 7 8 5 6 0 3 0 1 1 2 1 2 6 0 9 8 4 1 1 2 2 6 0 8 0 1 6 0 30 5 1 2 1 2 61 0 1 0 1 1 2 2 6 C 8 2 3 6 C 3 4 2 1 2 1 2 6 0 9 5 6 1 1 2 1 2 6 C 8 2 9 6 0 3 6 3 1 2 1 2 6 0 3 0 4 1 1 1 2 2 6 C 8 3 2 6 0 3 6 8 1 2 1 2 6C 3 9 4 1 1 1 2 2 6.0 8 7 7 6 0 3 6 9 1 2 1 2 6 r 5 0 9 1 1 1 2 2 6 0 8 8 4 6 C 3 7 8 12 1 2 6< 8 1 6 1 1 1 2 2 6 0 8 9 4 6 0 4 7 5 1 2 1 2 6C 8 8 3 1 1 1 2 2 6 0 8 9 9 r O m T t < A in M 3COo H ro A in N 00 C * n c N O' A C M m A M 3O - ro A M O C O O' o 1 * 4 C M ro m p- o ro M 3 f* * • 4 ro M i N C O w * in C O C M ro inm in in m o c v O M O o M O M 3> £ N N V N C O C O O' O' O' O' O o o • 4 C M C M C MC M C MC M ro ro ro ro A A A A A in in in in M 3 M O C M C M C J C MC MC M C M C MC MC MC MC MC MC MC MC MC MC M C MC M c m C MC M C O ro " 0 C Oro ro ro ro ro ro ro ro ro ro ro ro ro rO ro n m ro to ro ro ro ro o o O o o O O O O O o O O O O O O o O o o O o o o o O o O o o o o o o o o o o o O o o o o o o o o o M O M Om oM Om o M O< 0 M ) m o m o< 0 M OM Ov Om o m o M Om oM O> 0m o > 0\ C M Oo < 0M OM Om o M O M O M OM Om oM >< 0M Ov Ov O v O m oM Ov OM >M OM O m oM Oo M O o co o C Mro O' ro N O' ro A N O' --4 v O s O C MM 3 to C Mm [" ■ C O O' o ro vO O' ro vO o ^4 C Mro in o C MA M ON *4 ro in C O *4 C M r4 r* c m C MC MC M r o ro rO m m in in M 3 v O V C S N N cc O' O' O' O' O' o o o o o *4 ■4 C MC MC MC MC Mr o r o r o (0 ro A I t A * m in *4 ■« * -« * * #4 ■ ■ 4 *4 *4 •H ^4 *4 ^4 44 •H H H C MC M C MC MC MC MC MC MC MC MC MC MC MC MC MC MC MC MC MC MC MC MC MC M o o o o o O o o o o o o o o o o o o o o o o o o o o O O O o O O O O O O O o o o o o o o o o o o o o mo M O M O >0 >0 M O M OM 3 M 3 vO v £ > <0 v O vO <0 v O vO M > vO v O v O vO vO vO M OvO vO M O v O vO M O M O M3 M O M O M O M O V & M O o M O M O M O M OM OM O V O M O M O M O A in ro M 3 C MA s C Mm O' O in S O' O < 3 - v O C O A N C M N o H C MO' C Mn N C O O r-4 fl m C O •“* v O C C o C Mm in M ) N ro in N H O o o ^4 f4 C MC MC MC Mto m n n rn A A in m in in m: M i M > M ON r - r- N N C O C D ee C O C O O' O O' o o c o o O O' O' O' O v o o o o O O o O O o O o o o o o o o o o o o o o O o o O o o O O o o o o o o O o H # > 4 ^4 c a o o r4 o o o o o o © o o o o o o o o o o o o o o o o o o o o o o O O o o o o o o o O o o o O o o M OV 0 v C vO M ) M OM OM OM O>0 M OM O M 3 M OM OM 3 M OM OM O M OM >M 3 M OM > M 3 M OM > M OM l M OV O M OM OM OvO M i M OM O M OM OM O M ! M OM O M OM OM OM OM 3 M O 6 0 3 7 1 6 0 3 7 4 6 0 3 7 7 6 0 3 7 9 6 0 3 0 0 6 0 3 8 2 6 0 3 8 5 6 0 3 8 8 6 0 3 8 9 6 0 3 9 7 6 0 4 0 5 6 0 4 0 6 6 0 4 0 7 6 0 4 0 9 6 0 4 1 0 6 0 4 1 1 6 0 4 1 3 6 0 4 1 8 6 0 4 1 9 6 0 4 2 6 6 0 4 2 9 6 0 4 3 2 6 0 4 3 4 6 0 4 3 5 6 0 4 3 6 6 0 4 3 8 6 0 4 4 1 6 0 4 4 5 6 0 4 4 6 6 0 4 4 7 6 0 4 4 9 6 0 4 5 0 6 0 4 5 3 6 0 4 5 4 6 0 4 5 5 6 0 4 5 7 6 0 4 6 0 6 0 4 6 1 6 0 4 6 2 6 0 4 6 4 6 0 4 6 5 6 0 4 6 8 6 0 4 7 2 6 0 4 7 4 6 0 4 7 7 6 0 4 7 8 6 0 4 7 9 6 0 4 8 0 6 0 4 8 3 6 0 4 8 5 6 0 6 6 5 6 0 6 6 8 6 0 6 7 5 6 0 6 7 7 6 0 6 8 1 6 0 6 8 5 6 0 6 9 0 6 0 6 9 3 6 0 6 9 7 6 0 7 0 0 6 0 7 0 1 6 0 7 0 3 6 0 7 0 4 6 0 7 0 9 6 0 7 1 2 6 0 7 1 3 60 7 1 6 6 0 7 1 9 6 0 7 2 1 6 0 7 2 2 6 0 7 2 4 6 0 7 2 7 6 0 7 2 8 6 0 7 2 9 6 0 7 3 2 6 0 7 3 3 6 0 7 3 4 6 0 7 3 8 6 0 7 4 0 6 0 7 4 3 6 0 7 4 4 60748 6 0 7 4 9 6 0 7 5 0 6 0 7 5 1 6 0 7 5 4 6 0 7 5 6 6 0 7 5 8 6 0 7 6 0 6 0 7 6 1 6 0 7 6 5 6 0 7 6 9 6 0 7 7 0 6 0 7 7 2 6 0 7 7 3 6 0 7 7 7 6 0 7 7 9 6 0 7 8 0 6 0 7 8 2 6 0 7 8 3 6 0 4 8 6 6 0 4 3 7 6 0 4 9 0 6 0 4 9 5 6 0 4 9 6 6 0 5 0 2 6 0 5 0 4 6 0 5 0 7 6 0 5 0 8 6 0 5 1 5 6 0 5 1 6 6 0 5 2 0 6 0 5 3 0 6 0 5 3 1 6 0 5 3 2 6 0 5 3 4 6 0 5 3 5 6 0 5 3 6 6 0 5 4 7 6 0 5 6 1 6 0 5 6 2 6 0 5 6 5 6 0 5 7 0 6 0 5 7 1 6 0 5 7 3 6 0 5 7 5 6 0 5 7 8 6 0 5 7 9 6 0 5 9 1 6 0 5 9 2 6 0 5 9 6 6 0 6 0 2 6 0 6 0 6 6 0 6 0 9 6 0 6 1 4 6 0 6 1 5 6 0 6 1 9 6 0 6 2 0 6 0 6 2 6 6 0 6 2 9 6 0 6 3 0 6 0 6 3 1 6 0 6 3 4 6 0 6 3 8 6 0 6 4 6 6 0 6 4 7 6 0 6 4 9 6 0 6 5 8 6 0 6 6 3 60664 6 0 7 9 2 11 6 0 9 2 1 1 1 6 0 0 2 3 NULL 6 0 7 9 3 11 6 0 9 2 3 1 1 6 0 0 2 8 NULL 6 0 7 9 7 1 1 6 0 9 2 4 1 1 6 0 0 3 2 NULL 6 0 7 9 9 I 1 6 0 9 2 5 I 1 6 0 0 3 3 NULL- 6 0 8 0 3 11 6 0 9 2 6 1 1 6 0 0 3 5 NULL 6 0 8 0 5 11 6 0 9 2 7 1 1 6 0 0 3 7 NULL 6 0 8 0 6 1 1 6 0 9 2 8 1 1 6 0 0 3 9 NULL 6 0 8 0 7 1 1 6 0 9 3 5 1 1 6 0 0 4 0 NULL 6 0 8 1 1 1 1 6 0 9 3 6 1 1 6 0 0 4 1 NULL 6 0 8 1 4 1 1 6 0 9 3 8 1 1 6 0 0 4 2 NULL 6 0 8 1 5 11 6 0 9 3 9 1 1 6 0 0 4 3 NULL 6 0 8 1 7 11 6 0 9 4 0 1 1 6 0 0 4 6 NULL 6 0 8 1 8 I 1 6 0 9 4 5 1 1 6 0 0 5 0 NULL 6 0 8 i 9 11 6 0 9 5 8 1 1 6 0 0 5 6 NULL 6 0 8 2 0 1 1 6 0 9 6 3 1 1 6 0 0 5 8 NULL 6 0 8 2 1 11 6 0 9 6 4 1 1 6 0 0 5 9 NULL 6 0 8 2 7 11 6 0 9 6 6 1 1 6 0 0 6 3 NULL 6 0 8 3 5 I 1 6 0 9 6 9 1 1 6 0 0 6 5 NULL 6 0 8 3 8 1 1 6 0 9 7 0 6 0 0 6 6 NULL 6 0 8 4 0 1 1 6 0 9 7 2 1 1 6 0 0 6 8 NULL 6 0 8 4 2 1 1 6 0 9 7 5 1 1 6 0 0 7 0 NULL 6 0 8 4 4 11 6 0 9 7 9 1 1 6 0 0 7 4 NULL 6 0 8 4 6 1 1 6 0 9 8 6 1 1 6 0 0 7 5 NULL 6 0 8 5 0 1 1 6 0 9 8 7 1 1 6 0 0 7 6 NULL 6 0 8 5 4 1 1 6 0 9 8 9 1 1 6 0 0 7 9 NULL 6 0 8 5 5 1 1 6 0 9 9 0 1 1 6 0 0 8 3 NULL 6 0 8 5 6 1 1 6 0 9 9 2 1 1 6 0 0 0 6 NULL 6 0 8 6 1 1 1 6 0 9 9 4 1 1 6 0 0 8 7 NULL 6 0 8 6 3 1 1 6 0 9 9 6 1 1 6 0 0 8 9 NULL 6 0 8 6 5 I 1 6 0 9 9 8 1 1 6 0 0 9 0 NULL 6 0 8 6 8 I 1 6 0 9 9 9 1 1 6 0 0 9 2 NULL 6 0 8 7 1 11 6 1 0 0 2 1 1 6 0 0 9 4 NULL 6 0 8 7 3 1 1 6 1 0 0 3 6 0 0 9 5 NULL 6 0 8 7 5 1 1 61 0 0 6 1 1 6 0 0 9 9 NULL 6 0 8 8 1 1 1 6 1 0 0 8 1 1 6 0 1 0 4 NULL 6 0 8 8 2 1 1 61 0 0 9 1 1 6 0 1 1 2 NULL 6 0 8 9 1 11 6 1 0 1 5 1 1 6 0 1 1 4 NULL 6 0 8 9 5 1 1 6 1 0 2 0 1 1 6 0 1 1 6 NULL 6 0 8 9 7 1 1 6 0 0 0 1 NULL 6 0 1 1 9 NULL 6 0 9 0 1 11 6 0 0 0 3 NULL 6 0 1 2 1 NULL 6 0 9 0 2 1 1 6 0 0 0 5 NULL 6 0 1 2 4 NULL 6 0 9 0 3 1 1 6 0 0 0 0 NULL 6 0 1 2 6 NULL 6 0 9 0 5 1 1 6 0 0 0 9 NULL 6 0 1 2 7 NULL 6 0 9 0 6 11 6 0 0 1 0 NULL 6 0 1 2 8 NULL 6 0 9 0 8 1 1 6 0 0 1 3 NULL 6 0 1 3 0 NULL 6 0 9 1 3 11 6 0 0 1 4 NULL 6 0 1 3 2 NULL 6 0 9 1 5 1 1 6 0 0 1 7 NULL 6 0 1 3 4 NULL 6 0 9 1 6 11 6 0 0 1 8 NULL 6 0 1 3 5 NULL 6 0 9 1 7 11 6 0 0 2 1 NULL 6 0 1 3 6 NULL 6 0 9 2 0 1 1 6 0 0 2 2 NULL 6 0 1 4 0 NULL 456 6 0 1 41 NULL . 6 0 2 5 3 NULL 6 0 3 8 4 NULL 6 0 1 4 2 NULL 6 0 2 5 7 NULL 6 0 3 8 6 NULL 6 0 1 4 3 NULL 6 0 2 6 2 NULL 6 0 3 8 7 NULL 6 0 1 4 5 NULL 6 0 2 6 6 NULL 6 0 3 9 0 NULL 6 0 1 4 8 NULL 6 0 2 7 0 NULL 6 0 3 9 1 NULL 6 0 1 4 9 NULL 6 0 2 7 4 NULL 6 0 3 9 2 NULL 6 0 1 5 0 NULL 6 0 2 7 5 NULL 6 0 3 9 3 NULL 6 0 151 NULL 6 0 2 7 8 NULL 6 0 3 9 5 NULL 6 0 1 5 2 NULL 6 0 2 8 0 NULL 6 0 3 9 6 NULL 6 0 1 5 5 NULL 6 0 2 8 5 NULL 6 0 3 9 8 NULL 6 0 1 5 6 NULL 6 0 2 8 7 NULL 6 0 4 0 0 NULL 6 0 1 5 8 NULL 6 0 2 9 1 NULL 6 0 4 0 1 NULL 6 0 1 6 0 NULL 6 0 2 9 7 NULL 6 0 4 0 2 NULL 6 0 1 6 3 NULL 6 0 2 9 8 NULL 6 0 4 0 3 NULL 6 0 1 6 4 NULL 6 0 3 0 0 NULL 6 0 4 0 4 NULL 6 0 1 6 8 NULL 6 0 3 0 7 NULL 6 0 4 0 8 NULL 6 0 1 6 9 NULL 6 0 3 0 8 NULL 6 0 4 1 2 NULL 6 0 1 7 1 NULL 6 0 3 0 9 NULL 6 0 4 1 4 NULL 6 0 1 7 3 NULL 6 0 31 1 NULL 6 0 4 1 6 NULL 6 0 1 7 7 NULL 6 0 3 1 2 NULL 6 0 4 1 7 NULL 6 0 1 7 8 NULL 6 0 3 1 3 NULL 6 0 4 2 0 NULL 6 0 1 7 9 NULL 6 0 31 5 NULL 6 0 4 2 1 NULL 6 0 1 8 0 NULL 6 0 3 2 4 NULL 6 0 4 2 2 NULL 6 0 1 8 1 NULL 6 0 3 2 6 NULL 6 0 4 2 3 NULL 6 0 1 8 2 NULL 6 0 3 2 3 NULL 6 0 4 2 4 NULL 6 0 1 8 4 NULL 6 0 3 2 9 NULL 6 0 4 2 7 NULL 6 0 1 8 5 NULL 6 0 3 3 2 NULL 6 0 4 3 0 NULL 6 0 1 8 6 NULL 6 0 3 3 4 NULL 6 0 4 3 3 NULL 6 0 1 8 7 NULL 6 0 3 3 8 NULL 6 0 4 3 7 NULL 6 0 1 8 8 NULL 6 0 3 3 9 NULL 6 0 4 3 9 NULL 6 0 1 9 0 NULL 6 0 3 4 0 NULL 6 0 4 4 0 NULL 6 0 1 9 1 NULL 6 0 3 4 4 NULL 6 0 4 4 2 NULL 6 0 1 9 3 NULL 6 0 3 4 5 NULL 6 0 4 4 3 NULL 6 0 2 0 2 NULL 6 0 3 4 9 NULL 6 0 4 4 4 NULL 6 0 2 0 5 NULL 6 0 3 5 0 NULL 6 0 4 4 8 NULL 6 0 2 0 7 NULL 6 0 3 5 2 NULL 6 0 4 5 1 NULL 6 0 2 0 8 NULL 6 0 3 5 3 NULL 6 0 4 5 2 NULL 6 0 2 1 0 NULL 6 0 3 5 7 NULL 6 0 4 5 6 NULL 6 0 2 1 2 NULL 6 0 3 5 9 NULL 6 0 4 5 8 NULl. 6 0 2 1 4 NULL 6 0 3 6 1 NULL 6 0 4 5 9 NULL 6 0 2 2 4 NULL 6 0 3 6 4 NULL 6 0 4 6 7 NULL 6 0 2 2 6 NULL 6 0 3 6 6 NULL 6 0 4 6 9 NULL 6 0 2 .2 7 NULL 6 0 3 6 7 NULL 6 0 4 7 0 NULL 6 0 2 2 9 NULL 6 0 3 7 0 NULL 6 0 4 7 1 NULL 6 0 2 3 5 NULL 6 0 3 7 2 NULL 6 0 4 7 3 NULL 6 0 2 3 8 NULL 6 0 3 7 3 NULL 6 0 4 7 6 NULL 6 0 2 4 0 NULL 6 0 3 7 5 NULL 6 0 4 8 1 NULL 6 0 2 4 4 NULL 6 0 3 7 6 NULL 6 0 4 8 2 NULL 6 0 2 4 6 NULL 6 0 3 8 1 NULL 6 0 4 9 1 NULL 6 0 2 4 7 NULL 6 0 3 8 3 NULL 6 0 4 9 2 NULL 457 No~wrc<f<D0>oc'jn<to^coc\jtnvooco'ir>*oscoo-*-(}-ininNcoonin-.ir>ON<>tn'ON<\!!<uoNcvm«f\D ,H t'Jftjw|r > ro ro ro rO " tf-'< j-^mirtni/'iC'Ovosc v 0\0Ov 0 i 0'0v £)'0(0'0'0»0'0O»0'0'0'0»C'0'0'0'0v 0'0v 0'0'C'0'0'0v 0'Cv 0 S S '0 v 0'0v 0'0O'0!cS S o S o S cj^in>CNcc^roifiNccO'o-n-itiONwrO'ONo^nNa3(\jpovocj'0-icvjn«-incoo-W'fl-ir!'r!NO'o^cvivO <ccooococccficocM?o> a'0'oooooc->«~* — «cjwcviwcMror<', nro<t-*<j'a'o<t<t-L', iin!^ininif)L'iifi<DvC'£'0 intTlDlT. U ,5int0l/llfi!nifliri0v0v0\0vCv0'0Ov0O'0'0'0'0>0O'C'C^C\0vC'0'0vD'Cv0'0vS'0'C'0<CO>0'Ci0'C'0 >0'0^0'0'0'0\C'C'0'0'0'0'0'C'0>0\0'C'0''C'0'0V 0'0'0'0'0'0'0,0'0'0<0|0 ,C'01 0'0'0'0'0'0'0'CV 0'CV 0'C'0'0 ^Ncoo' — invoo-*!\in'U'Ni3'-<nd-invONO'riN®o'o*-iw<tL')a)o*04-inv£)sooo'r^'*iONc»w<t>oNo«H O'O'O'O'Ooo — — -H cvi(M W (vjwc\jfvjnroron'*'<i,< J - < J -^'0"!Mnininifii/iinifiO'CvrjvC'ONNNNeooo ^^Kr^irifiinuiimnininininifii^irjintni^irjirnfiifiirtn^inifiininininin^ininininininininifiinirnnifiintn O O O O O C O O O O O O O C O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O 'O 'G 'Q 'Q 'O <O 'U 'O 'C 'i}'G 'C 'C 'C 'C 'G 'O 'O 'Q 'G 'O <O '0\O '£ O 'O vO 'O ^'D'O 'O 'O 'O 'U'O 'O ^vO 'G 'O 'O vb'CvO vO ^O 'O 6 0 7 6 7 NULL. 6 0 8 6 9 NULL 6 0 9 8 3 NULL 6 0 7 6 8 NULL 6 0 0 7 2 NULL 6 0 9 8 3 NULL 6 0 7 7 1 NULL 6 0 8 7 4 NULL 6 0 9 8 5 NULL 6 0 77 4 NULL 6 0 0 7 6 NULL 6 0 9 8 8 NULL 6 0 7 7 5 NULL 6 0 8 7 8 NULL 6 0 9 9 1 NULL 6 0 7 7 6 NULL 6 0 8 7 9 NULL 6 0 9 9 3 NULL 6 0 7 7 8 NULL 6 0 8 8 0 NULL 6 0 9 9 7 NULL 6 0 7 8 1 NULL 6 0 8 8 5 NULL 61 0 0 0 NULL 6 0 78 6 NULL 6 0 8 8 6 NULL 61 0 0 1 NULL 6 0 7 8 7 NULL 6 0 8 8 7 NULL 61 0 0 4 NULL 6 0 7 8 8 NULL 6 0 8 8 8 NULL ' 61 0 0 5 NULL 6 0 7 0 9 NULL 6 0 8 9 0 NULL 61 0 0 7 NULL 6 0 7 9 0 NULL 6 0 8 9 6 NULL 6 1 0 1 1 NULL 6 0 7 9 1 NULL 6 0 9 0 7 NULL 6 1 0 1 2 NULL 6 0 7 9 4 NULL 6 0 9 0 9 NULL 61 0 1 3 NULL 6 0 7 9 5 NULL 6 0 9 1 0 NULL 6 1 0 1 4 NULL 6 0 7 9 8 NULL 6 0 9 1 1 NULL 61 01 7 NULL 6 0 8 0 0 NULL 6 0 9 1 2 NULL 6 1 0 1 8 NULL 6 0 8 0 2 NULL 6 0 9 1 8 NULL 6 1 0 1 9 NULL 6 0 8 0 4 NULL 6 0 9 1 9 NULL 6 1 0 2 1 NULL 6 0 8 0 8 NULL 6 0 9 2 9 NULL 6 0 0 0 9 NULL 6 0 9 3 0 NULL 6 0 8 1 0 NULL 6 0 9 3 2 NULL 6 0 8 1 2 NULL 6 0 9 3 3 NULL 6 0 8 1 3 NULL 6 0 9 3 4 NULL 6 0 8 2 2 NULL 6 0 9 3 7 NULL 6 0 8 2 4 NULL 6 0 9 4 I NULL 6 0 8 2 5 NULL 6 0 9 4 2 NULL 6 0 0 2 6 NULL 6 0 9 4 6 NULL 6 0 8 2 8 NULL 6 0 9 4 7 NULL 6 0 8 3 3 NULL 6 0 9 4 9 NULL 6 0 8 3 4 NULL 6 0 9 5 0 NULL 6 0 8 3 7 NULL 6 0 9 5 1 NULL 6 0 0 4 1 NULL 6 0 9 5 2 NULL 6 0 8 4 3 NULL 6 0 9 5 3 NULL 6 0 8 4 5 NULL 6 0 9 5 4 NULL 6 0 8 4 7 NULL 6 0 9 5 7 NULL 6 0 8 4 8 NULL 6 0 9 6 0 NULL 6 0 8 4 9 NULL 6 0 9 6 1 NULL 6 0 8 5 1 NULL 6 0 9 6 2 NULL 6 0 8 5 2 NULL 6 0 9 6 5 NULL 6 0 8 5 3 NULL 6 0 9 6 7 NULL 6 0 8 5 7 NULL 6 0 9 6 8 NULL 6 0 8 5 8 NULL 6 0 9 7 1 NULL 6 0 8 5 9 NULL 6 0 9 7 4 NULL 6 0 8 6 0 NULL 6 0 9 7 6 NULL 6 0 8 6 2 NULL 6 0 9 7 7 NULL 6 0 0 6 4 NULL 6 0 9 7 8 NULL 6 0 8 6 6 NULL 6 0 9 8 0 NULL 6 0 8 6 7 NULL 6 0 9 8 1 NULL 459 RANK ORDER L I S T FOR ALL I T E R AT I D N P A T T E R N S ( T H O M S O N ) 4 8 3 NULL 3 8 3 1 1 4 8 1 1 1 3 3 1 2 1 2 2 8 1 1 2 2 1 8 1 2 2 1 7 1 1 1 1 5 1 1 1 2 2 3 1 2 1 2 2 2 1 2 1 3 2 3 2 1 1 2 2 1 2 1 1 2 2 2 1 1 2 3 1 2 4 3 4 1 1 2 1 1 2 1 1 1 2 1 2 1 1 2 1 2 1 1 1 2 2 1 2 1 1 2 2 3 1 3 1 1 2 2 3 3 1 A P P E N D IX C COM PUTER DATA FOR THE YOUNG SAMPLE 460 A P P E N D IX C C O M P U T E R DATA FO R THE YOUNG SA M PLE The Young sa m p le c o n s is t e d of the 458 lin e s of "Night the F ir st" and the f ir s t 542 lin e s of "Night the Ninth" of Y ou n g's N ight T hough ts. Of th e s e lin e s , tw e lv e w e re d e c la r e d u n m e tr ic a l in the com pu ter s c a n sio n , and all but p erh ap s on e of th em m a y e a s il y be r e s o lv e d as m e t r ic a l w ithin the H a lle -K e y s e r th eo ry of p r o so d y . F ou r of the lin e s w e r e judged u n m e tr ica l b e c a u se of sim p le e r r o r s in c o d ing. The oth er eigh t ap p aren tly u n m e tr ic a l lin e s con tain ed in c o r r e c tly m a rk ed sy lla b ic or s t r e s s d o u b lets, w ord s w h ose nu m ber of s y lla b le s or lo ca tio n o f s t r e s s ca n be d e s c r ib e d in m o r e than one w ay. In e a c h c a s e , the w ron g v e r s io n of the doublet w as en co d ed , red u cin g a p e r fe c tly m e tr ic a l lin e to an ap p aren tly u n m e tr ic a l one. The one sy lla b ic doublet in v o lv ed the tw o - and th r e e - s y lla b le v e r s io n s of t h e a t r e ; Young expanded the diphthong into two sep a ra te sy lla b le s: A s in a th e a tr e , su rrou n d th is sc e n e , (I, 259) The s t r e s s d ou b lets inclu de; a c ' c e s s - - a c c e s s ' (IX, 318) d is "charge - -d isc h a r g e ' (IX, 300) 461 462 e x ' c e s s - - e x c e s s ' (IX, 512) s u b 'lu n a r y --s u b iu 'n a r y (I, 196, 197; IX, 226) p e r 's p e c t iv e - - p e r s p e c 't iv e (I, 170) On the s tr e s s in g of " a c c e ss," the Oxford E n g lish D iction ary argues; A c c e ss --(p r o n o u n c e d a e k s e 's ). . . . In se n se IV ["the action of com ing tow ard s, com in g, approach, advance. C ontrasted with r e c e s s ." ] . . . the w ord soon r ec e iv ed the Eng. accen t a ' c e s s , whence the sp ellin g s a x e s, a x is, etc. . . . In its m ore gen era l s e n se s app. taken d ir e c t from L. a c c e s s - u s ch iefly after 1500 and retainin g the pronunc. a c c e ' s s in all the p oets of 6 -8 /1 6 0 0 - 1800/. . . . cf. Pope Iliad x iv . 195 Safe from a c c e s s of each intruding power; Pope O d y ssey viii. 51 Now all a c c e s s e s to the dome are fill'd . In the la s t of the apparently u n m etrica l lin e s , p ersp ectiv e m u st be s t r e s s e d as p e r s p e c t iv e in order to produce a m e tr ic a l scansion: Joy behind jo y , in e n d le ss p ersp ectiv e (I, 170) T here is , h o w ev er, an apparent la ck of p recedent for such a s tr e s s in g on the fir s t sy lla b le , fo r the Oxford E n glish D iction ary lis t s only a s tr e s s in g on the second sy lla b le as p e r m is sib le . H ow ever, the QED quotes as ex a m p les illu stra tin g the u s e s of the w ord and its s tr e s sin g two lin es of p resu m a b ly m e tr ic a l poetry (from G eorge H erb ert and John Dryden) w hich req u ire the s tr e s sin g per 'sp ective to produce m e tr ic a l lin e s. T hese lin e s are: Y et as in sle e p we see foul death, and live: So d ev ils are our sin s in p e r sp ec tiv e (G eorge H erb ert, The T em p le, Sinne ii) 463 Of lofty t r e e s w ith s a c r e d sh a d es And p e r s p e c tiv e s of p le a sa n t g la d e s (John D ry den, Anne K ille g r e w , 115) In c o n tr a s t to the O E D 's a s s e r t io n , the s t r e s s in g of p e r sp e c tiv e on the f ir s t sy lla b le is ap p aren tly an o ld er pron u n ciation at one tim e in good rep ute. T h is s t r e s s in g , p e r e sp e c tiv e , o c c u r s in a ll the e x a m p le s of the w ord s p e r sp e c tiv e and p e r s p e c tiv e s in S h ak esp eare: C ontem pt h is sco rn fu l p e r s p e c tiv e did lend m e , (A ll's W e ll, 5.03.48) A n atu ral p e r sp e c tiv e that is and is not! ( T w elfth N ig h t, 5.01.217) And p e r sp e c tiv e it is p a in te r 's art. (S o n n e ts, 24. 4) Like p e r s p e c t iv e s , w hich rig h tly g a z 'd upon (R ich a rd II, 2. 02. 18) That th is s t r e s s in g of p e r sp e c tiv e on the f ir s t sy lla b le con tin u ed in the sev en teen th cen tu ry is s u g g e ste d by the e x a m p le s c ite d fr o m H erb ert and D ryd en . F u rth e r, th is s t r e s s in g of p e r s p e c tiv e m a y o ccu r a s late as W o rd sw o rth 's p o etry , fo r in four of h is fiv e u s e s of the w ord , the pron u n ciation perespective w ould produ ce m o r e r eg u la r lin e s than w ould the p ron u n ciation p e r s p e c t i v e : E a stw a r d , in long p e r s p e c tiv e g litte r in g , shine (D e sc r ip tiv e S k etch es Taken D uring a P e d e s tr ia n Tour A m ong the A lp s, 1. 277) The s h e lt e r - - t h a t the p e r s p e c tiv e . . . (T he P a s s of K irk sto n e, 1. 67) I saw , in w ond rou s p e r sp e c tiv e d isp la y ed . . . (Ode. 1814 /W h en the soft hand of s le e p had c lo s e d the la tch , 1. 5) + + 464 4 N IG H T T H O U G H T S: BOOK I + T I R ' D N A T U R E ' S SWEET P F S T O R F R < PALMY S L E E P H T A f + / RflD N E * + T S f f l/ P Z S W I / + T R I ST |+P..'i>/R , B | + M I S L I / + P % H E ( 1 ) 7 l i k f t h e w o r l d . h i s r e a d y v i s i t p a y s . H I / + . LA*K {> W S) / + F < L D » HIZ H E + D I V I W Z I T PE'= + Z , WHERE FORTUNE S M I L E S ; THE WRETCHED HE F O R S A K E S ! w e = r f | h r t s > n s m a * + l z ; o p e + t s i o h i / f | r s f * + k s : S W IFT ON H i s DOWNY P I N I O N P L I E S FROM W n F . S W I + F T |N H I Z D A = + N I P I + N Y > N F L A * + Z F R > / M w n ‘!=+, AND L I G H T S ON L I D S U N S U L I Y ' D WITH A T E A R ! I ) . S ’ <ND L A c + T S |N L I + C Z > / + N S > / + l I P D WI > > T I = + R • FROM S H O R T . ( A S U SU A L) AND D I S T U R B ' D R E P O S E . F R > / M S | + P T . 3 < Z Y U / + G U = L 4 <ND D I S T S ) /+ R B 8 D R I P O * + Z , I WAKE: HOW HAPPY THEY WHO WAKE NC MORE A* WF l + K : HA= H < + P I ( F * H U / WE*+t> N O H - M | + R % YET THAT WERE V A I N . I F DRFAMS I N F E S T THE G R A V E . YET ( < T Wffl/R VF"~' + N , I F D R I / + MZ I N F E + S T ( > G R E * + V . I WAKE. E M ER G ING FROM A SEA CF DF.EAMS A*: W E^H K , I M S / + R J I X F P > / M > S I / + |V O R I / + M Z TUMULTUOUS*, WHERE MY W R E C K 'D , D E S P O N D I N G THOUGHT 10 T Y U / M > / + L T Y U = S ; WE=R MA v P F + K 8 T , D I S P | + N D l X ) | + T FROM WAVE TO WAVE OF F A N C Y ' D M I S E R Y , F R > / M W E ' + V T U / WF’ +V | V F < + N S I B C M I + Z 3 / R I , AT RANDOM D F O V F . HER HELM OF REASON L O S T ; <T P < + N D > M DR 0 s- + V » Hffi/R HF+LM | V R I / + Z > N L | + S T ; THO* NOW R E S T O R ' D . T I S ( 2 ) ONLY CHANGE OF c*AIN, < 0 * ' NA=+ R I S T | + P P D , 9 T I Z D ^ + N L I T i E « + N J |V P E * H N . A B I T T E R CHANGE: S E V F R E R FOR S E V F R E : . .. . > E3I + T 3 / R TIE-x + N j ; S I V I = 4 R 2 / P F | R s i v i = + r : THE DAY TOO SHC RT F CF MY D I S T R E S S AND N IG H T 15 <> D E f; + T U / + $ | t P T F | R MA* D I S T R F + S X <ND N A * + T EVEN I N THE Z E N I T H OF HER DARK DOMAIN, I / + V_N IN ( > 7 I / - I N I ) |V H51/P DA+PK DOME'*1 +N , I S S U N - S H I N E , TO THE COLOUR OF MY F A T E . I Z S > / + N i A » N , T U / ( > K > / f L 5 ) / F | V MA* F E * + T . + N I G H T , SABLF G O DD ESS FROM HER EBON T H R O N E. ♦ N A * + T , S E * + B>L G | + D I S % F R > / M H5)/R E + R > N ) R O ^ + N , I N P A Y L F S S M A J E S T Y , NOW S T R E T C H E S F O R T H ( 5 ) IN RE :fc + LI S M< + J I ST I « NA = + S T P F + T 5 I Z F | +F ) 5 HER L E A D E N S C E P T E R O ' E R A S L U M B F R IN G WORLD! - ■ Hffl/R LEWD>N S E + P T 3 / P | 8 P > S L > / + M B _ / R I X W a / + R L D : S I L E N C E , HOW D E A D ? AMD D A R K N E S S , HOW P R O F O U N D ? S A * + L > N S , HA= D E + D ? <ND D A + R K N I S , HA= P R > F A = + N D ? NOR E Y E , NCR L I S T ' N I N G EAR AN C B J E C T ( N ) F I N D S ; N | R A H , N | R L I + S 9 N I X I = + R <N l + B J E K T F A -'H N D Z ; C R E A T I O N S L E E P S . T I S < 5 > . AS THE G f N F R A L P U L S E K R I E T + $ > N S L I / + P S . 9 T I H Z . <Z ( > J F t N » / R _ L P > / H L S O F L I F E STOOD S T I L L . AND NATURF MADE A P A U S E ! | V L A * + F STUTD S T I + L . <ND N E ^ + T S S / R ME*+D > P I + Z ! ^ AN AWEFUL PAUSE P R O P H E T I C OF HER E N D . < N l + F U L P | + Z % P P > FE +T IK | V H 3 / R F + N D . AND L E T HER P R O PH EC Y BE SOON F U L F I L ' D ; . <ND L E T H B / R P R | + F I S I B I / S U / + N FUL F I + L 8 D ; F A TE D RO P THE C U R T A I N ! I CAN LCSF. NO MORE. F E * + T % D R | + P <> K B / + R T I N ! A* K<N L U / f Z N 0 + + M | + P . + S I L E N C E . AND D ARK NESS SOLEMN S I S T E R S T W IN S + SA«-+L>NS» <ND DA + RKN I S% S | + L > M S I + S T f f l / R Z » TWINZ FROM A N T I F N T N I G H T , WHO NURSE THE TENDER THOUGHT F R > / M E * + N S > N T N A X + T , H U / N B / + R S {> T F + N D S / R ) I + T TO R E A S O N ; AND ON REASON B U I L D R E S O L V E , 30 t u / r i / + z > n ; < n d | n r i / + z > n b i + l d r i z | + l v , ( TH A T COLUMN OF TRUE MA J F STY I N MAN ) 3 ( <T K | + L > M |V T C U / + M< + J I ST I IN M< + N4 A S S I S T ME: I WILL THANK YOU IN THE GRA V E; > S I + S T M I / : A* WIL ) < + # K Y U / IN ( > GRE''' + VI THE G R A V E , Y3UK KINGDOM ! T H C P c ( l ) T H I S FRAME SHALL F A LL ( > GRF * + V « Y | R K I + # C > M : ( E = + P ( I S F R F + + M 3>>L F I + L A V I C T I M SACRED TO YCUR DRFAPY S H P I N E : > V I + K T IM S E * + K R I D T U / Y | R D R I = + R I J-RAh +N I 465 8U T W H A T ( l ) ARE Y E ( 1 ) ? T H O U ( l ) , WHO D I D S T P U T TO F L I G H T 3 > / T W | + T AR Y I / + ? ( A = + , H U / O I + D S T P U + T T U / F L A > + T P R I M A E V A L S I L E N C E , WHEN TH E MORNING S T A R S 3® P R A ‘ M I / + V>L S A ’ +L >N S • WEN <> M | + P N I X S T A + R Z E X U L T I N G , S H O U T E D C • ER T H E R I S I N G B A L L ! I G Z > / + L T I X , ? . A = + T I D | OR ( > R A * + Z I X B | +L ; 0 THOU WHOSE WORL FROM S O L I D D A R K N E S S STR U C K O H ( A = X H U / Z W » / + R D F R > / M S | + L I C DA + P K N I S S T R > / + K THAT S P A R K , THE S U N ; S T R I K E WISDOM FROM MY S O U L ; ( < T s p a h r k , ( > s > / + n ; S T P A * +K WI + ZD>M F R > / M MAi* EO '*+L ! MY SOU L WHICH F L I E S TO T H E F , HEP T R U S T , HER T R E A S U R E » 4b MAr 50'* +L WIT?. FLA* + Z T U / ( I / , Hol/R T R > / + S T , H a )/R T R E + Q S / P j AS M I S E R S TO T H E I R G O L D , W H IL F O T H E R S R E S T , < Z MA> + ZS)/R Z T U / ( E = R G O * + L D . WA*L > / + ( 5 > /R Z R E + S T . + T H R O • T H I S O 3 AQUE OF N A T U R E . AND OF W C F , + ) R D « + ' ( I S O * P L * + K |V N F ^ + T J S / R , <ND | V W0« + , T H I S DOUBLE N I G H T , T R A N S M I T ONE P I T Y I N G R A Y , ( I S D > / F B > L N A f + T , T R < + N 7 M I T W > / * N P I + T _ I X R E * + . TO L I G H T E N , AND TO C H E A P : O L E A D ( P R ) MY M I N D , T U / L A * + T > N , <ND T U / TT.I = + R : C* + L I / + D MA* MA-T + N D , . ^ ( A MIN D THAT F A I N WOULD WANDER FROM I T S W O E , ) T J 3 > MA * + ND (<TT F F * + N WUD W | +NDS)/F R R > / M I T S WG>* + A L E A D ( P R ) I T THRO* V A R I O U S S C E N E S OF L I F E AND D E A T H , L I / HD I T ) P 0 * + * VE= +P I = S S I / 4 - N Z | V L A * + F <ND D G + ) , AND FROM EACH S C E N E , THE N O B L E S T T R U T H S I N S P I R E : <ND F R > / M 1 / + T ? S I / + N , ( > N O » + P L I S T T R U / + 1 S I N S P A » + 5)/R ; NOP L E S S I N S P I R E MY C D M D U C T ( N ) , THAN MY S O N G ! N | R L E + S I N S P A t + _ / R MA* K | + N D > K T , O N M A* S | O ; T E A C H MY B E S T R E A S O N , R E A S O N ; MY P E S T W I L L C T I / + T I MA* B F + S T R I / + Z > N , R I / + Z > N ; MA* B E + S T W L T E A C H R E C T I T U D E * . AND F I X MY F I R M R E S O L V E “ £fc> T I / + T ? R E + K T I T Y U / C ; <ND F I + K S NAY F & / + R M R I Z | + L V W ISDOM TO WED, AND PAY HER LONG A R R E A R . WI +Z D >M T U / WE + D , <ND P F > + H51/F L ) + H > R I = + R . NOR L E T THE V I A L OF THY V ENG EA NCF P O U R ' D N | R L E T ( > VA*- + >L | V (A* VE + N J > N S P | + P 8 D ON T H I S D E V O T E D H E A D , BE P O U R ' D IN V A I N , | N ( I S D I VO * + T I D H E + D , B I / P | + R e D I N V E * + N . + T H E B E L L S T R I K E S O N E : WE TAKE NO NOTE OF T I M E , + ( > BE + L S T P A * + KS W > / + N : W l / TE-?+K N G * + NO * + T | V T A * + M , BU T FROM u s L O S S . TO G I V E I T T H F N A T O N G U E , 5 5 “ B > / T FR > /M I T S L | + S , T U / G I + V I T ( E N > T > / + # . I S W I S E I N MAN. AS I F AN A NGFL S P O K E , I Z WA* + Z IN M< + N , < Z IF' <N E * + N J > L S P O * + K , 1 F E E L THE SOLEM N S O U N D . I F H E A F D A R I G H T , A * F I / + L ( > S | + L >M SA = + N D . I F H51/+RD > R A * + T , I T I S THE K N E L L GF MY D E P A R T E D H O U R S ; I T I Z ( > N E +L ) V MA* D I P A + F T I D A = + a / R Z ! W H E R E ( 1 ) A R E ( 1 ) T H E Y ? W I T H THE Y E A R S BEYOND THE F L O O D : W E = + R A + R ( E Y ? W I ) ( > Y al / +R 7 B I Y | + N D ( > F L > / + D : I T I S THE S I G N A L THAT DEMANDS D I S P A T C H ; 6 0 I T I Z ( > S I + G N > L ( < T D IM A + N D Z L ) I S P < + T f , HOW MUCH I S TO BE D O N E ? MY H O P E S AND F E A R S H A = M > / + T $ I Z T U / 8 1 / D > / + N ? MAY H O Y + P S <ND F I = + R Z S T A R T U P A L A R M ' D , AND O ' E R L I F E ' S NARROW V ERG E S T A + R T > / P > L A + R M 8 D . <N D | 8 R L A * + F S N < + R O * V5J/ + P J LOOK. DOWN ( 5 ) ON W H A T ( l ) ? A F A T H O M L E S S A D Y SSS L U t K D A = F N 5 - | N W | + T ? > F < + ( > M L I S > B T + S ; A DREAD E T E R N I T Y HOW S U R E L Y M I N F ( 1 > > DRE + D I T S / t R N I T I * HA= S U = + R L I MA*+N% . AND CAN F T F P M I T Y B E LO N G t q ME, <ND K<N I T S / t R N I T I B I L ( + A T U / M I / , POOR P E N S I O N E R CM T H E M E R C I F S TF AN H O U R ? P U = + R P E + N t > N / R | N ( > M5>/ + R S I Z |V <N A = + _ / R ? (•HOW P O O R ? HOW ~ P I C H ? HOW A B J E C T ? HOW AUGUST ( AD J ) ? + HA = P U = + R ? HA= R I + T $ ? HA= < + P J Y E K T ? H A= | G > / + S T ? HOW C OMOLI CAT ? HOW WONDERFUL I S MAN? HA= K | + M P L I K I T ? HA= W > / + D a ) / R F U L I Z M < + N ? 466 HOW P A S S I N G WONDER H E < 1 ) , WHO MADE HIM S UC H? HA= P A + S I X W>/FDS>/R H I / + , H U / ME * +D HIM S > / + T $ ? WHO C E N T E R ' D IN CUR MAKE SUCH STRANGE EX TR EM ES? 70 H U / SE + NT 8 / P 9 D IN _=5>/R MEt + k S > / t T $ STRE=»+NJ I K S T R I / + M Z ? FROM D I F F F P E N T N A T U P F S , MARVELOUSLY MTXT, F R>/M D l + F _ / R > N T N E * + T $ S / D Z , M A + P V I L > S L I M I + K S T , C O NNECTION E X Q U I S I T E OF D I S T A N T WORLDS K > N E + K f>N c + K S K W I Z I T |V D I + S T > N T W 8 /F R LD Z X D I S T I N G U I S H ! L IN K IN B E I N G ' S E N D L E S S CHA IN D I S T I + tf G W I J.T L I+W K IN B I / + IXZ E + N D L I S T * E * + N X MIDWAY FROM NOTH IN G TO THE D E I T Y MI+DWF’* FR > / M M > / + ) I X T U / ( > D I / + I T I X A BEAM ETHER IA L S U L L Y ' D , A ND A B S C F P T 7 J - > E3I/+M I ) I = FP I —L S > / + L I 8 D , <ND < E ) S |+ P P T X T H O ' S U L L Y ' D , AND D I S H O N O U R ' D , S T I L L D I V I N E ( O f S > / + L I 8 D . <ND 0 1 S | + N D / R E D , S T I + L DIVAW+NX DIM M IN IA T U R E OF G R E A T N E S S ABSOLUTE D I+M MI + NY> T $?0/R |V G F E * + T N I S < + F S > L U / T X AN H E I R OF GLORY A F R A I L C H I L D OF DUST <N E = + R |V G_ | +R I X > F R E > + L T 5 A^ + LD | V D > / + S T X H E L P L E S S IMMORTAL I N S E C T I N F I N I T E H E + L P L I S I M |4 -R T > L X I + N S F K T I + N F I N I T X A WORM A GOD I TREMBLE AT M Y S E L F , > Wffl/FRMX > G j+ D X A * TRE+MB>L < T M A *S E +L F , AND IN MYSEL= AM L O S T AT HOME A STR A N G E R, < ND IN MA-*SE + LF <M L | + S T X <T HO» + M > S T P E * + N J _ / P , THOUGHT WANDERS U P ( 5 ) AND D O W N ( E ) , S U R P R I Z ' D , A M A Z 'D , > | + T W | + N D S / R Z > / + P 5 <ND D A = + N 5 , S 8 / R P R A * + Z 8 D , > M E * + Z E D , AND W O N D 'P IN G AT HER OWN: HOW REASON R E E L S ? < ND W > / + N D 9 R I X <T H 8 / R 0 * + N : HA= P I / + Z > N R I / + L Z ? O WHAT A M IRA CLE TO MAN I S MAN, O - f W j T > M I + R > K > L T U / M<+N I Z M< + N , TRIUMPHANTLY D I S T R E S T ? WHAT J O Y , WHAT DREAD? T R A v > / + M F > N T L l D I S T P E + S T ? W |T J O = + , W|T D RE+D ? A LTERNATELY T R A N S P O R T E D , AND ALARM'D j L T 8 / + R N I TLI T R < N S P | + R T I D , <ND >L A+RM8DX WHAT{ I ) CAN P R ESER V E MY L I F E ? OR WHAT D E STR O Y ? W |+ T K<N PR I Z 9 / + R V MA* LA * + F ? |R WjT D IS T R Q = + ? AN A N G E L 'S ARM C A N ' T SNATCH ME FROM THE GRAVE; <N E * + N J > L Z A + RM KA + NOT S N < + T t M I / F R > / M ( > G R E*+V ? L E G I O N S n F ANGELS C A N 'T C O N F I N E ME T H E R E , L I / F J > N Z |V E * +• NJ > L ? KA + N9T K>NFA* + N M I / ( E = R . *fr T I S ( 2 ) PAST C O N JEC TU R ES ALL T H I N G S R I S E IN P R O O F : NO + 9 T I Z PANST K > N J E + K T S 8 / R I | + L ) J + #Z P A * + Z IN P R U / + F ; WHILE O ' E R MY L IM B S S L E E P ' S S O F T DOMINION S P R E A D , WAKL | 8 R MA* L I + M Z S L I / + P S S | + F T D>MI+NY>N S P R E + D , WHAT( 1 ) , THO* MY SOUL P H A N T A S T I C MEASURES T P O D , W | +T , ( 0 ’<' M A •) S O ' +L F< N T < + ST I K . M E + Q 3 / R Z T R | + D , O ' E R F A I R Y F I E L D S ! OR MOURN'D ALONG THE GLOOM 18R FE = +RI F I / + L D Z ; |R M | + P N e D >L | +# ( > G L U / + M OF P A T H L E S S WOODS; OR D 0 W N ( 5 ) THE CRAGGY S T F F P | V P A N ( L I S WU + D Z ; | R DA = +N5 ( > K P < + G I S T I / + P H U R L 'D HEADLONG, SWAM W ITH P A I N THE MANTLED P O O L; HS>/+RL8D HE + DL | tt , SW< + M W I ) P E * + N ( > M< + NT >LD P U / + L : OR S C A L 'D THE C L I F F ; OR D A N C 'D ON HOLLOW W I N D S ( N ) , | R SKE ■ * +L8D ( > k l i + f ; | p d a + n s p t | n h | + l o * W I + N D Z , WITH A N TIC S H A P E S , WILD N A T I V E S CF THE B R A IN ? W I ) < + N T l K $ E * + P S , WAt +LD N F * + T I V Z | V ( > R R F * + N ? HER C E A S E L E S S F L I G H T , THO* D E V I O U S , S PF A K S HER N A TU R E, HS)/R S I / + S L I S F L A * + T , ( O* • D I / + V I = S , S P I / + KS H 8 / P OF S U 9 T L F R E S S E N C E THAN THE TPODDE.N C L O D ; N F * + T S S V R , IV S > / + T > L _ / R F + S > N S O N ( > TP |+ D > N K L | + D ; A C T I V E , A E R I A L , T O W ' R I N G , U N C O N F I N ' D , IOt> C < + K T I V , E = * R I - L « T A = + P R I X , > / + N K >N FA * + N 8 D , U N F E T T E R 'D WITH HER GROSS C C M P A N I C N 'S F A L L : > / + N F E + T ® / R 8 D WT) H S / R G R O * + S K>M P<+N Y>NZ f | + l : E V ' N S I L E N T N IG H T P R O C L A IM S MY SCUL IMMORTAL: I / + V 9 N S A * + L > N T N A *+T P R O » K L F * + M Z MA+ S O * + L I M | + R T L I 467 E V E N S I L E N T N I G H T P R O C L A IM S E T E R N A L DAY: I / F V N S A * F L> N T N A * F T PRC?«KLF*FM Z I T S > / F R N > L D E * F ? F O R HUMAN WEAL, HEAVEN H U SP A N D S ALL E V E N T S , F | R H Y U / F m> n W I / F L , H E FV _N H > / + Z R > M D Z | FL I V E + N T S , D U LL S L E E P I N S T R U C T S , NCR S P O R T V A IN DREAMS IN V A I N . 10$" D > / F L S L I / F P I N S T R >+K TS , N | P S P \ FRT V E ^ + N P P I / + MZ I N V F . f f N , * W H Y ( 1 > THEN THE I R L O S S D E P L O R E , THAT ARE NOT L O S T ? F W A F ( E N (E = R L | F S D I P L | f R . ( < T AP N | + T L | F S T ? WHY WANDERS WRETCHED THOUGHT T H E I R TOMBS AROUND, WAFF W | FNDS1/RZ RE FT $ I D ) | FT < t = R T U / F M Z >RA = + ND , I N I N F I D E L D I S T R E S S ? APE A N G E L S T H E R E ? I N I F N F I D > L D I S T P E F S ? AP E’ F N J > L 7 ( E = R ? S L U M B E R S . P A K ' D UP< 1 ) IN D U S T . ETHER IA L F I R E ? S L > / + M 3 3 / R Z , RE-F+KBT > / F P IN D > / F S T , I ) I = F R I =L F A F F / R ? T H EY L I V E ( v ) TH EY GREATLY L I V E ( V ) A L I F E ON EARTH ” HO ( E * L I F V % ( L F G R E - * F T L I L I F V > L A ' FF | N o ) / F R ) U N K I N O L F D , U N C O N C E I V ' D ? AND FRO M AN EYE > / F N K I FND>L D. > / ’F N K > N S I / F V P D J <ND F R > / M <N A *F OF T E N C E R N E S S , L E T H E A V 'N L Y P I T Y F A L L , ................................................. | V T F F N O f f l / E N I S , LE T H E+V9>M L I P I F T I F j FL , ON ME( 1 ) , MORE J U S T L Y N U M B E R 'D WITH THE D E A D : | n m i / f , m | f r j > / f s t l i n > / f m e o > / r 6D w i ) o d e f d : T H I S ( l ) I S THE D E S F R T , T H I S ( 1 ) THE S O L I T U D E ? ------- DEF Zffl/PT, ( I F S ( > s | f l i t y u / d ; HOW P O P U L O U S ? HOW V I T A L , I S T H E G R A V E ? // * HA= P | F P Y U L > S ? H A = V A f T > L , TZ ( > G R E Y F V ? T H I S ( l ) I S C R E A T I O N ' S MELANCHOLY V A U L T , ( I F S I Z K R I F * F * > N Z M F F L > N K | L I V | F L T , T H E VALE F U N E R E A L , THE SAD C Y P R E S S GLOOM? ( > V E * F L F Y U / N I = F F > L . ( > S < F C S A * F P R I S G L U / F M ? T H E LAND OF A P P A R I T I O N S , EMPTY S H A D E S : ( > l.<FNO |V R I F f >N Z , F F M R T I I E * ' F D Z : A L L . ALL ON EA RTH I S SHADOW, ALL. BEYOND | F L , • ) FL | N 5) / F R > i z $<FD D ^ , | F L B I Y | F N D i s s u b s t a n c e ; t h e r e v e r s e i s f o l l y * s c r e e d ? _____________rzo I Z S > / F B S T > N S ? ( > P I V S / F R S I Z f | f l i z K R I / F D ? HOW( 1 ) S O L I D A L L , WHERE CHANGE SHALL BE NO MORE? HA = + S | F L I D | FL , WE =R T $ E « F N J $ > L R I / ND>'F M | FR ? + T H I S C 1 ) I S t h e BUD OF B E I N G , t h e d i m d a w n , + ( I F S I Z ( > B > / F D |V R I / F I X , ( > D IF M D | f n , T H E T W I L I G H T OF OUR DAY? THE V E S T I B U L E , ( > T W A * F L A * T |V =ffl/R D E * F ? ( > V E F S T I B Y U L , L I F E ' S TH EA TE R A S YET I S S H U T . AND D E A T H , l a * f f s > i / f > ts) / p < z y e t i z $ > / + t , < n d o e f j , STRONG DEATH ALONE CAN HEAVE T H E MASSY B A R , s t r | f # d e f > > L O * F N K<N H I / F V ( > M < F S I B A F R , T H I S G R O S S IM P E D I M E N T OF CLAY R E M O V E , ( I S GRQ* F S I M P E F D I M > N T |V K L E * F R I M U / F V , AND MAKE U S EMBRYOS OF E X I S T E N C E F R E E , <ND ME^FK > / S E F M B R _ 0 * Z |V I G Z I F S T > N S F R I / F . FROM REAL L I F E . BUT L I T T L E MORE REMOTE C F R > / M R I = F L L A * + F , B > / T L I F T > L M| FR R I MO* FT I S H E ( 1 ) , NOT Y E T A CA N DID A TE F O R L I G H T , I Z H I / F , N | F T Y E T > K < F N D I C I T F | P L A * F T , TH E F U T U R E EMBRYO. SLU M B ERING I N H I S S I R E . <30 ( > F Y U / F T S 5)/P E F M B R I * , S L > / + M E _ / P I X IN H I Z S A f F / R . EMBRYOS WE MUST P E t l T , T I L L WE B U R ST THE S H E L L , ~ EFM BRICH'Z W _ / M > / F S T B I / F , T I L W I / B ffl/F R S T ( > T E F L , YON A M B I E N T , A ZUR E S H E L L , ANC S P R I N G TO L I F E . Y | F N < F M B I = N T , < F Q 5 j/ R -SFFL., <Nr. S P R I F # t u / L A * F F , T H E L I CE D= G O D S : 0 TRANSPORT ( N ) AND OP MAN. ( > L A * F F | v g | f d z : O’* F T P < F N Z P | R T % < n d ] v m <«-n . ♦ Y E T MAN, FOO L MAM HERE HURYS A L L H I S T H O U G H T S ? + Y E T M <F N , F U / F L M< FNX H I = P B 3 / F F I Z | F L H I Z ) | F T S ? „ _ I N T E R S C E L E S T I A L H O P E S WITHOUT CNF S I G H ? 1 3 * I N T S / F R Z S I L E F S T Y > L H O F F P S W I ) A = F T W > / F N S A * F ? 468 P R I S O N E R OF E A R T H . AND PENT P EN F A TH THE MOON, ° R I + Z > N _ / P |V S / + R ) , <ND PF + NT B 1 N I / + ) ( > M U /+ N , HE R E ( 1 ) P I N I O N S ALL H I S W I S H E S ; W I N G 'D BY HEAVEN H I = + R P I + N Y > N Z | + L H I ? W I + * I Z ; WI+W8D BA> HE+V_N TO FLY AT I N F I N I T E ; AND PEACH I T T H E R E , T U / f l a * + < t i + n f i n i t ; < md R I / + T $ I T ( E = R , WHERE SER A PH S GATHER IM M O R TA LITY , WE = R S E + P > F S G < + ( a ) / R I M | P T < + L I T I . ON L I F E ' S F A I R T R E E , FAST RY THE THPONE OF GOD I WO | N LA "* + F S FE = +R T R I / + , FA + ST BA-! ( > >RO»+N |V G |+ D : WHAT ( 1 I GOLDEN JO Y S AMBPOSTAL. C L U S T E R I N G GLOW, W | + T G O v+L D > N J O = + Z < M B P O * + Z I = L K L > / + S T 9 W I X G L O * + , IN H I S ( 1 ) FULL BEAM, AND R I P E N FOR THE J U S T , IN HI + Z FU + L B I / + M , <ND R A * + P > N F | R <> J > / + S T , WHERE MOMENTARY AGES ARE NO MORE? W£=R MO » + M > N T £ = R I E 4 + J I Z AP NO* + M | + R ? WHFPF T I M E , AND P A I N , AND CHANCF AND DEATH E X P I R E ? WE = R T A ^ + M , <ND P E ' + N , < ND T K + NS <NO D E + ) I K S P A » + 5 > / R ? AND I S I T IN THE F L I G H T OF T H R E E SC O R E Y E A R S , Arfr* <ND I Z I T IN ( > FLAV+T |V ) R I / + S K | R Y S / + R Z , TO PUSH E T E R N I T Y FRGM HUMAN THOUGHT, T U / PU + S I T S / + R N I T I F R > / M H Y U /+M >N ) | + T , .. AND SMOTHER SCUt.S IMMORTAL IN THE D U S T ? . . <ND S M > / + ( ® / R S O ^ + L Z I M | + R T > L IN <> D > / + S T ? A SOUL IMMORTAL, S P E N D I N G ALL HEP F I R E S , > S O ' + L I M | + P T > L , S P E + N T I X | +L H » / R F A ' + a / R Z . WASTING HER STRENG TH IN STRENUOUS I D L E N E S S , ............. WEy + S T I X H 3 / R S T R E + # ) IN S T R E + N Y _ / > S A ^ + D > L N I S , THROWN INTO TUMULT, R A P T U R ' D , OR A L A R M 'D , IS"0 ) R O * + N I + N T U / T Y U / + M > / L T , R < + P T $ f f i / R 8 D , | R > L A + R M 8D . AT OUGHT T H I S SCENE CAN T H R E A T E N , OP IND U L G E, <T | + T ( I S S I / + N K<N ) R E + T > N , )R I N O / + L J , RESEM BLES OCEAN INTO TEMPEST WROUGHT, R I ZE + MR >LZ O Y +*> N I + N T U / TE + M P I S T R | + T , TO WAFT A F E A T H E P , OR TO DROWN A F L Y . T U / WA+FT > F E + ( f f l / R , |R T U / CR A =+ N > F L A * + . ♦ WHERE F A L L S T H I S C E N S U R E ? IT OVERWHELMS M Y S E L F . + WE=P F | + LZ ( I S S E + N $ a / R ? I T |9RW E+LM Z M A * S E + L F . HOW( I ) WAS MY HEART ENCRUSTED BY THE WORLD? I S T HA=+ W>Z MA* HA+RT I N K R > / + S T I D BA* ( > W 3 / + R L D ? C HOW S E L F - F E T T E P ' D WAS MY G R O V FL IN G SOUL? 0 * + HA = S E + L F F E + T B / P 6 D W>Z MA* G P | + V _ L I X S O » + L ? HOW( 1 ) , L I K E A WORM. WAS I WRAPT R 0 U N D ( 5 ) AND R C U N D ( 5 ) HA = + , LA*K > W 3 / + P M , W>Z A* R< + PT R A = +ND 5 <ND P A = + N D 5 I N S I L K E N THOUGHT, WHICH R E P T I L E FANCY S P U N , IN S I + L K > N ) | + T , W ITS RE + PTA* L F < + N S I S P > / + N , - T I L L D A RK EN 'D REASON LAY Q U IT E CLOUDED O ' E R T I L DA+RK>NBD R I / + Z > N LE* + KWAY+T K L A = + D I D | 8 R WITH SOFT C O N C E I T , OF E N D L E S S COMFORT H E R E ( 1 ) , /6 6 W I) S | + B T K > N S I / + T , |V E + N D L I S K > / + M F S / R T H I = + R , NOR YET PUT - C R T H ( 5 ) HER WINGS TO REACH THE S K I E S ? N | R YET PU+T F | + R ) 5 H3>/R WI + #7 T U / R I / + T * ( > S K I / + Z ? + N I G H T - V I S I O N S MAY B E F R I E N D . (A S SUNG ABOVE) + NA=*+TVIQ>NZ M Ek B I F R E + M D , 3 <Z S > / + # > B > / + V 4 OUR WAKING DREAMS APE F A T A L : H O W ( l ) I DREAMT _ = 3 / R W E ■ * ■ + K I X D R I / + M Z AP F E T + T > L : HA = + A* DPE + MT OF T H IN G S I M P O S S I B L E ? (COULD S L E E P DO M ORE?) | V ) I + # 7 I MP | + S I 13 > L ? 3 KUD S L I / + P D U / + M |+ R A OF JO Y S P ER P E T U A L IN P E R P E T U A L CHANGE? / £ » | V J C = + Z P » / R P E + TYU-=L IN P a / R P E + T Y U = L T * E * + N J ? - OF S T A B L E PLF.ASUPES ON THE T O S S I N G WAVE? | V STF * +R>L P LE + O a / R Z |M ( > T | + S I X W F *+ V ? E TERN AL S U N - S H I N E IN THE STORMS OF L I F E ? I T » / + R N > L S > / + N t A m N I N ( > S T | + R M Z | V L A Y + F ? HOW <1 ) RICHLY WERE MY N O C N - T I D E TRA N CES HUNG H A=+ R I + T S L I Wffl/P MA* N U /+ N T A + D T R A + N S I Z H > / + 0 WITH GORGEOUS T A P E S T R I E S OF P I C T U R ' D J O Y S ? WI) G | + R J > S T < + P I S T R I Z |V P I + K T S S / R 8 D J O = + Z ? 469 J O Y B E H I N D J O Y , I N E N D L E S S P E R S P E C T I V E I7D J O = + B I H A 4 + N D J O = + . IN E + N D L I S P3>/R S P E + K T I V * T I L L AT DEATH * S T O L L . WHOSE R E S T L E S S I PON TONGUE T I L < T DE + J S T O * + L , H U / Z R E + S T L I S A - + 3 / R N T > / + # C A L L S D A IL Y FOR H I S M I L L I O N S AT A M EA L, K | + L Z D E + + L I F | R H I Z M I + L Y > N Z <T > M I / + L , S T A R T I N G I WOKE, AND FOUND MYSELF UNDONE? S T A + R T I X Av W O * + K , <ND F A = + ND M A * S E + L F > / + N D > / + N ? W H E R E ! 1 ) NOW MY F R E N Z Y ' S POMPOUS F U R N I T U R E ? W£ = +R NA= + MA* F R E + N Z I Z P | + MP>S F f f l / + R N I T $ 8 / R ? _ THE C O B W E B 'D CO TTA G E W ITH I T S RAGGED WALL I 7 i (> K |+ B W E L '8 D K | + T I J WI ) I T S P < + G I D W | +L OF MOULD• P I N G MUD, I S ROYALTY TO ME | V M Q 4 + L D 9 R I X M > / + D . I Z R O = + > L T I T U / M I / * THE S P I D E P ' S MUST ATTEN U A TED THREAD ( > S P A * + D 3 / R Z M O *+ S T > T £ + N Y U £ * T I D ) RE + D I S C O R D , I S C A B L E , TO M A N 'S T E N D E R T I E I Z K | + R O , I Z KE * + B>L , T U / M< + NZ T E + N D 5 J /P TAT + ON EARTHLY B L I S S ; I T BREAK S AT EVERY B R E E Z E . | N a / + R ) L I 8 _ l + s ; I T B R E V + K S <T F + V R I B R I / + Z . + O YE B L E S T S C E N E S OF PERMANENT D E L I G H T + 0 * + Y I / R L E + S T S I / + N Z |V P 3 / + R M > N > N T D I L A * + T X F U L L , ABOVE MEASURE L A S T I N G , EFYOND BOUND FU + L , > B > / + V MF+Q5)/R% LA + S T I X . B I Y | + N D RA = + NDX COULD Y O U ( 1 ) , SO R I C H I N R A P T U R E . F E A R AN E N D , KUD Y U / + , S O ' R I + T $ I N R < + P T $ 3 / R , . F I = + R <N F + N D , THAT GHASTLY THOUGHT WOULD D R I N K U P { 1 ) ALL YOUR J O Y , < <T G A + S T L I ) | + T WUD D R I + #K > / + P | + L Y | R J 0 = + . AND G U I T E U N P A R A D I S E THE REALMS O F L I G H T . <ND KWAt + T > / + N P E = + R>DA <=S ( > RE+LMZ | V LA*- + T . S A F E ARE YOU L O D G 'D - ABOVE T H E S E RO W LIN G S P H E R E S ; IS» S C A + F AR Y U / L | + J 8 D > B > / + V ( I / Z P O * + L I X S F I = + R Z ; . T H E B A L E F U L I N F L U E N C E D ) OF WHOSE G ID D Y D A N C E . { > B E + + L F U L I + N F L U = N S | V H U / Z G I + D I D < + N S . S H E D S SAD V I C I S S I T U D F ON ALL B E N E A T H . S E + DZ S < + D VI S I + S I T Y U / D | N | + L R I N I / + ) . H O W 'T E E M S WITH R E V O L U T I O N S EV ER Y HOUR? HA= T I / + M Z WI J R E V 0 V L U / + S > N Z E + VP I A = + _ / R ? AND RA R ELY FOR THE B E T T E R ; OR THE B E S T , <ND RE = + R L I F | R {> B E + T 3 1 / R ; | R ( > BE + ST . MORE MORTAL THAN THE COMMON B I R T H S OF F A T F . tlO M ) + R M | + R T > L O N ( > K | + M > N R a / + P ) S |V F E + + T . EACH MOMENT HAS I T S S I C K L E , FMULCUS •- I / + T S MO++M>NT H>Z I T S S I + K > L , E + M Y U / L > S OF T I M E ' S ENORMOUS S C Y T H E , WHOSE AMPLE S W E E P (V TAY+MZ I N | + R M > S S A * + ( , H U / Z < + M P > L S W I / + P S T R I K E S E M P I R E S FROM THE R O O T ; EACH MOMENT P L A Y S S T R A y + KS E + M D A ^ a / R Z F R > / M ( _ R I J / + T ; I / + T S MC*+M>NT P L E * + Z H I S L I T T L E WEAPON IN THE NARROWER S P H E R E H I Z L I + T > L W = + P > N IN ( > N < + R _ * 3 / P S F I = + R OF SWEET D O M E S T I C C O M F O R T , AND CUTS D O W N <5) * | V S W I / + T D O M E + S T I K K > / + MFo)/RT , <ND K > / + T S D A = + N 5 THE F A I R E S T BLOOM OF SUBLUNARY B L I S S . ( > FE =+ RI S T B L U / + M J v S > / 3 L . U / + N 3 / R I B L I + S . + B L I S S SUBLUNARY B L I S S PROUD WORDS AND V A I N : + 9 L I + S * S > / B L U / + N 3 / P I B L I + S J 5 P R A = + 0 W 3 / + R D Z * <ND V E * + N I I M P L I C I T T R E A SO N TO D I V I N E D E C R F F I M P L I + S I T T R I / + S >N T U / D I V A * + N D I K R I / + * A BOLD I N V A S I O N OF THE R I G H T S OF HEAVEN > BO * + LD I N V E * + Q>N | V <> R A * + T S | V H E+V >N % I C L A S H ' D THE P H A N T O M S , AND I FOUND THEM A I R . 7.00 A * K L A + S P 3 T ( > F < + N T > M Z , <ND A* F A = + N D (EM E = + R . O HAD I W E I G H ' D I T E ' CR MY F C ND EMBRACE 0 * + H>D A* W E + + 8 D I T E = 9 R MA* F | + N D I M P R E * + S % WHAT D A R T S OF AGONY HAD M I S S ' D MY H E A R T ? W |T D A + R T S |V < + G > N I H>D M I + S 8 T MA* H A + R T ? DEATH GREAT P R O P R I E T O R OF ALL T I S ( 2 > T H I N E DE+ ) % G R E * + T P R > P R A * + >T 3 / R |V | + L % 9 T I Z ( A*:N 470 TO TREAD O U T ( 5 ) E M P I R E , AND TO OUENCH THE S T A R S « T U / TRE+D A = + T5 FFMPA-* / P * <NO T U / KWE + N T * ( > S T A F R Z I THE SUN H IM S E L F BY T H Y ~ P £ R MI S SI Oh’ S H I N E S , 0 .0 S (> S>/+N H I M S E + L F BA* ( A * P 3 )/F M I + $ > n $ A » F N 7 , A N D ( l ) , ONE DAY, THOU SHALT PLUCK HIM FROM H I S S P H E R E . < + NO, W>/FN D E * F , ( A= $. > L T P I > / F K HIM F R > / M H I Z S F I = + P . AMID SUCH MIGHTY P LU N D ER , WHY( 1 ) EXHAUST >M I+D S > / F T $ MAT + TI P L > / + N D 5)/R , WA*+ I G Z | F S T THY P A R T I A L Q U IV ER ON A MAPK SO MEAN? (A* P A F R * > L K WI + V5)/ R |N > MAFRK Sfl* M I / + N? WHY( 1 ) , THY P E C U L I A R RANCOR W RECK 'D ON ME? WA*F, (A* P I K Y U / F L Y 8 ) / R p < F # K S 1 /R R E + K P T | N M I / ? I N S A T I A T E ARCHER COULD NOT CNF S U F F I C E ? <2/0 I N S E ^ + U s T A + R T J 3 / R X KUD N | + T W >/ + N S > F A ^ F S ? THY SHAFT FLEW T H R I C E , AND TH RICE MY PEACE WAS S L A I N ; (AT S A t F T F L U / + )RAf: + S . <ND > R A * F S MA* P I / + S W>Z S L E T F N ; AND T H R I C E , E V ' N T H R IC E YON MCDN HAD F I L L ' D HER HORN I <ND ) R A * F S , I / + V9N l R A ^ + S Y | + N MU/FN H>D F I + L S D H 3 / R 0 C Y N TH IA W H Y ( l ) SO P A L E ? D CST THCU LAMENT H I F R N * OFF S I F N ) I = % WA + F S O * P E -* + L ? D > / f ST ( A= L>MFF NT THY WRETCHED N EIG H B O U R ? G R I E V E , TO SEE THY WHEEL (A * R E F T S I D NE f; +B ffl/R? G R I / + V , T U / S I / F ( A v W I / + L OF C E A S E L E S S CHANGE O U T W H I R L 'D IN HUMAN L I F E ? -2-/S" | V S I / F S L I S T $ E * F N J A = T W 3 / + R L 8 D IN H YU/+M >N L A * + F ? HOW WANES MY BORROW'D B L I S S ? FROM F O R T U N E ' S S M I L E , HA= WEf+NZ MA* B | F R O * 8 D B L I + S ? F P > / M F | + R T S > N Z SMAFFL , P R E C A R I O U S COURTESY NOT V I R T U E ' S S U R E , P R I K E = F R I = S K M / F R T I S I % N | F T V S / F R T Y U / Z * U = F R , S E L F - G I V E N , S O L A R , PAY CF FOUND D E L I G H T . S F 4 - L F G I + V > N , S O '•* F L < D / R , R F * F |V FA = + NO D I L A F F T . + I N EVERY V A R Y 'D P O S T U R E , P L A C E , AND HOUR, + IN E F V R I VE= FR 1 8 0 P | F S T I51/R , PLE> F 5 , <ND A = F a i / P , HOW WIDOW'D EVERY THOUGHT OF EVERY J O Y ? 2 JLo HA= W lF D O *3D E F V R I ) | F T |V E F V P I J O = f ? THOUGHT, BUSY THOUGHT TOO BUSY FOR MY P E A C E , ) | F T . B I F Z I )\ +T X T U / F B I F Z I F | R MAT P I / F S , TH R O ' THE DARK P OS T E R N OF T IM E LONG E L A P S ' D , ) R0+ F ' (> DAFRK P | F S T S / R N |V TAT + M L I F t f I L < F P S 8 T . LED S O F T L Y , BY THE S T I L L N E S S OF THE N I G H T , L F + D S | F F T L I , BA;k ( > S T I F L N I S |V {> NA’ + T , L E D , L I K E A MURDERER. (AND SUC H I T P R O V E S ) L E F D , LA*K > Mo)/ + ROa>/Ru)/R » 3 < ND S > / F T S I T P R U / F V Z 4 „ S T R A Y S , WRETCHED ROVER O ' E R THE P L E A S I N G P A S T , S T R E * F Z , R E F T * I D R O * f v © /R K | 8 R ( > P L I / F Z I X P A F S T , IN QUFST OF WRET C H E D N FS S P E R V E R S E L Y S T R A Y S , _______________ I N KWEFST |V R EF T $ 1 DN IS PSJ/R VcP/FPSL I S T R E ^ F Z J AND F I N D S ALL DESART NOW; AND MEETS THE GHOSTS <ND FATFNDZ | F L D EFZA RT NA = F J <ND M I / F T S ( > G O + F S T S OF MY DEPARTED J O Y S , A NUMEROUS T R A I N |V MA* D I P A F R T I D J O = F Z , > N Y U / F M _ / R > S T P E t F N % 1 RUE THE R I C H E S OF MY FORMER F A T E ; AT R U / F ( > R I F T S I Z |V MA* r | FR MSt/R F E * F T I SWEET C O M F O R T 'S BLA S TED C L U S T E R S MAKE ME S I G H ; 2.3D S W I / F T K > /F M F S / R T S B L A F S T I D K L > / F S T S ) / R Z ME*FK M l / S A * F I I TREMBLE AT THE B L E S S I N G S ONCE SO DEAR; A* TRE FMB>L <T ( > B L E F S I X Z W > / F N S SO* D I = F P ; AND EVERY PLEASURE P A I N S ME TO THE H E A R T . <ND E F V R I PLEFQ S)/R P E + FNZ M I / T U / ( > H A F R T . YET WHY( 1 ) C O M P LAIN ? OR W H Y ( l ) COMPLAIN FOR ONE YET WA*+ K>MDLETFN? | R WA*F K>MPLE=*FN F | R W>/FNX HANGS O U T ( 5 ) THE SUN H I S LUSTRE PUT F O P ME( 1 ) ? H<F HZ A = FT 5 ( > S > / F N H I Z L > / F S T S ) / P B > / T F | P M I / F ? THE S I N G L E MAN? ARE ANGELS ALL B E S I D E ? 2 - 3 5 ( > S I F * G > L M< FN ? AR E < F N J > L Z | F L B I S A * F D ? I MOURN FOR M I L L I O N S ; T I S 1 2 ) THF COMMON L O T ; a* m | f r n f | r m i f l y > n z : r t i z ( > k | f m > n l | f t ; IN T H I S ( l ) S H A P E , OR IN T H A T ( l ) , HAS F A T E E N T A I L ' D IN ( I F S * c * F P , |R IN ( < F T , H>Z FE T F T I N T E * FL 8D 471 THE MOTHER * S T H R O E S ON A LL OF WOMAN B O R N , <> M > / + ) a / R Z IRQ^-FZ | N' | + L |V WU+M>N R | + R N , NOT MORE THE C H I L D R E N , THAN S U R E H E I R S O F P A I N . N ) + T M | + R ( > TS I + L D R > N , O N 3-U = + P F = + RZ | V P E * + N . WAR, F A M I N E , P E S T , V O LC A N O , S T O R M , AND F I R E . + W | + R » F < + M I N , P E + S T , V | L K E H N O ' i . S T | + R M , <NO F A 1 + 3 / R , I N T E S T I N E R R O I . L S , O P P R E S S I O N , W ITH H F R HEART I N T E + S T I N B R O = + L Z . > o R F + * > N , W l ) H a / R H A +R T WRAPT U P ( 1 ) I N T R I P P L E B R A S S , BE S I E G F M A NKIND: R< + PT > / + P IN T R H - P > L BRA + S , E J I S I / + J M<NKA*- + N D : G OD• S IM A GE, D I S I N H E P 1 T E D OF DAY, G l + D Z I + M I J , D I S I N H E + R I T I D |V D E ^ + , H E R E (1 ) P L U N G ' D I N M I N E S . F O R G F T S A SUN WAS MADE I H I = + R P L > / + N J 8 D I N M A ^ + N Z , F | P G F + T S > S > / + N W>Z M E ^ + D J T HERE ( 1 ) B E I N G S D E A T H L E S S AS T H F I R HAUGHTY L O R D , JL£C" ( E = + R B I / + I X Z D E + J L I S < Z ( E=R H | + T I L | + R D , ARE HAMMER'D TO THE G A L L I N G OAR FOP. L I F E ; AR H<+ M 3 / R 8 D T U / ( > G | + L I X | + R F | R L A » + F ! AND PLOUGH THE W I N T E R ' S WAVE, AND R E A P D E S P A I R ! <ND PL A = + ( > W I + N T ff i/P Z WE-* + Vi <ND R I / + P B I S P E = + P : S O M E . FOR HARD M A S T E R S , BROKEN UNDER ARMS, S > / + M , F | R HA-t-RD M A + S T 3 / R Z , B R O > + K > N > / + N D 3 / P A + P M Z , I N BA T T L E L O ^ T AWAY, W IT H HALF T H E I R L I M B S , I N B< + T > L L | + P T >WF< + , w l ) HA + F < E = R L I + M Z , BEG B I T T E R BREAD T H R O ' REA LM S T H E I R VALOUR S A V ' D , 2 5 0 BE + G B I + T S 1 /R B R E F D I R O H ' RE+LM Z ( E = R V < + L ® / R S F t + VAO, I F SO THE T Y R A N T , OR H I S M I N I O N , DOOM: . . ... --------- I F S O * ( > T A T + R > N T , | P H I ? M I + N Y > N , D U / + M ! WANT, AND I N C U R A B L E D I S E A S E , ( F E L L P A I R > W | + N T , <ND I N K Y U + 3 / F O B L D I Z I / + Z , 3 F E + L P E = + R A ON H O P E L E S S MULT I T U C F S ~ R E M D R S E L E S S SE I 7E . . . . . . | N HO+- + P L I S M > / + L T I T Y U / D Z R I M | + P S L I S S I / + Z AT O N C E ; AND MAKE A R E F U G E OF THE G R A V E : <T W > / + N S i <ND MET+K > R E + F Y U / J |V ( > G P E * + V : HOW G RO ANIN G H O S P I T A L S E J E C T T H E I R D E A D ? 2 T 6 T HA= GRQ * + NI X H | + S P I T > L Z I J F + KT (E =R D E + D ? WHAT NUMBERS GROAN FOR SAD A D M I S S I O N T H E R E ? W | T N > / + M 0 3 / R Z G PO *H N F J R S < + D < D M I + * > N ( E = R ? WHAT NUMBERS ONCE IN F O R T U N E ' S L A P H I G H - F E D . - W | T N > / + M B 3 / R Z W > / + NS I N F | * P T $ > M Z L < +P H A ^ H F E + D . S O L L I C I T THE COLD HAND OF C H A R I T Y ? S > L I + S I T ( > k d * f l d H <+ND | v t $ < + r i t i ? T O SHOCK US M O RE, S O L L I C I T I T IN V A I N ? - - T U / * | H K > / S M | + R , S > L I + S I T I T IN V E * + N ? YE S I L K E N SONS OF P L H A S U F E S I N C E I N P A I N S D Y I / S I + L K > N 5 > / + N Z | V P L E + O a / R % S I N S IN P E * + N Z YOU. RUE MORE M O D IS H V I S I T S . V I S I T H E R E , Y U / R U / + M |+ R M O ^ + D I S V I + Z I T S , V I + Z I T H I = P , AND BR EATHE FROM YOUP D E B A U C H : G I V E , AND P FD U C E <ND B R I / + ( F 5 > / M YI R D I B j + T S : G I + V , <ND R > D Y U / + S S U R F E I T ' S D O M IN I O N O ' E R YOU: BUT SO GREAT S a / + R F I T S D > M I + NY>N |B R Y U / : B > / T SO* G P E * + T YOUP I M P U D E N C E , YOU B L U S H AT WHAT I S R I G H T Y | R I + M P Y U O > N S , Y U / R L > / + $ <T W |T I Z RA«*+T% 4- H A PPY D I D SORROW S E I Z E ON SUCH A L O N E : 2 6 * 4- H< 4- P I % D I + D S | + P O + S I / + Z | N S > / + T S > L O * + N : NOT P R U D EN C E CAN D E F E N D , OR V I F T U F S AV E? N | + T P R J / + D >NS K <N D I F E + N O . | R V a / + R T Y U / S E * + V J D I S E A S E IN V A D E S THE C H A S T E S T T E M P E R A N C E : D I Z I / 4 - Z I N V E * + D Z ( > T t E ' + S T I S T T F + MP o l / R > N S I AND P U N I S H M E N T THE G U I L T L E S S ; AND ALARM <ND P > / + N I $ M> NT ( > G I + L T L I S : <MD >LA + PM T H R O ' T H I C K E S T S H A D E S P U R S U E S THE FOND OF P E A C E : JROTH* J I + K I S T t E r + D Z P S / P S U / + Z ( > F | + N D |V P I / + S : M A N 'S C A U T IO N O F T E N I N T O DANGER T U R N S , & 0 M< + NZ K | + * > N | + c >N I + N T U / D< + N J 3 / R T S / + R N Z , 472 AND H I S GUAPD F A L L I N G , C R U S H E S H I M TO D E A T H . <ND H I Z GA + RO F | + H K , K R > / + 1 I Z H IM T u / D E + ) . NOT H A P P I N E S S I T S E L F MAKES GOOD HER NAME; N | + T H< + P I N I S I T S E + L F M E * + K S GU+L' H 3 / R N E * + M J OUR VERY W I S H E S G I V E US NOT OUR W I S H ; = 3 / R V F + R I W I + S I Z G I + V > / S N | + T _ = 3 / R W l + $ ! HOW D I S T A N T O FT TH E T H I N G WE DC AT ON ( 1 J M O S T , HA= D I + ST >NT | + F T ( > ) ! + * W l / DO* +T | + N 5 M O I + S T , FROM T H A T ( l ) F O R WHICH WE D O A T , F E L I C I T Y ? 3 L l ST F R > / M ( O T F | R W I T S W l / D O - ' + T , F I L I + S I T T ? THE S M O O T H E S T C O U R S E OF NATURE HAS I T S P A I N S . ( > S M U / + ( 1 S T K | + R S | V N E M T ' S S l / R H> Z I T S P E ^ + N Z . AND T R U E S T F R I E N D S , TH RO * E R R O R . WOUND OUR R E S T ; <ND T R U / + 1 S T F P E + N D Z , ) R O + + * E + P f f / R , W U /+ N D A = _ / R R E + S T J W IT H O U T M I S F O R T U N E , WHAT C A L A M I T I E S ? W I ) A = + T M l S F | + P T T > N , W | T K > L < + M T T I Z ? AND WHAT H O S T I L I T I E S . W ITH OUT A F O E ? <ND W | T H | S T I + L I T I Z , W l ) A = + T > F C * + ? NOR A R E F O E S W A N TIN G TO THE B E S T ON E A R T H t . 2%d N | R AR FP-t + Z W | + N T I X T U / ( > FE + ST | N 3 / + R ) : BUT E N O L F S S I S T H E L I S T OF HUMAN I L L S , B > / T E + N D L I S I Z ( > L I + S T |V H Y U / + M > N I + L Z , AND S I G H S M IG H T S O O N E R F A I L , THAN C A U S E TO S I G H . <ND SA + + Z M A *+T S U / + N 8 / R F t « + L , ( >N K | + Z T U / S A * + . + A P A R T HOW SM ALL OF THE T E R R A Q U E O U S G LO B E + > PA + RT HA = SMA+L j v ( > T E + R A + K W I = S GLG*-+B I S T E N A N T E D BY MAN? TH E R E S T A W A S T E , I Z T E + N > N T I D BA* M< + N ? ( > P E + S T > W F P + S T , R O C K S . D E S E R T S . F R O Z E N S E A S . AND B U R N I N G S A N D S ; R | + K S , D E + Z 3 / R T S , F R O * + Z > N S I / + Z . <NC) B S ) / + R N I X S < + N D Z ; W IL D H A U N T S OF M O N S T E R S , P O I S O N S , S T I N G S . , AND D E A T H ! W A*+LD H| + N T S | V M | + N ST ffl/R Z , P O = + Z > N Z , S T I + A Z , <ND D E + ) ! SUCH I S E A R T H ' S MELANCHOLY MAP BUT FAR S > / + T T i I Z S>/ + R ) S ME + L > N K | L I M> + P% R > / T F A + R MORE S A D T H I S E A R T H I S A TRUE MAP O F MAN! M | + R S < +D% ( I S 3 / + R ) I Z > T R U / + M> + P | v M < + N ! SO B O U N D ED ARE I T S HAUGHTY L C R D ' E D E L I G H T S SO* B A= + N D I D AR I T S H | + T I L | + R D Z DILA -* + T S „ TO W O E ' S W ID E e m p i r e ; WHERE D E E P t r o u b l e s t o s s ; -Zto T U / WO + + Z WA*+D E + M P A + _ / R ; WF = P D I / + P TR > / + B > L Z T | + S ; LOUD SORROWS HOWL! E N V E N O M 'D P A S S I O N S B I T E ! L A = + D S | + R O + Z h a = + l ; !N V E + N > M B D P > + $ > N Z b a * + t ; R A V E N O U S C A L A M I T I E S OUR V I T A L S S E I Z E , R< +V N> S K > L < + M I T I Z —3 / R V A ' + T > L Z S I / + Z , AND T H R E A T E N I N G F A T e T W I D E - O P F N S TO D E V O U R . <N D I R E + T P N I X F E * + T , W A * + D O * + P > N Z T U / O I VA = + 3 / R . .+ WHAT( 1 ) T H E N ( 1 ) AM 1 ( 1 ) , WHO SORROW F O R M Y S E L F ? ........... . + W 1+ T ( E + N < M A+ + , H U / S I + R O ’! F | R MA * S E + L F ? I N A G E . IN I N F A N C Y , FROM O T H E R ' S A I D Z -J9 IN E+ + J . I N 1 + N F > N S I , F R > / M > / + ( © / R Z E + + D I S ALL OUR H O P E ; TO T E A C H US TO B t K I N D . I Z | + L _ = » / R H O * + P ; T U / T I / + T J > / S T U / B I / K A - H N D . T H A T ( 1 ) , N A T U R E ' S F I R S T . L A S T L E S S O N TO M A N K I N D ! ( < + T . NE-* + T $ 3 / P Z F 3 / + R S T , L A + S T L F + S > N T U / M < N K A + + N D ! THE S E L F I S H H EART D E S E R V E S THE P A I N I T F E E L S ! ( > S E + L F I ■ £ HA + RT D I Z 3 / + RVZ ( > P E * + N I T F I / + L Z ! MORE G E N E R O U S SORRCW W H I L E IT S I N K S . E X A L T S , M | + R J t + N _ / R > S S | + R O * WA‘ L I T S I + # K S , I G Z | + L T S . AND C O N S C I O U S V I R T U E M I T I G A T E S THE P A N G . 3 0 0 <ND K | + N S > S V 3 / + R T Y U / M I + T I G E + T S ( > P < + # . NOR V I R T U E , MORE THAN P R U D E N C E . B I D S ME G I V E N | R V 3 / + R T Y U / . M | + R O N P R U / + D > N S . B I + D Z M I / G I + V SWOLN THOUGHT A S E C O N D C H A N N F L ; WHO D I V I D F , S W O * + L N ) | + T > S F + K > M D T t < + N > L ! H U / D l V A ' + D , T H EY WEAKEN T O O . THE T O R R E N T OF T H E I R G R I E F ; ( E * W l / + K > N T U / + . <> T | + R >NT | V ( F = R G R I / + F ! TA KE T H E N . O WORLD THY M U C H - I N C E B T E D T E A R ( l ) ! T E + + K ( E N , 0 * + W 3 / + R L D X ( A * M > / + T * I N D E + T I D T I = + R ! 473 HOW SAD A S I G H T I S HUMAN H A P P I N E S S HA = S< + n > SA + + T 1Z H Y U / + M>N H K + P I N I S t o t h o s e w h o s e t h o u g h t c a n p i e p c p b e y o n d a n h o u r ? T U / ( 0 * Z H U / Z ) I +T K <N P I = + R S P I Y | + N D <N A = + _ / R ? 0 THOU ( 1 ) WHATE'FR. THOU A R T . WHOSE HEART E X U L T S C*+ <A = + X W | T E = + R R ( A = A R T . H U / Z HA + RT I G Z > / + L T S % WOULD*ST THOU I SHOULD CONGRATULATE THY F A T E ? WU+DRST { A = A * SUD K >NGR< + T Y U / L E • ' T ( A * F F * + T ? 1 KNOW THOU W O U L D ' S T ; THY P R I D E DFMANDS I T FROM ME. A* NO*+ ( A = W U + D O S T ; ( A ' PPA> + D T IM A + N D Z I T F R _ / M M I / . L E T THY P R I D E P A R D O N . WHAT THY NATURE N E E D S , .4iO L E T { A 4 PPA-*+D P A + R D > N , w | T ( A * N E T + T T S / R N I / + D Z , THE SALUTARY C E N S U R E OF A FRIEND*. ( > S < + L YUTff/R I S E + N $ S ) / R |V > F R F + N D : THOU HAPPY WRETCH BY B L I N D N E S S APT THOU B L E S T ; ( A= H< + P I R E + T T % BAi* B L A + + N D N I S ART ( A= BLE + ST ; BY DOATAGE DANDLFD TO P E R P E T U A L S M I L E S : B A * D O + + T I J D< + N D >L D T J / P 3 / R P E + T Y U = L. SMA-+ + L Z : KNOW, S M I L E R AT THY P F P I L ART t h o u p l e a s ' d ; NG + + , S ' < A * + L 9 / P X <T (A»= P E + R > L ART ( A= P L I / + Z 8 D ; THY P L E A S U R E I S TH F P R O M I S E OF THY P A I N . 3 I S T {A * P L E + Q d / R I Z <> P R | + M I S |V (A* P E * + N . M I S F O R T U N E . L I K E A C R E D I T O R S E V E R E , M I S F | + R T $ > N » LA v K > K R E + D IT f fl /R S I V I = + R , BUT R I S E S IN DEMAND FOR HER D E L A Y ; B > / T R A r + Z I Z IN DIMA + ND F | R H 3 / P D I L E * + ; SHE MAKES A SCO URG E 0 F P A S T P R O S P E R I T Y , * 1 / M E++KS > S K 5J/ + R J |V PA + ST P R | S P E + R I T I . TO S T I N G THEE M O R E , AND DOUBLE THY D I S T R E S S . T U / S T I + t f ( 1 / M | + R , <ND D > / + R > L < A1 1 D I S T R E + S . + L O R F N Z O , F O R T U N E MAKES HER C C U P T TO T H E E , 33.0 + L O R E + N Z O + , F | + R T * > N M E * + K S Hffl/R K | + R T T U / ( I / , THY FOND HFART D A N C E S . WHILE THE S Y R E N S I N G S . ( A * F | +ND HA + RT O A + N S I Z . WA*'L ( > S A * + P>N S I + A Z . DEAR I S THY W E L F A R E ; T H IN K ME NOT U N K I N D ; D I = + R I Z <A* W E + L F E = P ; ) I + # K M I / n | + t > / n k a *!+n c-; I WOULD NOT DA M P, BUT TO S EC U R E THY J O Y S ! A* WUD N | + T D < + M P , B > / T T U / S I K Y U = + R (A» J O = + Z I T H IN K NOT THAT F EA R I S S A C F F D TO THE STORM: ) I + A K N | + T ( < T F I = +R I Z S E »-' + K R I D T U / ( > S T | + F M ; STANO ON THY GUARD A G A I N S T THE S M I L E S OF F A T E . J * 2' ST <+ NO |N (A * GA + RD > G E * + N S T ( > S M A > + L Z |V F E * + T . I S HEAVEN TREMENDOUS IN I T S FROWN MOST S U R E : I Z HE+ V>N T R _ M F + N D > S IN I T S F R A = + N% M O ++ST $ U = + r : AND IN I T S F A V O U R S F O R M ID A B L E T O O ; <ND IN I T S F E * + V5)/RZ F | + M I D > B > L T U / + ; I T S FA V O U RS HERE ARE T R Y A L S , NOT R E W A R D S ; - I T S F E V + V 3 / R Z H I = P AR T R A * + > L Z , N | + T R I W A + R D Z ; A CALL TO D UTY , NOT D I S C H A R G E FROM C A R E ! > K | +L T U / D Y U / + T I , N | + T P I + S T * A F J F R > / m KE = + RJ _ _ AND S H O O 'D A_ ARM U S . F U L L AS MUCH AS WOES; 3 3 0 <ND 4 U 3 D >1 A + RM > / S . F U + L <Z M > / + T t < Z WO*+Z? AWAKE US TO T H E I R C A U S E , AND C O N S E Q U E N C E . > W F * + K > / S T U / <E=R K | + Z . <ND K | + N S I K W > N S . O ' E R OUR S C A N ' D C O N D U C T ( N ) GIVE A J E A L O U S E Y E ! | 8R _ = a / R S K < + N 8 D K | +N D > K T G I + V > J E + L > S A * + ; AND MAKE US T R E M B L E , W E I G H ' D WITH OUR D E S E R T , <ND ME*+K > / S T R c + M B > L , W E * + 8 D W l ) A = 3 / R D E + Z 3 / R T . AWE N A T U R F ' S T U M U L T , AND C H A S T I S E H E R J O Y S . | + N E * + T S a / P Z T Y U / + M > / L T , <ND T S < S T A * + Z Hffl/R J O = + Z . L E S T WHILE WE C L A S P , WE K I L L THEM*. NAY IN V F R T 3 3 5 ” L E + S T WA*L W l / K L A + S P . W l / K l + L ( EM; NE+ + I N V S / + R T TO WORSE THAN SIM PLE: M I S E R Y , T H E I R CHARMS: T U / w a / + R S O N S I + M P > L M l + Z a / R I , ( E = R T t A + R M Z : REV CLTED J O Y S . L I K E F O E S IN C I V I L W A R, R I V O + + L T I D J O = + Z , LA * K F O + + Z I N S I + V >L W | + R , L I K E BOSOM F R I E N D S H I P S TO R E S E N T M E N T S O U R ' D , LA+K BU+Z>M F R E + N D S I P S T U / R I Z E + N T M > N T S A = + a / R 8 D , 4 74 W I T H RAGE E N V E N O M 'D P I S E A G A I N S T OUR P E A C E . Wl » R E * + J I N V E * N > M 6 D P A * + Z > G E * + N S T _ = 3 / R P I / + S . BEWARE WHAT E A R T H C A L L S H A P P I N E S S ; BEWARE 2*10 B I W E = + R WlT 3 / + R ) K | + L 7 H< + P I N I S ! B I W E = + R ALL J O Y S . BUT J O Y S THAT NEVER CAN E X P I P E : | + L J D = * Z , D > / T J O = + Z ( <T N E + V S V P K <N I K S P A * + 3 / P : WHO B U I L D S ON L E S S THAN AN IMMORTAL B A S E , H U / B I + L D Z |M L E + S ( >N <N I M | + R T > L B E * + S , FO N D AS HL S E E M S , CONDEMNS H I S J O Y S TO D E A T H . F | + ND < Z H I / S I / + M Z . K > N D E + M Z H I Z J O = + Z T U / D E + ) . + M I N E O Y ' D WITH T H E E , P H I L A N D E R THY L A S T S I G H + MAF + N D A* + RD W l ) ( I / , F I L < + N D 3 / P £ ( A« LA + S T S A * + D I S S O L V ' D THE C H A RM ; T H E D I S E N C H A N T E D E A R T H 3*t * D I S l + L V S D <> T f A + R M ; ( > D I S T N T $ A + N T I D 3 / + R ) L O S T A L L HER L U S T R F J W H E R E ( 1 ) » HER G L I T T E R I N G T O W E R S ? L | + ST | + L H 3 / R L > / + S T 3 / P ; W E = + P , H 3 / R G L I + T _ / R I X TA=+_/SZ? H ER GOLD EN M O U N T A I N S , W H E R E ( 1 ) ? ALL D A R K E N ' D D C W N ( l ) H 3 / R GO'^ + L D>N MA = + NT I N Z , WE = + R ? | + L D A + R K > N 3 D DA = + N TO NAKED WASTE; A DREARY VALE OF T E A R S ( I ) ! t u / n e * + k i d w e y + s t ; > d f i = + r i v f * + l | v t i = + r z ; T H E G R F A T MAG I C I A N « S ( 1 ) DEAD THCU P O O R , P A L E P I E C E ( > G R E * + T M > J I + $ > N 9 Z D E + D X <A = PU = + R , P E * + L P I / + S OF O U T - C A S T E A R T H , IN D A R K N E S S WHAT A CHANGE | V A = + T K A + S T 3 / + P ) , I N D A + R K N I S % W |T > T $ E * + N J F R O M Y ESTERD A Y THY D A R L I N G H O PE SO N E A R , F R > / M YE + S T 3 / R D I X ( A* DA + R L I X HP«r + P SOT N I = R , ( L O N G - L A B O U R * D P R I Z E ) O HOW A M B I T I O N F L U S H ' D 3 L | + t f L E * + B 3 / P 8 D P P A * + Z 4 0 - + HA= < M B I + $ > N F I D / + J 8 T THY GLOW ING C H E E K ? A M R I T T O N TRU LY G R E A T , < A * GLO* + IX T S I / + K ? < M B I + $ > N T P U / + L I G R E y + T , OR V I R T U O U S P R A I S E : D E A T H ' S S U B T L E F E E D W I T H I N , | V V 3 / + RTU = S P R E ’i + Z : D E + ) S S > / + T>1 F I / + D Wl ) I + K , ( S L Y , T R E A C H E R O U S M I N E R ) WO RKING IN THE DARK , 3 S L A f + , T P E E T $ _ / R > S M A;' + N 3 / R A W 3 / + R K I X I N ( > DA + R K , S M I L ' D AT THY W E L L - C O N C E R T E D S C H E M E , AND B E C K O N ' D S M A T + L 8 D <T (AT WF + L K > N S S / + R T I D S K I / + M, < ND BE + K > N 8 D TH E WORM TO R I O T ON T H A T R O S F SC R E D , ( > W 3 / + RM T U / R A + > T )N ( <T P G » + Z SOT R E + D , U N F A D E D E ' E R IT F E L L ; ONE M O M E N T 'S P R E Y > / N F E * + D I D F = 9 R I T F E + L I W > / + N M C * +M >N T S P R E * + % + M A N ' S F O R E S I G H T I S C O N D I T I O N A L L Y W I S E ; H M< + NZ F | + P S A tT I Z K > N D I + t > N > L I WAM+Z; L O R E N Z O WISDOM IN T O F O L L Y T U R N S L O S E * N Z D * ? « WI + Z D > M I t - M T U / F | + L I T 3 / + R N Z O F T . TH E F I R S T I N S T A N T , I T S I D E A F A I R . . . . C l + F T , ( > F 3 / + R S T I + N S T >NT * I T S A * D I = + F E = + R TO L A B O U R I N G THOUGHT I S B O R N . HCW D IM CUR EYE T U / LE + B _ / R I X ) | +T I Z B | + P N . HA= D I + M _ = 3 / R A *+ % THE P R E S E N T ( A D J ) MOMENT T E R M I N A T F S OUR S I G H T ! <> P R F + Z > N T M O*+M>NT T 3 / + R M _ N E ' T S A = 3 / R S A * + T I C L O U D S T H I C K AS T H O S E ON DOOMSDAY, DROWN TH E N E X T ; KLA = + DZ ) I + K < Z ( O ' Z | N D U / + M Z D E * , DRA = + N { > N E + K . T S L . _ WE P E N E T R A T E , WE P R C P H E S Y ( V ) I N V A I N . 31*5 W l / P = + N > T R E v T , W l / P R | + F > S A * IN V E * + n . T I M E I S DEALT 0 U T ( 5 ) BY P A R T I C L E S ; AND E A C H , TAY+M I Z D F * L T A = + T 5 PA> PA + P T I K > L Z * . <ND I / + T S , E ' E R M IN G L E D W I T H THE S T R E A M I N G SA N D S O F L I F E . E = 9 R M I + W O L D W l ) ( > S T R I / + M IX S < + N D Z | V L A* + F , BY F A T E ' S I N V I O L A B L E O A T H I S SWOPN C BA* c * * + TS I NVA* + > L > B > L O’* H ) I Z SW | + R N _ . & D F E P S I L E N C E , " W H E R E F T F P N T TY B E G I N S . " 3 b " D I / + P S A ' + L > M S , " WE =R IT 3 / + P N I T I B I G I + N Z " * BY N A T U R E ' S LAW, WHAT( 1 ) MAY( 1 ) B E ( 1 ) . M A Y ( l ) B E (1 ) N O W ; ♦ BAY N E Y + T S 3 / R Z l . | + , W | f T MF» + E I / + . ME=* + B I / + NA = + ; T H E R E ' S NO P R E R O G A T I V E IN HUMAN H O U R S : ( E = + R 9 7 NO* + PR I R | + G> T I V I N H Y U / + M > N A = + _ / R Z ! I N HUMAN HEARTS WHAT BOLDER T H riJ G H T CAN R I S E , I N H Y U / * M > N HA + P T S W |T f 3 C + + L r a / R ) | +T K<N R A * + Z , THAN MAN’ S PRESUMPTION ON TO-MORROW’S DAW N? ON M < +NZ PR I Z> / + M P $ . >N |N T>M|+PO*Z D|+N? W HERE IS TO-MORROW? IN ANOTHER WCRLO. W E = R IZ T>M|+RO*? IN >N>/+(S/R W3/ + RL0. FOR NUMBERS THIS IS CERTAIN; THE REVERSE 375 F | R N>/ + MB3)/PZ (IS IZ Sffl/+RT>N; (> RIVnl/ + RS IS SURE TO NONE; AND YFT ON THIS PERHAPS* IZ $U = + R TU/ N>/+N; <M D YET |N (IS P5>/RH<+PS. THIS PERADVENTURF. INFAMOUS FOR LIES'. (IS P5)/R<DVF + NT SSVR , I+NF>M>5 F)P LA«+Z, AS ON A RC.CK OF ADAM ANT W E BUILD <Z |N > R | +K |V <+D>M>NT Wl/ BT+LD OUR MOUNTAIN HOPES; S P I N OUT( 1 ) ETERNAL SCHEMES, _ = a / R M A = + N T I N HO^ + F S ; S O I + N A = + T I T 0 / + RN>L S K I / H M Z , AS WE THE FATAL S I S T E R S COU 'D O U T - S P I N . 3f£> <Z W l / ( > FF * FT >L SI+STffl/RZ KURD A = T S P I + N , AND(l). BIG WITH 1.1FE•S FUTURITIES, EXPIRE. < FND, BI + G Wl) LA»+FS FYU/TYU= + RITIZ. IKSPA*+»/R. + NOT EVEN PH 11_ ANOE P HAD BESPOKE HIS SHROUD; + N | +T I / +V>N < = L< + N05l/R H>D BISPO+K HIZ $RA = + D! NOR HAD HE CAUSE, A WARNING W AS DENY'D! N|R H>D HI/ K | + Z, > W|+RNIX W >Z DINA*+8D; HOW(1) M ANY FALL AS SUDCAIN, NOT AS SAFE? ................... HA=+ ME+NI FI+L <7 S >/HD>N, N|+T <Z SE++F? AS SUDD A IN, T HO * FOR YEARS ACMONISHT HOME.- <Z S>/ + D>N, (0*« F | R Y3/+RZ <DM|+NI$T H0*+M: OF HUM AN ILLS THE LAST EXTREME BEWARE, |V HYU/+M>N I+LZ (> LAHST IKSTRI/+M RIWE=+R. BEWARE, LORENZO A SLOW-SUDDEN DEATH. BIWE=+R, L ORE +N ZD* X > SLO-* + S>/ + D>N DE+). H O W ( 1 ) DREADFUL THAT DEL I 8 F.R A TE ( A D J ) SURPRIZE? HA = + DRE+DFUL (<T DIL. I+-62D/RIT S?/RPBA * + Z? BE WISE TO DAY, TIS(2> MADNESS TC DEFER; BI/ WAi+Z TU/ DE*+. PTIZ MK+DNIS TU/ DIFS/HR! NEXT DAY THE FATAL PRECEDENT WILL PLEAD; ... - 5TD.. NF + KTS DE>i+ (> FE* +T>L PRE+SID>NT WIL PLI/+D; THUS ON(1), TILL WISDOM IS PUSH'D OUT(I ) OF LIFE! (>/+S |+N5, TIL W I + ZD>M IZ PU+SBT A=+T |V LA* + F I - PROCRASTINATION IS THE THIEF OF TIME. PR0KR<5TINE*+$>N IZ (> JI/+F |V TA++M, YEAR AFTER YEAR IT STEALS. TILL ALL ARE FLED, Ya)/+R < + FT3/R Yffl/+R IT STI/+LZ, TIL |+L AR FLE+D, AND TO THE MERCIES OF A M OM ENT LFAVES <ND TU/ (> MS/ + RS IZ |V > MO*+M>NT LI/ + VZ . THE VAST CONCERNS OF AN ETERNAL SCENE. 31 ST (> VA+ST K>NSS/+RNZ |V <N ITffl/+PN>L SI/+N. IF NOT SO FREOUENT, W OULD NOT THIS BE STRANGE? IF N|+ T SO* =RI/ + KWFNT, W UD N |+T (IS BI/ STRE + + NJ? THAT TIS(2) SO FPEOUFNT, THIS(l) IS STRANGER STILL. (<T 9TIZ SO* FRI/+KWFNT, (I+S IZ STRF'*+NJ3/R STI+L. + OF MAN'S MIRACULOUS MISTAKES. THIS REARS + |V M C + NZ MIROKYUL>S MISTF"-+KS. (IS BE = + RZ THE PALM. "THAT ALL M FN ARF ABOUT TO LIVE(V)." (> P | ♦ M, " ( <T |+L MF+N AR >6A=FT TU/ LI+V" FOR EVER CN THE BRINK OF BEING BCRN I ***><> F | R E + V S ) / R | N (> PRI+#K |V BI/+IX 0|+RN: ALL PAY THEMSELVES THE COMPLIMENT TO THINK |+L PE'*F (EMSE + LVZ (> K | +PLI M >NT TU/ )I + *K THEY(1). ONE DAY, SHALL NOT DPIVELJ AND THEIR PRIDE (E*+, W >/+ N DE*H, T>L N|+T DFI+V>L; <ND (E = R PRAY+D ON THIS REVERSION TAKES UP(1) READY PRAISE! | N (IS RIV3/+RON TF*+KS >/HP FE + DI PRE-++Z? AT LEAST. THE IP OW N; THEIR FUTURF SELVES APPLAUDS; < T LI/+ST, (E = R 0*HN*. (E=R FYU/HTSa/R SE+LVZ >PL | +DZ HOW (I ) EXCELLENT THAT LIFE THEY NE’ER WILL LEAD(PR)? HA = + E FKS>L>NT (<T L A * +F { E* NE = + 9R WIL LI/+D? 476 TI M E LODG'D IN THEIP OW N HANDS IS FOLLY'S VAILS; TA~+M L | + JflD IN <F=F O+N H<+NDZ IZ F|+LIZ VE*+LZ; THAT ( I ) LODG'D IN FATF'S. TO WISDOM THEY CONSIGN*, C (< + T L | + J8D IN F»-*+TS, TU/ WI+ZD>M ( E * K>NSA*+N; THE THING THEY CAN'T BUT PURPOSE, THEY POSTPONE; (> )I + # (E*- KA+N9T I3 >/T P5)/+F P>S, ( E * P0*STP0*+N; TIS(2) M OT IN FOLLY, NOT TO SCCRN A FOOLJ 9TIZ N|+T IN F|+L I , N I FT TU/ SK|+RN > FU/+L; AND SCAPCF IN HUNAN WISDOM TO DC MORE: llO <ND SKF-+PS IN HYU/+M>N WI+ZOM TU/ DU/+ M|+R: ALL PROMISE IS POOR DILATORY MAN, |+L PRj+MIS IZ PU = + R DI+L>Tn)/RI M < + N, AND THAT THCsO* EVERY STAGE: W HEN YOUNG, INDEED, < N D ( <T )RC:*+' E+VFI 5TE*tj: W EN Y>/ + </, INDI/+D, IN FULL CONTENT(ADJ), W E SCMFTIMES NOBLY REST, IN FU+L K>NTZ+NT, Wl/ S>/+MTAiMZ NQ*+BLI RE+ST, UNANXIO'JS FOR OURSFLVES? AND ONLY WISH, >/+N<+tf*>S F R A=o'/RSE+LVZ J <NC 0++NL1 W I + S, AS DUTEOUS SONS, CUP FATHERS W F RE MORE WISE: <Z DYU/+TI = S S>/+NZ, _=3/R F A + ( ffi/RZ W iD/R M j+R AT THIRTY M AN SUSPFCT5 HIMSELF A FOOL; <T )3/+RTI M < + N S >SPE +KT S HIMSE+LF > FU/+LJ KNOW S IT AT - CFTY, AND REFORMS HIS PLAN; NO++Z IT <T F | +RT I , < ND PIF|+PMZ HIZ PL<+N; A T FIFTY CHIDES HIS INFAMOUS DELAY. <T FI+FTI T1AT+DZ HI7 I+MF>M>S DILE>+. PUSHES HIS PRUDENT PURPOSE TO RESOLVE; PU+TIZ HIZ PPU/ + D>NT PS>/+RP>S TU/ RIZ|+LV; IN ALL THE MAGNANIMITY OF THOUGHT IN |+L (> M<GN>NI+MITI |V ) |+T RESOLVES; AND RE-RESQLVES: THEN DIES THE SAME. RIZ|+LVZ; <ND RI/+RIZ|+LVZ: ( F.N DA++Z (> SE++M. + AND W HY? BECAUSE HE THINKS HIMSELF IMMORTAL: + <ND W A V + ? P I K | + 7 HI/ JI+AKS HIMSE+LF IM|+RT_L: ALL M EN THINK ALL M EN MURTAL, PUT THEMSELVES; I+L M E + N ) I + tf K |+L ME+N M | + R T > L , B>/T (EMSE+LVZ; THEMSELVES, W HEN SGMF ALARMING SHOCK OF FATE (EMSE+LVZ, W EN S>/+M >LA+RMIX f|+K |V FE*+T STRIKES THRO* THEIR W OUNDED HEARTS THE SUDDAIN DREAD; - STRAn+KS )PP*+* ( F = P WU/+NDID HA+RTS (> S>/+-D>N DRE + D; BUT THEIR HEARTS WOUNDED, LIKE THE W OUNDF.D AIR, B>/T (E=R HA+RTS WU/+NDID, LA»K (> WU/+NDID E = + R, SOON CLOSE. THERE PAST THE SHAFT. NO TRACE IS FOUND: SU/+N KLOfc+S. (£=R PA+ST (> SA+FT, NOY+ TRE^+S IZ FA=+NDt AS(l), FROM THE WING N O SCAR THE SKY RETAINS; < + Z, FR>/M (> W l + tf NOT + SKA + R (> SKA*+ RITE»+NZ i - THE PARTED W AVE NO FURROW FROM THE KEEL; - _____ (> PA + RTID W E * + V NOi + Fffl/ + RO» F P >/M (> KI/+L! SO DIES IN HUMAN HEARTS THE THOUGHT OF DEATH: W30 SO* DA++Z IN HYU/+M>N HA+PTS (> )|+T jV DE+): EVEN WITH THE TENDER TEAP(l) WHICH NATURE SHEDS I / + V_N W l ) (> TE + NDii>/R TI= + R WIT* NE*+T*S/R SE+OZ ON THOSE W E _OVE, VE DROP IT IN THEIR GRAVE. I n <o * z w i / l > / + v , w i / d p | + p i t i n ( e = r g p e * + v . CAN I FORGET PHILANDER? THAT W ERF STRANGE; K<N AY R | R GE + T FIL< + NC3/R? <<T W»/R STRE++NJ; 0 M Y SW OLN HEART EUT SHOULD I GIVE IT VENT, i,#-- 0++ MA* SW O-*+LN HA + RTY, 0>/T $UP A* GI+V IT VE + NT, *!$& THE LONGEST NIGHT. THO' LONGER FAR, W OULD FAIL, (> Lj+WGlST NA»+T, f' L|+WGffl/R FA + R, W U D FE* +L * AND THE LARK LISTEN TO M Y MIDNIGHT SONG. <ND (> LA + PK LI+ S >N TU/ M A? MI+DNA"T S|+#. + • THE SHRILL LARK'S SPRIGHTLY MATTIN AWAKES THE MORN; + (> *RI+L LA+RKS fpRA*+TLI M<+T N >WE*+KS (> M|+PN; 1 STRIVE, WITH MOURNFUL MELODY~TO CHEAR A* STRA«+V, WI) Mj+PNFUL M E +L >DI TU/ T*I= + R (GRIEF'S SHARPEST THCPN HARD-PRESSING CN M Y BREAST) 3 GRI/ + *=S * A +RP 1ST ) | +RN HA+RDPRE+SIX |N M A* FRE + ST4 n r w a*+z : 477 THE SULLEN GLOOM, SWFET PHILOMEL LIKE THEE, (> S>/+L>N GLU/+M, SWI/+T FI+LCMFL^ LA^K (I/, AND CALL THE STARS TO LISTEN: EVERY STAR <ND K |+L (> STJs+PZ TU/ LI +S>K I E + VRI STA+R IS DEAF TO MINE, ENAMOUR'D O- THY LAY. IZ DF+F TU/ MA++N. IN<+M|P8C |V (A* LE*+. YET 53E NOT VAIN; THLPE ARE(1) W H O THINE EXCELL, YET BI/ N | +T VE*+NJ <E = R A+R HU/ <A*N IKSE+L, AND CHARM THRO* DISTANT AGES: W RAPT IN SHADE, <ND T*A+KM ) ROi + * PI+ST>NT E * + J I Z : R< + PT IN $E*+D, PRISONER OF DARKNESS TO THE SILENT HOURS, ' W PRI+Z_Nt )/R JV DA+RKNIS5S TU/ (> SA«!+L>NT A=+_/RZ, HOW (1) OFTEN I REPEAT THEIR RAGF DIVINE, HA=+ | + F>N A* PIPI/ + T < E = R R E * + J DIVA++N, TO LULL M Y GRIEFS, AND STEAL M Y HEART FROM WOE? TU/ L> / +L M A* GRI/+FS, <ND STI/+L. M A* HA + RT FP>/M W O* + ? - I ROW L THFIR RAPTURES, RUT NOT CATCH THEIR FLAME: A* RO* + L <F = R P< + PT*S>/RZ, B>/T N |+T K<+T$ (F=R FLE* +M: DARK, THO' NOT BLIND, LIKE THEE MAEONIDE S DA+RK, (C** N | + T OLA* +ND, LA* K (1/ MA*|+NIDIZ* OR MILTON THEF(l); AH COU'D I REACH YCUP STRAIN | R MI+LT>N% (I/ + ; A+ KU3C A »* RI/+T* Y|p STRF*+N% OF HIS(l), W H O M ADE MAEONIDFS OUR OWN. |V HI+Z, HU/ M E^ + D M A* | +N_DI Z A ~S)/R 0*+N. M AN TOO HE SUNG: IMMORTAL M AN I SlNGJ M < + N TU/+ HI/ $>/+<*: IM | +RT> L M < + N A* SI + ^I OFT DURSTS M Y SONG BEYOND THE FOUNDS OF LIFE? |+FT BP/+RSTS M A * S|+f* ElYj+ND (> BA=+NDZ |V LA*+FJ WHAT{1), NOW , BUT IMMORTALITY CAN PLEASE? W|+T, NA=+, B>/T IM|PT<+LITI K<N PLI/ + Z? . O HAD HE(1) PREST HIS THEME, PURSUED THE TRACK, *#53 0*+ H>D HI/+ PPF + ST HIZ )T/ + M , F5)/RSYU/+

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Creator Olsen, Leslie Ann (author)

Core Title A Description Of The Blank Verse Prosodies Of John Milton, James Thomson, Edward Young, William Cowper, And William Wordsworth

Degree Doctor of Philosophy

Degree Program English

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag Literature, Modern,OAI-PMH Harvest

Language English

Contributor Digitized by ProQuest (provenance)

Advisor Greene, Donald J. (committee chair), Hirschmann, Rudolph (committee member), Villegas, Robert J. (committee member)

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c18-724871

Unique identifier UC11356024

Identifier 7426041.pdf (filename),usctheses-c18-724871 (legacy record id)

Legacy Identifier 7426041.pdf

Dmrecord 724871

Document Type Dissertation

Rights Olsen, Leslie Ann

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the au...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus, Los Angeles, California 90089, USA