Shakespeare's iambics are sometimes highly harmonious and
full-sounding; always varied and suitable to the subject, at one time
distinguished by ease and rapidity, at another they move along with
ponderous energy. They never fall out of the dialogical character,
which may always be traced even in the continued discourses of
individuals, excepting when the latter run into the lyrical. They are
a complete model of the dramatic use of this species of verse, which,
in English, since Milton, has been also used in epic poetry; but in
the latter it has assumed a quite different turn. Even the
irregularities of Shakespeare's versification are expressive; a verse
broken off, or a sudden change of rhythmus, coincides with some pause
in the progress of the thought, or the entrance of another mental
disposition. As a proof that he purposely violated the mechanical
rules, from a conviction that a too symmetrical versification does not
suit with the drama, and, on the stage has in the long run a tendency
to lull the spectators to sleep, we may observe that his earlier
pieces are the most diligently versified, and that, in the later
works, when through practice he must have acquired a greater facility,
we find the strongest deviations from the regular structure of the
verse. As it served with him merely to make the poetical elevation
perceptible, he therefore claimed the utmost possible freedom in the
use of it.

The views or suggestions of feeling by which he was guided in the use
of rhyme may likewise be traced with almost equal certainty. Not
infrequently scenes, or even single speeches, close with a few rhyming
lines, for the purpose of more strongly marking the division, and of
giving it more rounding. This was injudiciously imitated by the
English tragic poets of a later date; they suddenly elevated the tone
in the rhymed lines, as if the person began all at once to speak in