A distinguished American philologist, the late George P. Marsh, has declared that he exceeds all other modern English writers in his employment of them.

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In "In Memoriam" we have such rhymes as:—

{now {curse {mourn {good {light {report
{low {horse {turn {blood {delight {port

In the blank verse of "The Princess," and of "Enoch Arden" such assonances as:—

{sun {lost {whom {wand
{noon {burst {seem {hand
{known {clipt {word
{down {kept {wood, etc.

I take these instances from the works of so acknowledged a master of verse as Mr. Tennyson, rather than from those of a smaller poet who would be no authority on the subject, because they thus serve to show that the poetic ear may have different kinds as well as degrees of sensibility, and must, in every case, be accepted as, to some extent, a law to itself.