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in the length of the rhyming words the better, as hound with rebound.
The observations of Mitford on this topic of good rhymes are worthy of attention. He says : " Ac­cording to our preceding definitions, euphony and cacophony, in language, mean sound, pleasing and unpleasing. English speech has rarely any mate­rial cacophony in the middle of words, but in terminations it too certainly abounds. A well-eared poet will avoid cacophony in rhymes, and in the conspicuous parts, especially the last syllable, of any verse. Pope has had generally credit for what are called rich poems; though his higher respect, justly directed to that powerful closeness of phrase, in which he singularly excels, has led him to admit some rhymes rather cacophonous. The word king is certainly not euphonous, nor of dignified sound; the vowel is short and close, and the following consonant, one consonant expressed by two characters, the most cacophonous in our pronunciation. Whether it was for the dignity of the idea conveyed, or for the opposite quality of the sound, that Pope chose it for the first rhyme of his Essay on Man, with cacophony doubled by an added s, appears doubtful. He has, indeed, not scrupled to use the same ing for the first rhyme of his translation of the Iliad; but the ex­ample is not to be recommended. Terminations in a long vowel, or a liquid consonant, preceded by a long vowel, will be most euphonous. The termination in a liquid consonant preceded by a short vowel, though less rich, will make a plea-