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generally found in one kind of verse, the heroic, for example, at one part of the line rather than at another. Sometimes there are two or even three metrical pauses in a line, one more marked than the other, and, occasionally, there are verses with no break in the middle at all. Here are a few examples of the diversity of their occurrence:
Over them triumphant Death | his dart Shook, I but delayed to strike.
The quality of mercy | is not strained.
This I in a moment | brings me to an end,
I'd rather be a kitten | and cry mew.
Sweet I are the uses of adversity.
Damn with faint praise, | assent with civil leer.
Pleased with the danger | when the waves went high.
A man to all succeeding ages curst. (None.)
The pause is often preceded by the strongest accent of the line, and when both these are combined, and on the most important word, the emphasis thus produced gives as it were the keynote to the rhythm. When the occurrence of these is skilfully arranged to take place in different positions in succeeding verses, the monotonous melody of the measure is broken into something approaching harmony.
Pope, whose verse is remarkable for smoothness