Verse 59

59 How hints, like spawn, scarce quick in embryo lie,
60 How new-born nonsense first is taught to cry,

A first reading indicates a change of rhythm with embryo.

59 Hŏw hīnts | lĭke spa͞wn | scărce quīck | ĭn ēm | bry̆ŏ līe

and the verse clearly shows the presence of the anapest in the last foot. This format is commonly seen with the anapest taking the last two syllables of a three-syllable, sometimes four-syllable word. Its presence is obviously noted, but it does not violate the rhythm of the verse.

We should also note that punctuation, although grammatically required, does little to control the overall rhythm of the verse. In other words, the iambic rhythm is controlling the reading of the verse. Punctuation in some verses becomes irrelevant and is only used for grammatical correctness.

The companion line skips along with the expected iambicity:

60 Hŏw nēw | bŏrn nōn | sĕnse fi͞rst | ĭs ta͞ught | tŏ crȳ

Verse 81

81 She, tinsel’d o’er in robes of varying hues,
82 With self-applause her wild creation views;

We note the three-syllable varying as the point of variation.

81 Shĕ tīn | sĕl’d o’ēr | ĭn rōbes | ŏf vār | y̆ĭng hūes

The expected substitution of the anapest applies to the last two syllables of varying. It would be unusual to have these forms of words appear as a single metrical foot, especially toward the end of a verse. Verse 82 follows as expected:

82 Wĭth sēlf | ăppla͞use | hĕr wīld | crĕā | ti͝on vi͞ews

Verse 87

87 (Pomps without guilt, of bloodless swords and maces,
88 Glad chains, warm furs, broad banners, and broad faces)

Here we have both verses with the same variation in their construction, being what we often call a feminine ending. In these cases, we find the verse to end with the amphibrach foot (or hypermetrical syllable).

Verse 87 may begin with an iamb or trochee. Naturally we find that the trochee in capable of increasing dramatic effect due to the initial emphasis.

87 Pŏmps wīth | o͝ut guīlt | ŏf blo͞od | lĕss swōrds | ănd mācĕs
87 Pōmps wĭth | &c.

88 Glăd chāins | wărm fūrs | bro͝ad bān | nĕrs ānd | bro͝ad fācĕs

The emphasis, as in speech stress, on and in the fourth foot of verse 88 is very appropriate in that it connects broad faces with chains, furs and banners.

Using the feminine ending gives a very pleasant change to the rhythm of the couplet. However, one would not use this variation too closely to the same as the novelty soon wears off with what appears to come across as a hanging or hypermetric syllable. It can also confuse the expected rhythm of iambic couplets.

Generally, we see that both verses in a couplet will be feminine and not only one as the reader’s sense of rhythm would be disrupted or at the least, confused.

Verse 91

91 Now May’rs and Shrieves all hush’d and satiate lay,
92 Yet eat, in dreams, the custard of the day;

The presence of the three-syllable satiate followed by a single syllable (word) leads to the presence of an anapest in the last foot.

91 Nŏw Māy’rs | ănd Shri͞eves | ăll hūsh’d | ănd sā | tĭăte lāy

The result is as expected with the companion verse following in strict iambic pentameter:

92 Yĕt e͞at | ĭn dre͞ams | thĕ cūs | tărd ōf | thĕ dāy

Although we tend to avoid the metrical accent on words such as of (fourth foot), here both metrical accent and speech stress are appropriate by leading to more meaning of the day.

Verse 121

121 Round him much Embryo, much Abortion lay,
122 Much future Ode, and abdicated Play;

Attempting any form of iambic splits in the first half of verse 121 is doomed. Embryo sets itself apart and the comma is metrically times resulting in the iambic finish of the verse.

121 Ro͞und hĭm mŭch | Ēmbry̆ŏ | ° mūch | Ăbōr | ti͝on lāy

This is an unusual construct for Pope but the variation of the two dactyls as the substitution of two iambs carries well. Unless you are aware, the reading of this line may not be as smooth as it should be. A casual reading would not effectively demonstrate the variation, especially sight reading (as opposed to reading aloud).

The companion line playfully finishes as a series of iambs which is common when any variation occurs in one verse of the couplet:

122 Mŭch fū | tŭre Ōde | ănd āb | dĭcāt | ĕd plāy