the difficulty of finding three suitable rhymes for each stanza, and the difficulty of disposing of the fourth line, which, if made to rhyme with the fourth line of the next stanza, produces an awkwardness in the case of those Odes which consist of an odd number of stanzas (a large proportion of the whole amount), if left unrhymed, creates an obviously disagreeable effect. We come then to the other alternative, the stanza with alternate rhymes. Here the question is about the fourth line, which may either consist of six syllables, like Coleridge's Fragment, "O leave the lily on its stem," or of four, as in Pope's youthful "Ode on Solitude," these types being further varied by the addition of an extra syllable to form a double rhyme. Of these the four-syllable type seems to me the one to be preferred, as giving the effect of the Adonic better than if it had been two syllables longer. The double rhyme has, I think, an advantage over the single, were it not for its greater difficulty. Much as English lyric poetry owes to double rhymes, a regular supply of them is not easy to procure; some of them are apt to be cumbrous, such as words in -ation; others, such as the participial -ing (dying, flying, &c.), spoil the language of poetry, leading to the employment of participles where participles
