Here, then, we have a fresh pattern - a pattern, to speak
grossly, of letters - which makes the fourth preoccupation of
the prose writer, and the fifth of the versifier. At times
it is very delicate and hard to perceive, and then perhaps
most excellent and winning (I say perhaps); but at times
again the elements of this literal melody stand more boldly
forward and usurp the ear. It becomes, therefore, somewhat a
matter of conscience to select examples; and as I cannot very
well ask the reader to help me, I shall do the next best by
giving him the reason or the history of each selection. The
two first, one in prose, one in verse, I chose without
previous analysis, simply as engaging passages that had long
re-echoed in my ear.
'I cannot praise a fugitive and cloistered virtue,
unexercised and unbreathed, that never sallies out and sees
her adversary, but slinks out of the race where that immortal
garland is to be run for, not without dust and heat.' (4)
Down to 'virtue,' the current S and R are both announced and
repeated unobtrusively, and by way of a grace-note that
almost inseparable group PVF is given entire. (5) The next
phrase is a period of repose, almost ugly in itself, both S
and R still audible, and B given as the last fulfilment of
PVF. In the next four phrases, from 'that never' down to
'run for,' the mask is thrown off, and, but for a slight
repetition of the F and V, the whole matter turns, almost too
obtrusively, on S and R; first S coming to the front, and
then R.
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