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LINES 4-5 This City now doth, like a garment, wear The beauty of the morning; Coming after two rounds of colons, line 4 bursts onto the page. The speaker first notes the city’s size and importance: it is not “the city,” but “This City.” As opposed to the more conceptual “the” or the more distant “that,” the demonstrative pronoun “This” conveys the all-encompassing immediacy of the place (this sense of immediacy is further emphasized with the word “now”). The capitalization of “City” lends it importance and “majesty.” Given the poem's title, readers can also assume that the “City” is London, the capital of England. Line 4 also contains the poem’s first instance of caesura, as commas separate “like a garment” from the rest of the line. The speaker is obviously enjoying the view. Whereas the unbroken lines of the opening rush impatiently and somewhat crankily toward the image, once the city actually appears in the sun, the speaker seems content to bask in its magnificence. The caesurae in lines 4 and 5 match the speaker’s mood. They are not jerky, but rather contemplative. The pleasure of contemplation gives the reader insight into the poem's main image (that is, the city itself). The city wears the “beauty of the morning,” or the sunlight, “like a garment.” This line establishes that it is indeed the morning, as well as a central theme that the preceding lines only hint at: the city is both an individual thing and a collection of individual things. The speaker emphasizes this contradiction by personifying the city, which appears to be wearing clothing, like a human being. Having been personified, the city joins Earth as a character in the poem. This moment also reflects the conflicting impulses of a speaker who wants to see things from the perspective of “Earth,” yet also feels the need to criticize those who don’tshare his or her aesthetic preferences, like the man with the dull soul.