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 the organ of speech, and are consequently the same in all ages and nations."&mdash;Am. Rev., Vol. i, p. 488. is here represented as "time" only. In this author's first mention of it, it is called, rather less accurately, "the division into measures of time." With too little regard for either of these conceptions, he next speaks of it as including both "time and accent." But I have already shown that "accents or stresses" cannot pertain to short syllables, and therefore cannot be ingredients of quantity. The whole article lacks that clearness which is a prime requisite of a sound theory. Take all of the writer's next paragraph as an example of this defect: "The two elements of musical metre, time and accent, both together constituting quantity, are equally elements of the metre of verse. Each iambic foot or metre, is marked by a swell of the voice, concluding abruptly in an accent, or interruption, on the last sound of the foot; or, [omit this 'or:' it is improper,] in metres of the trochaic order, in such words as dandy, handy, bottle, favor, labor, it [the foot] begins with a heavy accented sound, and declines to a faint or light one at the close. The line is thus composed of a series of swells or waves of sound, concluding and beginning alike. The accents, or points at which the voice is most forcibly exerted in the feet, being the divisions of time, by which a part of its musical character is given to the verse, are usually made to coincide, in our language, with the accents of the words as they are spoken; which [coincidence] diminishes the musical character of our verse. In Greek hexameters and Latin hexameters, on the contrary, this coincidence is avoided, as tending to monotony and a prosaic character."&mdash;Ibid. The passage just cited represents "accent" or "accents" not only as partly constituting quantity, but as being, in its or their turn, "the divisions of time;"&mdash;as being also stops, pauses, or "interruptions" of sound else continuous;&mdash;as being of two sorts, "metrical" and "prosaic," which "usually coincide," though it is said, they "often differ," and their "interference" is "very frequent;"&mdash;as being "the points" of stress "in the feet," but not always such in "the words," of verse;&mdash;as striking different feet differently, "each iambic foot" on the latter syllable and every trochee on the former, yet causing, in each line, only such waves of sound as conclude and begin "alike;"&mdash;as coinciding with the long quantities and "the prosaic accents," in iambics and trochaics, yet not coinciding with these always;&mdash;as giving to verse "a part of its musical character," yet diminishing that character, by their usual coincidence with "the prose accents;"&mdash;as being kept distinct in Latin and Greek, "the metrical" from "the prosaic" and their "coincidence avoided," to make poetry more poetical,&mdash;though the old prosodists, in all they say of accents, acute, grave, and circumflex, give no hint of this primary distinction! In all this elementary teaching, there seems to be a want of a clear, steady, and consistent notion of the things spoken of. The author's theory led him to several strange combinations of words, some of which it is not easy, even with his whole explanation before us, to regard as other than absurd. With a few examples of his new phraseology, Italicized by myself, I dismiss the subject: "It frequently happens that word and verse accent fall differently."&mdash;P. 489. "The verse syllables, like the verse feet, differ in the prosaic and [the] metrical reading of the line."&mdash;Ib. "If we read it by the prosaic syllabication, there will be no possibility of measuring the quantities."&mdash;Ib. "The metrical are perfectly distinct from the prosaic properties of verse."&mdash;Ib. "It may be called an iambic dactyl, formed by the substitution of two short for one long time in the last portion of the foot. Iambic spondees and dactyls are to be distinguished by the metrical accent falling on the last syllable."&mdash;P. 491.

SECTION IV.&mdash;THE KINDS OF VERSE.
The principal kinds of verse, or orders of poetic numbers, as has already been stated, are four; namely, Iambic, Trochaic, Anapestic, and Dactylic. Besides these, which are sometimes called "the simple orders" being unmixed, or nearly so, some recognize several "Composite orders" or (with a better view of the matter) several kinds of mixed verse, which are said to constitute "the Composite order." In these, one of the four principal kinds of feet must still be used as the basis, some other species- being inserted therewith, in each line or stanza, with more or less regularity.

PRINCIPLES AND NAMES.

The diversification of any species of metre, by the occasional change of a foot, or, in certain cases, by the addition or omission of a short syllable, is not usually regarded as sufficient to change the denomination, or stated order, of the verse; and many critics suppose some variety of feet, as well as a studied diversity in the position of the cæsural pause, essential to the highest excellence of poetic composition.

The dividing of verses into the feet which compose them, is called Scanning, or Scansion. In this, according to the technical language of the old prosodists, when a syllable is wanting, the verse is said to be catalectic; when the measure is exact, the line is acatalectic; when there is a redundant syllable, it forms hypermeter.

Since the equal recognition of so many feet as twelve, or even as eight, will often