ABSTRACT
His lyrical scope is limited, but he has treated several forms with success, especially that which for want of a better name must still be called the ‘regular ode.’ In several minor lyrics he has justified his adoption of accentual rhythm by proofs of its musical capability that were wanting in the choruses of Merope. In his sonnets, though they are not always accurate in form, nor commended to our ear by his division of the octave and sestette into their component parts, the arrangement of the sentences is skilfully adjusted to the conditions imposed. In the management of the eight-syllable couplet, a metre too seldom employed in modern verse, he is extremely successful.
