Rome, yet it possessed a clearly marked rhythmical structure, consisting in a certain correspondence of the lines—not, however, in respect to the sound, but in respect to the sense; “a certain equality, (as he defined it,) resemblance, or relationship between the members of each period, so that in one or more lines or members of the same period things shall answer to things, and words to words, as if fitted to each other by a kind of rule or measure,” (Prelec. xix.) Lowth gave to this rhythmical