fr[)o]m | his hoary urns.
_Darwin, Botanic Garden_, p. I, c. 2, 28.

Or dart | th[)e] r[=e]d | fl[=a]sh thr[)o]ugh | the circling band.
_Ibid_. 361.

Or rests | h[)e]r fa[=i]r | ch[=e]ek [)o]n | his curled brows.
_Ibid_. c. 2, 252.

Deserve | [)a] sw[=e]et | l[=o]ok fr[)o]m | Demetrius' eye.
_Shakspeare, Mid. N. D._

Infect | th[)e] so[=u]nd | p[=i]ne [)a]nd | divert his grain.
_Shakespeare, Tempest._

Which on | thy s[=o]ft | ch[=e]ek f[)o]r | complexion dwells.
_Shakspeare, Sonnet_ 99.

To lay | th[)e]ir j[=u]st | h[=a]nds [)o]n | the golden key.
_Milton, Comus_.

Or where they make the end of an iambic in the first, and the beginning
of a spondee in the second foot, as

Th[)e] w[=a]n | st[=a]rs gl[=i]m|mering through its silver train.
_Botanic Garden_, p. I, c. I, 135.

Th[)e] br[=i]ght | dr[=o]ps r[=o]l|ling from her lifted arms.
_Ibid_. c. 2, 59.

Th[)e] p[=a]le | l[=a]mp gl[=i]m|mering through the sculptur'd ice.
_Ibid_. 134.

H[)e]r fa[=i]r | ch[=e]ek pr[=e]ss'd | upon her lily hand.
_Temple of Nature_, c. I, 436.

Th[)e] fo[=u]l | b[=o]ar's c[=o]n|quest on her fair delight.
_Shakspeare, Venus and Adonis_, 1030.

Th[)e] r[=e]d | bl[=o]od r[=o]ck'd | to show the painter's strife.
_Ibid._ _Rape of Lucrece_, 1377.

There is so little complexity in the construction of his sentences,
that they may generally be reduced to a few of the first and simplest
rules of syntax. On these he rings what changes he may, by putting the
verb before its nominative or vocative case. Thus in the following
verses from the Temple of Nature:

On rapid feet o'er hills, and plains, and rocks,
Speed the sacred leveret and rapacious fox;
On rapid pinions cleave the fields above,
The hawk descending, and escaping dove;
With nicer nostril track the tainted ground,
The hungry vulture, and the prowling hound;
Converge reflected light with nicer eye,
The midnight owl, and microscopic fly;

With finer ear pursue their nightly course,
The listening lion, and the alarmed horse.

C. 3, 93.

Sometimes he alternates the forms; as

In Eden's groves, the cradle of the world,
Bloom'd a fair tree with mystic flowers unfurl'd;
On bending branches, as aloft it sprung,
Forbid to taste, the fruit of knowledge hung;
Flow'd with sweet innocence the tranquil hours,
And love and beauty warm'd the blissful bowers.

_Ibid._ 449.

The last line or the middle of the last line in almost every senten