Imatges de pàgina
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Othello. Thắt cần thy light|relq|mine. Whẽn/love pluckd|thể rõfe 2 3 4

5 .6 Thě os tentā tion of our lovelwhich leftúnshéwn I 2 3 4

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6 Hamlet. Thắt fā thěr loftsloft hísland the fărvi věr bound I 2 3 4 5

6 SHAKE

made to use this measure, which the editors knew not. In
the Merry Wives of Windsor, A& II.
Why then the world's I mine oyster | which I | with sword ( will open
I will retort the sum in equipage.
[He blunders, and means he will retrench. This is humou-
rous. the editors did not understand it.]
In the second part of K. Henry IV. Ac II.

Pift. I'll see her damn'd first:
• To Pluto's damned lake, to the infernal deep,

Where Erebus and tortures vile also. “ Hold hook and line, fay I: down ! down, dogs: down

66 Fates : [So this fuftian fhould have been printed.) He presently after repeats a piece of an old Ballad, and blunders in reciting an Italian proverb. They have corrected Pistol's blunders, which they think correcting the context] our bombast ancient

goes on. Pip. What, shall we have incision ! shall we enbrew ^ Then death rock me asleep, abridge my doleful days :

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• Why,

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SHAKESPEARE uses not only the iambic, but the trochaic measure. As for example, the trochaic dimeter brachycatalectic, commonly called the ithyphallic, consisting of three trochees.

Bacche | Bacchě | Bacche

whére haft | thou been síster. Macb. The trochaic dimeter catalectic ; a sort of verse Aristophanes was fond of, when he ridi“ Why, then let grievous, ghaftly, gaping wounds “ Untwine the fifters three: come, Atropos, I say."

In King Henry V. A& III.
Pif. Fortune is Bardolp's foe, and frowns on him;

“ For he hath ftoln a pax, and hanged muft a be ;
“ Damn'd death! let gallows gape for dog, let man

go free.”

Thus 'tis manifeft at first fight that it thould be printed. ---muft a be--this mode of expression is used now in many parts of England. And Phaer thus renders Virgil

. VI, 590. Proh Jupiter ! ibit Hic, ait, et noftris illuferit advena regnis ?

“ O God (quoth she) and shall a go “ Indede ? and shall a foute me thus within my king

“ doms, so? B. Johnson. Poetaster, Act III. Sc. II.

6 Hor. - Death! will a leve me."

These alterations and hints may at present be sufficient.

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culd Euripides, consisting of three trochees and
a femiped.
Nõně | būr něq' | aūrë | um

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1 를 Hor. Whén the | húrly | búrly's | done

3 When the battle's | lóft and won. Macb.

3 Sóftly | sweet in | Lýdian | measure Soon he sooth'd his soul to | pleasure. Dryd.

The trochaic tetrameter catalectic of six feet, and closing with a trochee and a semiped, what the Greeks call xalaxness.

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Ariftoph. Τηδε, τη σόλεί πρόσ, είναι ταύτα, μέν τοι της θε, ες, 3 4 5

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7. 1 / 2 를 Aỹ or drinking1 féncing swêaring | quărrellựng 3

5 drābbằng | you may go

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This dancing measure is very proper to the character of Polonius, a droll humourous old courtier ; and the mixture of the trochaic has no bad effect. The verses are thus to be ordered. In Hamlet, Act II.

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As are companions noted and most known
To youth and liberty. R. As gaming my Lord.
P. Ay or drinking, fencing, swearing, quarrelling,

drabbing, you may go So far. R. My Lord, thou would dishonour bim.

Nor is Shakespeare without instances of the anapestic verse; which verses consist of anapefts, spondees, dactyls; and sometimes is intermixed the pes proceleusmaticus ; as up os |x8uEvas | Quyắc & đi [ Exts at. Eurip. Oreft.

The anapestic monometer acatalectic, of two feet.

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Midsummer's Night's Dream, Act III. on the ground | nēep soūnd. i'll äpplý 1 to your eye Gěntlě lověr | rěmědý When thou wākst thou tākst Trắe delight | in thẻ sight

{f thị förm | lady's eye. These verses are in the Midsummer Night's Dream, Act III. and ought to have been printed according to this measure.

These measures are all so agreeable to the genius of our language, that Shakespeare's fine ear and skill are seen in what he gives us, as well as in what he omits. Sir Philip Sydney, who was a scholar (as noblemen were in Queen Elizabeth's reign) but wanted Shakespeare's ear, has dragged into our language verses, that are enough to set one's ear an edge : thus for instance the elegiac verfes, Fortūne (nātūre |love lõng | hāve con / tended å | boūt mē Which shoūld/möst měsě fries I căst on å I wõrme thăt i lām. Sir Philip Sydney thought, like Voffius, that such a number of fyllables was the only thing want

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