e
leisurely at the other. It is in the otherwise charming description of
the heroine of that poem:

On her white breast--a sparkling cross she wore,
Which Jews might kiss--and infidels adore;
Her lively looks--a sprightly mind disclose,
Quick as her eyes--and as unfix'd as those;
Favours to none--to all she smiles extends,
Oft she rejects--but never once offends;
Bright as the sun--her eyes the gazers strike,
And like the sun--they shine on all alike;
Yet graceful ease--and sweetness void of pride,
Might hide her faults--if belles had faults to hide;
If to her share--some female errors fall,
Look on her face--and you'll forget them all.

Compare with this the description of Iphigenia in one of Dryden's
stories from Boccaccio:

It happen'd--on a summer's holiday, }
That to the greenwood shade--he took his way, }
For Cymon shunn'd the church--and used not much to pray. }
His quarter-staff--which he could ne'er forsake,
Hung half before--and half behind his back;
He trudg'd along--not knowing what he sought,
And whistled as he went--for want of thought.

By chance conducted--or by thirst constrain'd,
The deep recesses of a grove he gain'd:--
Where--in a plain defended by a wood, }
Crept through the matted grass--a crystal flood, }
By which--an alabaster fountain stood; }
And on the margent of the fount was laid--
Attended by her slaves--a sleeping maid;
Like Dian and her nymphs--when, tir'd with sport,
To rest by cool Eurotas they resort.--
The dame herself--the goddess well express'd,
Not more distinguished by her purple vest--
Than by the charming features of the face--
And e'en in slumber--a superior grace:
Her comely limbs--compos'd with decent care, }
Her body shaded--by a light cymar, }
Her bosom to the view--was only bare; }
Where two beginning paps were scarcely spied--
For yet their places were but signified.--
The fanning wind upon her bosom blows-- }
To meet the fanning wind--the bosom rose; }
The fanning wind--and purling stream--continue her repose. }

For a further variety take, from the same author's _Theodore and
Honoria_, a passage in which the couplets are run one into the other,
and all of it modulated