I will explain and give Examples of all these several sorts of Rhyme in their Order.

1.  To treat of the plain Single direct Rhyme.  The following Verses are Examples of this sort of Rhyme:  But to make them more like our own, I will divide the Verse into two Parts.

  “Poculaque inventis
  Acheloia miscuit uvis.

  “Totaque Thuriferis
  Panchaia pinguis arenis.

  “Et premere, & laxas
  Sciret dare, jussus habenas.

  “Atque rotis summas
  Levibus pellabitur undas.

  “O nimium coelo
  Et pelago confise sereno.

Many more of these Lines might be produced, but these are sufficient.

Of the plain direct Double Rhyme (which is the Sort of Rhyme the Spectator speaks of No. 60, and which the Monks were in Love with) the following are Instances.

  “Hic labor extremus, longarum haec meta viarum.

Again,

  “I nunc & verbis
  Virtutem illude superbis.

Again,

  “Cornua veletarum
  Obvertimus Antennarum.

2. Of the intermediate plain Rhyme, the following are Examples.

  “Imposuit, regemque dedit, qui foedere certo.

And,

  “Descendo, ac ducente Deo flammam inter & hostes.

In this Passage Virgil uses Deus in speaking of a Goddess, for no other Reason imaginable but to enrich his Verse with Rhyme.

3.  Of the scanning conclusive Rhyme the following are Instances.

  “Sylvestrem tenui musam medi—­taris [=a]—­ven[=a].

  “Nudus in ignota pali—­nure j[=a]—­cebis [=a]—­ren[=a].

From whence it appears that Virgil’s Poetry is almost all Rhyme of one kind or other; and it is evident beyond Dispute that he generally concludes his strong, sounding, majestick Paragraphs with a full Rhyme, for which I refer to that fine Line already more than once mentioned, which sums up the Praises of Italy.

  “Totaque thuriferis Panchaia pinguis arenis.

And to the Conclusion of his finest work.

“Hic vero subitum, ac dictu mirabile monstrum Aspiciunt:  liquefacta boum per viscera toto Stridere apes utero, & ruptis effervere costis, Immensasque trahi nubes; jamque arbore summa Confluere, & lentis uvam demittere ramis.

And to this I will add the last Line of the Epilogue to the Georgicks.

  “Tytyre te patulae cecini sub tegmine fagi.

Where the two several Hemisticks or Parts of the Verse Rhyme each to itself.

I would observe here that both Ovid and Lucan, for want of Judgment, begin with a full Rhyme; the consequence of which is, that the Conclusion of the Paragraph is less sonorous than the Beginning, which must needs have a bad Effect.