fifth, and the third and sixth should form the three rhymes. But this
rule is by no means invariably followed; even Wordsworth and Rossetti
often rhymed the first with the third, and the second with the fourth
lines; and sometimes used only two sounds,--the first, third, and fifth
lines making one rhyme and the second, fourth, and sixth the other.

As already said, these liberties are permitted, for the sestet is not
under such arbitrary regulations as the octave.

There are writers who keep all the rules, and yet leave their readers
cold; and others who are technically less correct, but in whom the
vigour and intensity of emotion is swiftly felt and silences adverse
criticism. The ideal is to combine deep and exalted feeling with perfect
expression, and produce a whole which goes to the heart like a beautiful
piece of music, and satisfies the mind--like one of those ancient Greek
gems which, in a small space, presents engraved images symbolic of
sublime ideas vast as the universe.

The Nawab Nizamat Jung has written in English several sonnets which we
should admire even if English were his native language. But if any of us
would like to form some estimate of the difficulties he has surmounted,
let us sit down and try to express in a sonnet in _any_ foreign language
our own thoughts and beliefs. We shall then the better appreciate what
he has achieved.

As, however, while the Great War lasts, few of us have leisure for
literary experiments, it will perhaps be best to read these Sonnets
primarily for their soul and spirit. In melody and expression they are
of varying degrees of merit and completeness, but in the inspiring ideal
they consistently embody they rise to heights which have been scaled