l. 5, 6.—Each line a complete affirmative statement, although separated from the rest of the poem only by commas.
l. 7.—“Lord,” momentary completeness.
l. 8.—Rising inflection on “horde,” since the sense is incomplete until we come to “wall.” A good example, since lines 9 and 10 would make very good sense without the succeeding two.
l. 12.—Momentary completeness on “foot.”
l. 13-14.—The motive being the same in both lines, note that the melody is the same.
l. 16.—“Noon” is contrasted with “morning”; hence the rising circumflex on the former word.
l. 17.—Transition here. Observe the higher key commencing on “up.”
l. 19.—This line is anticipative. Supply “being” before “bravest,” and note how the temptation to use the falling inflection on “town” disappears.
l. 21.—Optional rising or falling inflection on “set.”
l. 23.—Transition in key. Why?