PART FOUR

THE PLACE AND FUNCTION OF THE METRICAL ELEMENT IN POETRY

The following extracts from important critical discussions are selected with reference to their bearing on two questions: Is metre an essential or only an incidental element of poetry? and, What are its functions in the total content and effect of poetry? The student of the subject will do well to analyze the answers to the second question, determining under how many aspects of the metrical element they can be grouped.

Poetry in general seems to have sprung from two causes, each of them lying deep in our nature. First, the instinct of imitation is implanted in man from childhood.... Next, there is the instinct for harmony and rhythm, metres being manifestly sections of rhythm. Persons, therefore, starting with this natural gift developed by degrees their special aptitudes, till their rude improvisations gave birth to Poetry.

(ARISTOTLE: _Poetics_, iv. Butcher's translation, pp. 15, 17.)

Poetry, music, and dancing constitute in Aristotle a group by themselves, their common element being imitation by means of rhythm--rhythm which admits of being applied to words, sounds, and the movements of the body. The history of these arts bears out the views we find expressed in Greek writers upon the theory of music; it is a witness to the primitive unity of music and poetry, and to the close alliance of the two with dancing.... The intimate fusion of the three arts afterward known as the "musical" arts--or rather we should perhaps say, the alliance of music and dancing under the supremacy of poetry--was exhibited even in the person of the artist. The office of the poet as teacher of the chorus demanded a practical knowledge of all that passed under the term "dancing," including steps, gestures, attitudes, and the varied resources of rhythmical movement.... The poet, lyric or dramatic, composed the accompaniment as well as wrote the verses; and it was made a reproach against Euripides, who was the first to deviate from the established usage, that he sought the aid of Iophon, son of Sophocles, in the musical setting of his dramas. The very word "poet" in classical times often implies the twofold character of poet and musician, and in later writers is sometimes used, like our "composer," in a strictly limited reference to music.

Aristotle does full justice to the force of rhythmic form and movement in the arts of music and dancing. The instinctive love of melody and rhythm is, again, one of the two causes to which he traces the origin of poetry, but he lays little stress on this element in estimating the finished products of the poetic art. In the _Rhetoric_ he observes that if a sentence has metre it will be poetry; but this is said in a popular way. It was doubtless the received opinion, but it is one which he twice combats in the _Poetics_, insisting that it is not metrical form that makes a poem....

The general question whether metre is necessary for poetical expression has been raised by many modern critics and poets, and has sometimes been answered in the negative, as by Sidney, Shelley, Wordsworth. It is, however, worth observing that from Aristotle's point of view, which was mainly one of observation, the question to be determined was rather as to the vehicle or medium of literary _mimesis_; and so far as the _mimesis_ doctrine is concerned, it is undeniable that some kinds of imaginative subject-matter are better expressed in prose, some in verse, and that Aristotle, who had before him experimental examples of writings poetic in spirit, but not metrical in form, had sufficient grounds for advocating an extension of meaning for the term _poietes_. But as regards the _Art_ of Poetry, his reasoning does not lead us to conclude that he would have reckoned the authors of prose dialogues or romances among poets strictly so called. As Mr. Courthope truly says, "he does not attempt to prove that metre is not a necessary accompaniment of the higher conceptions of poetry," and he, "therefore, cannot be ranged with those who support that extreme opinion." Still there would appear to be some want of firmness in the position he takes up as to the place and importance of metre. In his definition of tragedy (chap. vi. 2) "embellished language" is included among the constituent elements of tragedy; and the phrase is then explained to mean language that has the twofold charm of metre (which is a branch of rhythm) and of melody. But these elements are placed in a subordinate rank and are hardly treated as essentials. They are in this respect not unlike scenery or spectacular effect, which, though deduced by Aristotle from the definition, is not explicitly mentioned in it. The essence of the poetry is the "imitation"; the melody and the verse are the "seasoning" of the language.... Aristotle, highly as he rates the æsthetic capacity of the sense of hearing in his treatment of music, says nothing to show that he values at its proper worth the power of rhythmical sound as factor in poetry; and this is the more striking in a Greek, whose enjoyment of poetry came through the ear rather than the eye, and for whom poetry was so largely associated with music. After all, there can hardly be a greater difference between two ways of saying the same thing than that one is said in verse, the other in prose. There are some lyrics which have lived and will always live by their musical charm, and by a strange magic that lies in the setting of the words. We need not agree with a certain modern school who would empty all poetry of poetical thought and etherealize it till it melts into a strain of music; who sing to us we hardly know of what, but in such a way that the echoes of the real world, its men and women, its actual stir and conflict, are faint and hardly to be discerned. The poetry, we are told, resides not in the ideas conveyed, not in the blending of soul and sense, but in the sound itself, in the cadence of the verse. Yet, false as this view may be, it is not perhaps more false than that other which wholly ignores the effect of musical sound and looks only to the thought that is conveyed. Aristotle comes perilously near this doctrine.

(S. H. BUTCHER: _Aristotle's Theory of Poetry and Fine Art_. pp. 138-147.)

It is not riming and versing that maketh a poet, no more than a long gown maketh an advocate; who, though he pleaded in armor, should be an advocate and no soldier. But it is that feigning notable images of virtues, vices, or what else, with that delightful teaching which must be the right describing note to know a poet by; although, indeed, the senate of poets hath chosen verse as their fittest raiment, meaning, as in matter they passed all in all, so in manner to go beyond them: not speaking (table-talk fashion, or like men in a dream) words as they chanceably fell from the mouth, but poyzing each syllable of each word by just proportion according to the dignity of the subject....

It is already said (and as I think, truly said) it is not riming and versing that maketh poesy.... But yet, presuppose it were inseparable (as, indeed, it seemeth Scaliger judgeth) truly it were an inseparable commendation. For if _oratio_ next to _ratio_, speech next to reason, be the greatest gift bestowed upon mortality, that cannot be praiseless, which doth most polish that blessing of speech, which considers each word, not only (as a man may say) by his forcible quality, but by his measured quantity, carrying even in themselves a harmony, without (perchance) number, measure, order, proportion, be in our time grown odious. But lay aside the just praise it hath, by being the only fit speech for music (music, I say, the most divine striker of the senses); thus much is undoubtedly true, that if reading be foolish, without remembering, memory being the only treasurer of knowledge, those words which are fittest for memory are likewise most convenient for knowledge. Now, that verse far exceedeth prose in the knitting up of the memory, the reason is manifest. The words (besides their delight, which hath a great affinity to memory), being so set, as one word cannot be lost, but the whole work fails, which accuseth itself, calleth the remembrance back to itself, and so most strongly confirmeth it. Besides, one word so as it were begetting another, as be it in rime or measured verse, by the former a man shall have a near guess to the follower.... So that, verse being in itself sweet and orderly, and being best for memory, the only handle of knowledge, it must be in jest that any man can speak against it.

(SIR PHILIP SIDNEY: _An Apologie for Poetrie_.)

Versification, or the art of modulating his numbers, is indispensably necessary to a poet. Every other power by which the understanding is enlightened, or the imagination enchanted, may be exercised in prose. But the poet has this peculiar superiority, that to all the powers which the perfection of every other composition can require, he adds the faculty of joining music with reason, and of acting at once upon the senses and the passions. I suppose there are few who do not feel themselves touched by poetical melody, and who will not confess that they are more or less moved by the same thoughts, as they are conveyed by different sounds, and more affected by the same words in one order than another. The perception of harmony is, indeed, conferred upon men in degrees very unequal; but there are none who do not perceive it, or to whom a regular series of proportionate sounds cannot give delight.

(SAMUEL JOHNSON: _The Rambler_, No. 86.)

Various causes might be pointed out why, when the style is manly, and the subject of some importance, words metrically arranged will long continue to impart such a pleasure to mankind as he who proves the extent of that pleasure will be desirous to impart. The end of poetry is to produce excitement in coexistence with an overbalance of pleasure; but, by the supposition, excitement is an unusual and irregular state of the mind; ideas and feelings do not, in that state, succeed each other in accustomed order.... Now the co-presence of something regular, something to which the mind has been accustomed in various moods and in a less excited state, cannot but have great efficacy in tempering and restraining the passion by an intertexture of ordinary feeling, and of feeling not strictly and necessarily connected with the passion. This is unquestionably true; and hence, though the opinion will at first appear paradoxical, from the tendency of metre to divest language, in a certain degree, of its reality, and thus to throw a sort of half-consciousness of unsubstantial existence over the whole composition, there can be little doubt but that more pathetic situations and sentiments--that is, those which have a greater proportion of pain connected with them--may be endured in metrical composition, especially in rime, than in prose.... This opinion may be further illustrated by appealing to the reader's own experience of the reluctance with which he comes to the reperusal of the distressful parts of _Clarissa Harlowe_, or the _Gamester_; while Shakspere's writings, in the most pathetic scenes, never act upon us as pathetic beyond the bounds of pleasure--an effect which, in a much greater degree than might at first be imagined, is to be ascribed to small, but continual and regular impulses of pleasurable surprise from the metrical arrangement.[56] On the other hand (what it must be allowed will much more frequently happen), if the poet's words should be incommensurate with the passion, and inadequate to raise the reader to a height of desirable excitement, then (unless the poet's choice of his metre has been grossly injudicious), in the feelings of pleasure which the reader has been accustomed to connect with metre in general, and in the feeling, whether cheerful or melancholy, which he has been accustomed to connect with that particular movement of metre, there will be found something which will greatly contribute to impart passion to the words, and to effect the complex end which the poet proposes to himself.

If I had undertaken a systematic defence of the theory here maintained, it would have been my duty to develop the various causes upon which the pleasure received from metrical language depends. Among the chief of these causes is to be reckoned a principle which must be well known to those who have made any of the Arts the object of accurate reflection; namely, the pleasure which the mind derives from the perception of similitude in dissimilitude. This principle is the great spring of the

## activity of our minds, and their chief feeder.... It would not be a

useless employment to apply this principle to the consideration of metre, and to show that metre is hence enabled to afford much pleasure, and to point out in what manner that pleasure is produced. But my limits will not permit me to enter upon this subject, and I must content myself with a general summary.

I have said that poetry is the spontaneous overflow of powerful feelings; it takes its origin from emotion recollected in tranquillity; the emotion is contemplated till, by a species of reaction, the tranquillity gradually disappears, and an emotion, kindred to that which was before the subject of contemplation, is gradually produced, and does itself actually exist in the mind. In this mood successful composition generally begins, and in a mood similar to this it is carried on; but the emotion, of whatever kind, and in whatever degree, from various causes, is qualified by various pleasures, so that in describing any passions whatsoever, which are voluntarily described, the mind will, upon the whole, be in a state of enjoyment. If Nature be thus cautious to preserve in a state of enjoyment a being so employed, the Poet ought to profit by the lesson held forth to him, and ought especially to take care that, whatever passions he communicates to his reader, those passions, if his reader's mind be sound and vigorous, should always be accompanied with an overbalance of pleasure. Now the music of harmonious metrical language, the sense of difficulty overcome, and the blind association of pleasure which has been previously received from works of rime or metre of the same or similar construction, an indistinct perception perpetually renewed of language closely resembling that of real life, and yet, in the circumstance of metre, differing from it so widely--all these imperceptibly make up a complex feeling of delight, which is of the most important use in tempering the painful feeling always found intermingled with powerful descriptions of the deeper passions. This effect is always produced in pathetic and impassioned poetry; while, in lighter compositions, the ease and gracefulness with which the Poet manages his numbers are themselves confessedly a principal source of the gratification of the reader. All that it is necessary to say, however, upon this subject, may be effected by affirming, what few persons will deny, that of two descriptions, either of passions, manners, or characters, each of them equally well executed, the one in prose and the other in verse, the verse will be read a hundred times where the prose is read once.

(WORDSWORTH: Preface to the _Lyrical Ballads_, 2d ed.)

The true question must be,[57] whether there are not modes of expression, a construction, and an order of sentences, which are in their fit and natural place in a serious prose composition, but would be disproportionate and heterogeneous in metrical poetry; and, _vice versa_, whether in the language of a serious poem there may not be an arrangement both of words and sentences, and a use and selection of (what are called) figures of speech, both as to their kind, their frequency, and their occasions, which on a subject of equal weight would be vicious and alien in correct and manly prose. I contend that in both cases this unfitness of each for the place of the other frequently will and ought to exist. And, first, from the origin of metre. This I would trace to the balance in the mind effected by the spontaneous effort which strives to hold in check the workings of passion. It might be easily explained likewise in what manner this salutary antagonism is assisted by the very state which it counteracts; and how this balance of antagonists became organized into metre (in the usual acceptation of that term) by a supervening act of the will and judgment, consciously and for the foreseen purpose of pleasure. Assuming these principles as the data of our argument, we deduce from them two legitimate conditions, which the critic is entitled to expect in every metrical work. First, that as the elements of metre owe their existence to a state of increased excitement, so the metre itself should be accompanied by the natural language of excitement. Secondly, that as these elements are formed into metre artificially, by a voluntary act, with the design and for the purpose of blending delight with emotion, so the traces of present volition should throughout the metrical language be proportionally discernible....

Secondly, I argue from the effects of metre. As far as metre acts in and for itself, it tends to increase the vivacity and susceptibility both of the general feelings and of the attention. This effect it produces by the continued excitement of surprise, and by the quick reciprocations of curiosity still gratified and still re-excited, which are too slight indeed to be at any moment objects of distinct consciousness, yet become considerable in their aggregate influence. As a medicated atmosphere, or as wine during animated conversation, they act powerfully, though themselves unnoticed. Where, therefore, correspondent food and appropriate matter are not provided for the attention and feelings thus roused, there must needs be disappointment felt;--like that of leaping in the dark from the last step of a staircase, when we had prepared our muscles for a leap of three or four.

The discussion on the powers of metre, in the Preface, is highly ingenious, and touches at all points on truth. But I cannot find any statement of its powers considered abstractly and separately. On the contrary, Mr. Wordsworth seems always to estimate metre by the powers which it exerts during (and, as I think, in consequence of) its combination with other elements of poetry. Thus the previous difficulty is left unanswered, what the elements are with which it must be combined in order to produce its own effects to any pleasurable purpose.... For any poetic purposes, metre resembles (if the aptness of the simile may excuse its meanness) yeast, worthless or disagreeable by itself, but giving vivacity and spirit to the liquor with which it is proportionally combined....

Metre in itself is simply a stimulant of the attention, and therefore excites the question, Why is the attention to be thus stimulated? Now the question cannot be answered by the pleasure of the metre itself; for this we have shown to be conditional, and dependent on the appropriateness of the thoughts and expressions to which the metrical form is superadded. Neither can I conceive any other answer that can be rationally given, short of this: I write in metre, because I am about to use a language different from that of prose....

Thirdly, I deduce the position from all the causes elsewhere assigned which render metre the proper form of poetry, and poetry imperfect and defective without metre. Metre, therefore, having been connected with poetry most often, and by a peculiar fitness, whatever else is combined with metre must, though it be not itself essentially poetic, have nevertheless some property in common with poetry, as an intermedium of affinity.

(COLERIDGE: _Biographia Literaria_, chap. xviii.)

In the youth of the world, men dance and sing and imitate natural objects, observing in these actions, as in all others, a certain rhythm or order. And, although all men observe a similar, they observe not the same order, in the motions of the dance, in the melody of the song, in the combinations of language, in the series of their imitations of natural objects. For there is a certain order or rhythm belonging to each of these classes of mimetic representation, from which the hearer and the spectator receive an intenser and purer pleasure than from any other: the sense of an approximation to this order has been called taste by modern writers....

Language, color, form, and religious and civil habits of action are all the instruments and materials of poetry; and they may be called poetry by that figure of speech which considers the effect as a synonym of the cause. But poetry in a more restricted sense expresses those arrangements of language, and especially metrical language, which are created by that imperial faculty whose throne is curtained within the invisible nature of man. And this springs from the nature itself of language, which is a more direct representation of the actions and passions of our internal being, and is susceptible of more various and delicate combinations than color, form, or motion, and is more plastic and obedient to the control of that faculty of which it is the creation.... Sounds as well as thoughts have relation both between each other and towards that which they represent, and a perception of the order of those relations has always been found connected with a perception of the order of the relations of thoughts. Hence the language of poets has ever affected a certain uniform and harmonious recurrence of sound, without which it were not poetry, and which is scarcely less indispensable to the communication of its influence than the words themselves, without reference to that peculiar order.... An observation of the regular mode of the recurrence of harmony in the language of poetical minds, together with its relation to music, produced metre, or a certain system of traditional forms of harmony and language. Yet it is by no means essential that a poet should accommodate his language to this traditional form, so that the harmony, which is its spirit, be observed.

(SHELLEY: _A Defence of Poetry_.)

Poetry, in its matter and form, is natural imagery or feeling, combined with passion and fancy. In its mode of conveyance, it combines the ordinary use of language with musical expression. There is a question of long standing in what the essence of poetry consists, or what it is that determines why one set of ideas should be expressed in prose, another in verse. Milton has told us his idea of poetry in a single line:

"Thoughts that voluntary move Harmonious numbers."

As there are certain sounds that excite certain movements, and the song and dance go together, so there are, no doubt, certain thoughts that lead to certain tones of voice, or modulations of sound, and change "the words of Mercury into the songs of Apollo." ... The jerks, the breaks, the inequalities and harshnesses of prose are fatal to the flow of a poetical imagination, as a jolting road or a stumbling horse disturbs the reverie of an absent man. But poetry "makes these odds all even." It is the music of language, answering to the music of the mind, untying, as it were, "the secret soul of harmony." Wherever any object takes such a hold of the mind as to make us dwell upon it, and brood over it, melting the heart in tenderness, or kindling it to a sentiment of enthusiasm; wherever a movement of imagination or passion is impressed on the mind, by which it seeks to prolong and repeat the emotion, to bring all other objects into accord with it, and to give the same movement of harmony, sustained and continuous, or gradually varied, according to the occasion, to the sounds that express it--this is poetry. The musical in sound is the sustained and continuous; the musical in thought is the sustained and continuous also. There is a near connection between music and deep-rooted passion. Mad people sing. As often as articulation passes naturally into intonation, there poetry begins.... It is to supply the inherent defect of harmony in the customary mechanism of language, to make the sound an echo to the sense, when the sense becomes a sort of echo to itself--to mingle the tide of verse, "the golden cadences of poetry," with the tide of feeling, flowing and murmuring as it flows--in short, to take the language of the imagination from off the ground; and enable it to spread its wings where it may indulge its own impulses:

"Sailing with supreme dominion Through the azure deep of air,"

without being stopped, or fretted, or diverted with the abruptnesses and petty obstacles, and discordant flats and sharps of prose, that poetry was invented. It is to common language what springs are to a carriage, or wings to feet. In ordinary speech we arrive at a certain harmony by the modulations of the voice; in poetry the same thing is done systematically by a regular collocation of syllables. It has been well observed, that every one who declaims warmly, or grows intent upon a subject, rises into a sort of blank verse or measured prose.... An excuse might be made for rime in the same manner. It is but fair that the ear should linger on the sounds that delight it, or avail itself of the same brilliant coincidence and unexpected recurrence of syllables, that have been displayed in the invention and collocation of images. It is allowed that rime assists the memory.... But if the jingle of names assists the memory, may it not also quicken the fancy?

(WILLIAM HAZLITT: _On Poetry in General_.)

With regard to the principle of Variety in Uniformity by which verses ought to be modulated, and oneness of impression diversely produced, it has been contended by some that poetry need not be written in verse at all; that prose is as good a medium, provided poetry be conveyed through it, and that to think otherwise is to confound letter with spirit, or form with essence. But the opinion is a prosaical mistake. Fitness and unfitness for _song_, or metrical excitement, just make all the difference between a poetical and prosaical subject; and the reason why verse is necessary to the form of poetry is that the perfection of poetical spirit demands it--that the circle of its enthusiasm, beauty, and power is incomplete without it. I do not mean that a poet can never show himself a poet in prose; but that being one, his desire and necessity will be to write in verse; and that, if he were unable to do so, he would not and could not deserve his title. Verse to the true poet is no clog. It is idly called a trammel and a difficulty. It is a help. It springs from the same enthusiasm as the rest of his impulses, and is necessary to their satisfaction and effect.... Verse is the final proof to the poet that his mastery over his art is complete. It is the shutting up of his powers in "_measureful_ content"; the answer of form to his spirit; of strength and ease to his guidance.... Verse, in short, is that finishing, and rounding, and "tuneful planeting" of the poet's creations which is produced of necessity by the smooth tendencies of their energy or inward working, and the harmonious dance into which they are attracted round the orb of the beautiful. Poetry, in its complete sympathy with beauty, must of necessity leave no sense of the beautiful, and no power over its forms, unmanifested; and verse flows as inevitably from this condition of its integrity as other laws of proportion do from any other kind of embodiment of beauty....

Every poet, then, is a versifier; every fine poet an excellent one; and he is the best whose verse exhibits the greatest amount of strength, sweetness, straightforwardness, unsuperfluousness, variety, and oneness;--oneness, that is to say, consistency in the general impression, metrical and moral; and variety, or every pertinent diversity of tone and rhythm, in the process.... It is thus that versification itself becomes part of the sentiment of a poem, and vindicates the pains that have been taken to show its importance. I know of no very fine versification unaccompanied with fine poetry; no poetry of a mean order accompanied with verse of the highest.

(LEIGH HUNT: _What is Poetry?_ Cook ed., pp. 37-40, 61.)

No literary expression can, properly speaking, be called poetry that is not in a certain deep sense emotional, whatever may be its subject-matter, concrete in its method and its diction, rhythmical in movement, and artistic in form.... That poetry must be metrical or even rhythmical in movement, however, is what some have denied. Here we touch at once the very root of the subject.... While prose requires intellectual life and emotional life, poetry seems to require not only intellectual life and emotional life but rhythmic life.... Unless the rhythm of any metrical passage is so vigorous, so natural, and so free that it seems as though it could live, if need were, by its rhythm alone, has that passage any right to exist? and should it not, if the substance is good, be forthwith demetricized and turned into prose? ... Aristotle ignored, and Plato slighted, the importance of versification (though Plato on one occasion admitted that he who did not know rhythm could be called neither musician nor poet).... On the whole, however, the theory that versification is not an indispensable requisite of a poem seems to have become nearly obsolete in our time. Perhaps, indeed, many critics would now go so far in the contrary direction as to say with Hegel (_Æsthetik_, iii. p. 289) that "metre is the first and only condition absolutely demanded by poetry, yea even more necessary than a figurative picturesque diction."

(THEODORE WATTS: Article on "Poetry" in _Encyclopædia Britannica_.)

Verse-rhythm in words is the imposition of a _sensible_ order on what naturally and normally has only a _logical_ order; and there is piquancy in the feeling that so little is this ideal control a fettering instrument, that each order seems to gain verve and spontaneity from the other, or rather from the latent sense that the other, though present and operative, is powerless to hamper it. Much more important, however, is it to notice how the sense that one single thing--the word-series--is lending itself to this joint dominance may take the form of a sort of transfigured surprise. (The root-principle here involved is the old one of "unity in variety," the _single_ line of words, "dominated at once by the idea which they express in their grammatical connection and by their metrical adjustment," clearly possessing _two_ independent functions or aspects. See the fuller discussion of "The Sound-element in Verse," in

## chapter xix. of _The Power of Sound_.) ... When, as in verse, the sounds

are pointedly addressed _both_ to the ear and to the understanding, the rarity of the combination of aspects contributes a strain of feeling

## partly akin to that with which we follow an exhibition of skill, and

## partly to that with which we receive an unexpected gratuity....

Nor is this all. Rhythm perpetually not only transfigures the poetical expression of an idea, but makes the existence of that expression possible. This is tolerably obvious in the case of what is often called _par excellence_ poetical language--language which keeps clear of prosaic homeliness and prosaic precision and of technical and abstract terms, and confines itself to a more picturesque and loftier vocabulary.... Clearly it is the rarity of rhythmic, as compared with non-rhythmic, speech that supports such rarity of poetic as compared with non-poetic diction; that is to say, verse, being in one respect--namely, its effect on the ear--a marked exception from ordinary language, thereby establishes for itself the means of being exceptional, without seeming unnatural, in other ways....

... In dwelling on the non-reasonable part in poetical beauty, I am in no way committed to the assertion that all its constituents are excluded from prose, but only to the assertion that the metrical form makes a difference of kind. It cannot be for nothing that the very idea of "poetical prose" inspires dread; and the instances of prose-writing where we find delight of the intangible and non-reasonable kind are exceptions that only prove the rule. One has but to test by self-examination the living force of words in a specimen of verse and of poetical prose which may respectively seem to oneself first-rate of their kind. For such typical passages may often be regarded as fairly on a par in respect of the ideas and emotions which they reasonably express; and the prose may unquestionably further resemble the poetry in a certain subtle individuality of life in its more prominent words, so far as this life can be quickened in them by the idea itself, aided by such qualities of sound-arrangement as are possible apart from metre. So far the poetical merits of the respective passages may be equal; yet only one of them is Poetry.... Language, which in prose does little more than transmit thought, like clear glass, becomes--even as that becomes--by art's adjustments and the moulding of measured form, a lens, where the thought takes fire as it passes. The poet speaks through a medium which seems to intensify the point and to extend the range of what he would tell us by some power outside his own volition. Such a power, in fact, a rhythmic order, in its fundamental appeal to human nerves, literally is.... The _ictus_ of the verse comes upon us as the operative force which shocks the words into their unwonted life.

... In considering the total contribution of metre to imaginative language, it is impossible to overlook the quality of _permanence_. I do not mean permanence merely in the sense that metrical words live in the memory.... This is, of course, a most important fact; but I am here dealing only with elements of effect that enter into the actual moment of enjoyment.... It is a sense of combined parts, and their indispensableness one to another, which gives us a sense of permanence in an arch as compared with a casual heap of stones; it is a similar indispensableness which gives to metrical language an air of permanence impossible even to the most harmonious sentence whose sounds conform to no genuine scheme. And again, in the case of this constituent as of the others, we have no difficulty in seeing that its influence is really a joint one of sound and sense--that, though founded in the nature of metrical sound as such, it is not merely a sound-quality superposed _ab extra_ on the intelligible beauty of the words, but depends for its existence on their intelligible character.... We cannot glory in the enshrining for memory of things that we do not care to remember. But for that which is of true spiritual significance the fairly-fitted body of sound is greeted as the inevitable investiture; and thus justified and quickened, the strength of the mutually indispensable parts seems no longer that of mere structure but of organic life.

(EDMUND GURNEY: Essay on "Poets, Critics, and Class-Lists," in _Tertium Quid_, vol. ii. pp. 162-179, _passim_.)

Why have poets always written in metre? The answer is, Because the laws of artistic expression oblige them to do so. When the poet has been inspired from without in the way in which we saw Scott was inspired to conceive the _Lay of the Last Minstrel_--that is to say, when he has found his subject-matter in an idea, universally striking to the imagination, when he has received this into his own imagination, and has given it a new and beautiful form of life there, then he will seek to express his conception through a vehicle of language harmonizing with his own feelings and the nature of the subject, and this kind of language is called verse. For example, when Marlowe wishes to represent the emotions of Faustus, after he has called up the phantom of Helen of Troy, it is plain that some very rapturous form of expression is needed to convey an adequate idea of such famous beauty. Marlowe rises to the occasion in those "mighty lines" of his:

"Was this the face that launched a thousand ships, And burned the topless towers of Ilium?"

But it is certain that he could only have ventured on the sublime audacity of saying that a face launched ships and burned towers by escaping from the limits of ordinary language, and conveying his metaphor through the harmonious and ecstatic movements of rhythm and metre....

I think Wordsworth's analysis of emotion is clearly wrong. The reason why the harrowing descriptions of Richardson are simply painful, while Shakspere's tragic situations are pleasurable, is that the imagination shrinks from dwelling on ideas so closely imitated from real objects as the scenes in _Clarissa Harlowe_, but contemplates without excess of pain the situation in _Othello_, for example, because the imitation is poetical and ideal. Prose is used by Richardson because his novel professedly resembles a situation of real life; metre is needed by Shakspere to make the ideal life of his drama real to the imagination. Wordsworth, if I may say so, has put the poetical cart before the horse....

The propriety of poetical expression is the test and the touch-stone of the justice of poetical conception.... Poetry lies in the invention of the right metrical form--be it epic, dramatic, lyric, or satiric--for the expression of some idea universally interesting to the imagination. When the form of metrical expression seems _natural_--natural, that is, to the genius of the poet and the inherent character of the subject--then the subject-matter will have been rightly conceived.... Apply this test of what is natural in metrical expression to any composition claiming to be poetically inspired, and you will be able to decide whether it fulfils the universal conditions of poetical life, or whether it is one of those phantoms, or, as Bacon calls them, idols of the imagination, which vanish as soon as the novelty of their appearance has exhausted its effect. For instance, the American poet, Walt Whitman, announces his theme, and asks for the sympathy of the reader in these words:

"Oneself I sing, a simple, separate person, Yet utter the word Democratic, the word En Masse. Poets to come, orators, singers, musicians to come, Not to-day is to justify me and answer what I am for, But you, a new brood, native, athletic, continental, greater than before known, Arouse! for you must justify me!..."

To this appeal I think the reader may reply: The subject you have chosen is certainly an idol of the imagination. For if you had anything of universal interest to say about yourself, you could say it in a way natural to one of the metres, or metrical movements, established in the English language. What you call metre bears precisely the same relation to these universal laws of expression, as the Mormon church and the religion of Joseph Smith and Brigham Young bear to the doctrines of Catholic Christendom.[58] ...

Why do we so often find men in these days, either using metre ... where they ought to have expressed themselves in prose, or expressing themselves in verse in a style so far remote from the standard of diction established in society that they fail to touch the heart? I think the explanation of this curious phenomenon is that, though metre can only properly be used for the expression of universal ideas, there is in modern society an eccentric or monastic principle at work, which leads men to pervert metre into a luxurious instrument for the expression of merely private ideas.

(WILLIAM JOHN COURTHOPE: _Life in Poetry, Law in Taste_, pp. 71-83.)

Language is colloquial and declarative in our ordinary speech, and on its legs for common use and movement. Only when it takes wings does it become poetry. As the poet, touched by emotion, rises to enthusiasm and imaginative power or skill, his speech grows _rhythmic_, and thus puts on the attribute that distinguishes it from every other mode of artistic expression--the guild-mark which, rightly considered, establishes the nature of the thing itself.... Our new empiricism, following where intuition leads the way, comprehends the function of _vibrations_: it perceives that every movement of matter, seized upon by universal force, is _vibratory_; that vibrations, and nothing else, convey through the body the look and voice of nature to the soul; that thus alone can one incarnate individuality address its fellow; that, to use old Bunyan's imagery, these vibrations knock at the ear-gate, and are visible to the eye-gate, and are sentient at the gates of touch of the living temple. The word describing their action is in evidence; they "thrill" the body, they thrill the soul, both of which respond with subjective, interblending vibrations, according to the keys, the wave-lengths, of their excitants. Thus it is absolutely true that what Buxton Forman calls "idealized language,"--that is, speech which is imaginative and rhythmical,--goes with emotional thought; and that words exert a mysterious and potent influence, thus chosen and assorted, beyond their normal meanings....

Aside from the vibratory mission of rhythm, its little staff of adjuvants, by the very discipline and limitations which they impose, take poetry out of the plane of common speech, and make it an art which lifts the hearer to its own unusual key. Schiller writes to Goethe that "rhythm, in a dramatic work, treats all characters and all situations according to one law.... In this manner it forms the atmosphere for the poetic creation. The more material part is left out, for only what is spiritual can be borne by this thin element." In real, that is, spontaneous minstrelsy, the fittest assonance, consonance, time, even rime, ... come of themselves with the imaginative thought.... Such is the test of genuineness, the underlying principle being that the masterful words of all poetic tongues are for the most part in both their open and consonantal sounds related to their meanings, so that with the inarticulate rhythm of impassioned thought we have a correspondent verbal rhythm for its vehicle. The whole range of poetry which is vital, from the Hebrew psalms and prophecies, in their original text and in our great English version, to the Georgian lyrics and romances and the Victorian idyls, confirms the statement of Mill that "the deeper the feeling, the more characteristic and decided the rhythm." The rapture of the poet governs the tone and accent of his

"high and passionate thoughts To their own music chanted."

(EDMUND CLARENCE STEDMAN: _The Nature and Elements of Poetry_, pp. 51-55.)

We agree, then, to call by the name of poetry that form of art which uses rhythm to attain its ends, just as we call by the name of flying that motion which certain animals attain by the use of wings; that the feelings roused by poetry can be roused by unrhythmic order of words, and that rhythmic order of words is often deplorably bad art, or "unpoetic," have as little to do with the case as the fact that a greyhound speeding over the grass gives the spectator quite the exhilaration and sense of lightness and grace which is roused by the flight of a bird, and the fact that an awkward fowl makes itself ridiculous in trying to fly, have to do with the general proposition that flying is a matter of wings.... As a matter of fact, all writers on poetry take rhythm for granted until some one asks why it is necessary; whereupon considerable discussion, and the protest signed by a respectable minority, but a minority after all, that rhythm is not an essential condition of the poetic art. This discussion, as every one knows, has been lively and at times bitter. A patient and comprehensive review of it in a fairly impartial spirit has led to the conclusion, first, that no test save rhythm has been proposed which can be put to real use, even in theory, not to mention the long reaches of a historical and comparative study; secondly, that all defenders of the poem in prose are more or less contradictory and inconsistent, making confusion between theory and practice; and thirdly, that advocates of a rhythmic test, even in abstract definition, seem to have the better of the argument....

All reports of primitive singing, that is, of singing among races on a low plane of culture, make rhythm a wholly insistent element of the verse.... Rhythm is obscured or hidden by declamation only in times when the eye has usurped the functions of the ear, and when a highly developed prose makes the accented rhythm of poetry seem either old-fashioned or a sign of childhood. Not that one wishes to restore a sing-song reading, but rather a recognition of metrical structure, of those subtle effects in rhythm which mean so much in the poet's art; verse, in a word, particularly lyric verse, must not be read as if it were prose. Dramatic verse is a difficult problem.... For in drama one wishes nowadays to hear not rhythm, but the thought, the story, the point.... As thought recedes, as one comes nearer to those primitive emotions which were untroubled by thought, they get expression more and more in cadenced tones. And again, this cadenced emotional expression, as it grows stronger, grows wider; the barriers of irony and reserve, which keep a modern theatre tearless in the face of Lear's most pathetic utterance, break down; first, as one recedes from modern conditions, comes the sympathetic emotion of the spectators expressed in sighs and tears; ... then comes the partial activity of the spectators by their deputed chorus; and at last the throng of primitive times, common emotion in common expression, with no spectators, no audience, no reserve or comment of thought,--for thought is absorbed in the perception and action of communal consent; and here, by all evidence, rhythm rules supreme....

If, now, the curve of evolution in Aryan verse begins with an absolutely strict rhythm and alternate emphasis of syllables, often, as in Iranian, to the neglect of logical considerations; if the course of poetry is to admit logical considerations more and more, forcing in at least one case the abandoning of movable accent and the agreement of verse-emphasis with syllabic-emphasis, an undisputed fact; if poetry, too, first shakes off the steps of dancing, then the notes of song, finally the strict scanning of the verse, until now recited poetry is triumphantly logical, with rhythm as a subconscious element; if, finally, this process exactly agrees with the gradual increase of thought over emotion, with the analogous increase of solitary poetry over gregarious poetry,--then, surely, one has but to trace back this curve of evolution, and to project it into prehistoric conditions, in order to infer with something very close to certitude that rhythm is the primal fact in the beginnings of the poetic art....

The hold of rhythm upon modern poetry, even under conditions of analytic and intellectual development which have unquestionably worked for the increased importance of prose, is a hold not to be relaxed, and for good reason. The reason is this. In rhythm, in sounds of the human voice, timed to movements of the human body, mankind first discovered that social consent which brought the great joys and the great pains of life into a common utterance.... The mere fact of utterance is social; however solitary his thought, a poet's utterance must voice this consent of man with man, and his emotion must fall into rhythm, the one and eternal expression of consent. This, then, is why rhythm will not be banished from poetry so long as poetry shall remain emotional utterance; for rhythm is not only sign and warrant of a social contract stronger, deeper, vaster, than any fancied by Rousseau, but it is the expression of a human sense more keen even than the fear of devils and the love of gods--the sense and sympathy of kind.[59]

(Francis B. Gummere: _The Beginnings of Poetry_, chap. ii, "Rhythm as the Essential Fact of Poetry." Pp. 30, 31, 82-85, 114, 115.)

FOOTNOTES:

[56] Compare with this a passage in a letter of Goethe's to Schiller about _Faust_: "Some tragic scenes were done in prose; by reason of their naturalness and strength they are quite intolerable in relation to the other scenes. I am, therefore, now trying to put them into rime, for there the idea is seen as if under a veil, and the immediate effect of this tremendous material is softened." (Translation of Professor F. B. Gummere, in _The Beginnings of Poetry_, p. 73.)

[57] In these chapters of the _Biographia Literaria_, Coleridge was replying to the theories of Wordsworth as set forth in his Preface.

[58] Compare the amusingly vigorous remarks of Mr. Swinburne on the want of metre in Whitman's poems:

"'Did you ask dulcet rhymes from me?' inquires Mr. Whitman. ... No, my dear good sir: ... not in the wildest visions of a distempered slumber could I have dreamed of doing anything of the kind. ... But metre, rhythm, cadence, not merely appreciable but definable and reducible to rule and measurement, though we do not expect from you, we demand from all who claim, we discern in the works of all who have achieved, any place among poets of any class whatsoever.... The question is whether you have any more right to call yourself a poet, or to be called a poet, ... than to call yourself or to be called, on the strength of your published writings, a mathematician, a logician, a painter, a political economist, a sculptor, a dynamiter, an old parliamentary hand, a civil engineer, a dealer in marine stores, an amphimacer, a triptych, a rhomboid, or a rectangular parallelogram."

(_Studies in Prose and Poetry_, pp. 133, 134.)

[59] Professor Gummere also gives this analysis of Karl Bücher's essay on "Labor and Rhythm" (_Arbeit und Rhythmus_, Leipzig, 1896): "Fatigue, which besets all work felt as work by reason of its continued application of purpose, vanished for primitive man, as it vanishes now for children, if the work was once freed from this stress of application and so turned to a kind of play. The dance itself is really hard work, exacting and violent; what makes it the favorite it is with savages as with children? Simply its automatic, regular, rhythmic character, the due repetition of a familiar movement which allows the mind to relax its attitude of constant purpose. The purpose and plan of work involve external sources and external ends; rhythm is instinctive, and springs from the organic nature of man; it is no invention. The song that one sings while at work is not something fitted to the work, but comes from movements of the body in the specific acts of labor; and this applies not only to the rhythm, but even to the words. So it was in the festal dance.... That poetry and music were always combined by early man, and, along with labor, made up the primitive three-in-one, an organic whole, labor being the basal fact, with rhythm as an element common to the three; and that not harmony or pitch, but this overmastering and pervasive rhythm, exact, definite, was the main factor of early song,--these are conclusions for which Bücher offers ample and convincing evidence." (_Ib._ pp. 108, 109.)

APPENDIX

TABLE ILLUSTRATING THE HISTORY OF THE HEROIC COUPLET

The following table is designed, in the first place, to illustrate the history of the decasyllabic couplet in English verse, by making possible a comparison of the characteristic details of its form in different periods; and, in the second place, to suggest a method by which, through the careful tabulation of facts, one may substantiate or correct general statements as to the qualities of verse.

Any such statistics as are here presented must be accepted, if at all, with no little caution. The table is based on passages of one hundred lines each, believed to be fairly representative of the verse of the several authors. No passage of this length, however, can be known to be perfectly typical. A still greater difficulty is found in the necessarily subjective character of any such tabulation. Most lines of English decasyllabic verse can be read--with reference to the distribution of accents and pauses--in more than one way. It is unlikely, therefore, that any two readers would reach the same results in trying to form a table of this kind. The _absolute_ validity of the figures is therefore doubtful; but on condition that they all have been computed by the same person, consistently with a single standard of judgment, their relative validity, for purposes of _comparison_, may be fairly assumed.

The facts here set down for each specimen of verse group themselves in four divisions. In the first place, each line of verse is either "run-on" or "end-stopped"; and, in riming couplets, it is also of interest to know whether the second line of the couplet is run-on into the following couplet. In the second place, the cesural pause occurs either near the middle of the line or elsewhere, or--it may be--is omitted altogether. In the third place, the line may have a feminine ending. In the fourth place, it may contain some other foot than the regular iambus.

There is some room for difference of judgment as to whether a given line is "end-stopped" or "run-on"; but with occasional exceptions the presence or want of a mark of punctuation may be made the determining element. Obviously one may find such clear phrase-pauses, without punctuation, as will justify the caption "end-stopped."

There is far more divergence of judgment in the recognition of the cesura. Some writers on prosody treat practically every line of ten syllables as having a cesural pause, and certainly some slight phrase-pause may almost always be found. In the following table, however, the cesura has been recognized only when there is a grammatical or rhetorical pause so considerable as--in most cases--to require a mark of punctuation. Such a verse, then, as--

"Fate snatch'd her early to the pitying sky"

is counted as having "no cesura." The cesura is counted as "medial" when occurring after the fourth, fifth, or sixth syllable; elsewhere it is regarded as "variant." The significance of this distinction is very clear in the comparison of the heroic couplet of the "classical" with that of the "romantic" school of poets.[60]

It is in the last group of facts, those relating to substituted feet, that the subjective element is most embarrassing. There can be no very general agreement among readers as to the degree of accent necessary to change a pair of syllables from an "iambus" to a "pyrrhic" or a "spondee." The other two forms of substitution (inverted accent, giving "trochees," and trisyllabic feet, giving "anapests") are somewhat more definitely determinable. In the following table the naming of all these feet is based on what is believed to be the natural reading of the verse, with a due regard for both rhetorical and metrical accent. In the verse--

"By these the springs of property were bent"

the fourth foot is counted a pyrrhic; so also in this--

"Their busy teachers mingled with the Jews,"

although here a certain secondary accent on the eighth syllable is possible. In such a verse as--

"There is a path on the sea's azure floor"

the third foot is counted a pyrrhic and the fourth a spondee.[61]

One may get, then, from a table of this sort, a general view of the character of any particular piece of verse, in respect to the poet's preference for run-on lines, for feminine endings, for breaking the verse into two equal parts, for varying the cesura, or for substituting exceptional feet. The description would be more nearly complete if there were also indicated the _places_ in the verse where substituted feet occur; a trochee in the second foot is a very different thing from one in the first; but it is difficult to tabulate facts of this order without complicating one's results beyond the point of serviceable clearness.

Some students of verse are doubtless offended by the use of statistics in connection with a subject of this kind; and it is easy to ridicule the obvious incongruity of mathematical methods and poetry. A recent magazine critic makes merry over certain statistical studies in rhythm, carried on in a laboratory by recording the beats in nursery-rimes on the one hand and in hymns on the other. "There is a certain class of problems," he observes most justly, "whose external aspects may possibly yield to statistical tabulation, but which in the last resort must be spiritually discerned."[62] Poetry is unquestionably of this class. Yet this would not seem to forbid the study, by scientific methods, of those "external aspects" admittedly susceptible of tabulation. One is not likely to recommend elementary students to count trochees and cesuras in order to increase their appreciation of good verse. But when one comes to the point of generalizing as to the laws or history of verse-forms, it is well to have a method of correction, representable in figures black and white, for the vague impressions which are all that appreciative reading can give. Perhaps the real service of such a method as has just been described is to prevent one from making hasty generalizations which statistics will not support.

Obviously the same system can be applied to blank verse, with the omission of the second category in the table. A convenient method of making such a study is to use sheets of paper ruled for twenty-five lines and seven columns. Each horizontal line represents a line of verse analyzed. The columns are headed "Cesura," "T," "P," "S," "A," "Run-on," and "Fem. Ending." A cesural pause between the third and fourth syllables is indicated by the figures 3/4 in the first column. A trochee in the first foot is indicated by the figure 1 in the "T" column; a spondee in the fourth foot by the figure 4 in the "S" column; and so on. A simple check-mark in the sixth or seventh column indicates respectively a case of _enjambement_ or of feminine ending. When the tabulation is complete, one can easily note the proportion of run-on lines and exceptional cesuras, and can also determine at a glance not only the number of exceptional feet but the parts of the verse in which they occur.

In the following table the figures regarding the couplets of Spenser are based on his _Mother Hubbard's Tale_; those relating to Joseph Hall, on the Satires of his _Virgidemiarum_ (see p. 182); those relating to Leigh Hunt, on _The Story of Rimini_; those relating to Keats, on _Endymion_; to Browning, on _Sordello_.

---------+----------+--------+---------+--------+----------- | Chaucer | |Joseph | | | (ab. |Spenser | Hall |Jonson |Waller | 1385) |(1591) |(1597) |(1616) |(ab. 1650) ---------+----------+--------+---------+--------+----------- Run-on | | | | | Lines | 16 | 14 | 10 | 26 | 16 ---------+----------+--------+---------+--------+----------- Run-on | | | | | Couplets | 7 | 4 | 1 | 8 | 2 ---------+----------+--------+---------+--------+----------- Medial | | | | | Cesura | 33 | 31 | 37 | 48 | 50 ---------+----------+--------+---------+--------+----------- No | | | | | Cesura | 58 | 64 | 58 | 29 | 42 ---------+----------+--------+---------+--------+----------- Variant | | | | | Cesura | 9 | 5 | 5 | 23 | 8 ---------+----------+--------+---------+--------+----------- Feminine | | | | | Endings | 64 | 6 | 0 | 6 | 0 ---------+----------+--------+---------+--------+----------- [a] | | | | | Trochees | 15 | 13 | 18 | 22 | 23 ---------+----------+--------+---------+--------+----------- [a] | | | | | Pyrrhics | 26 | 29 | 24 | 35 | 46 ---------+----------+--------+---------+--------+----------- [a] | | | | | Spondees | 0 | 13 | 14 | 18 | 14 ---------+----------+--------+---------+--------+----------- [a] | | | | | Anapests | 4 | 0 | 0 | 6 | 0 ---------+----------+--------+---------+--------+-----------

---------+-----------+-----------+--------+-------+--------- | | | Leigh | | |Dryden |Pope | Hunt | Keats |Browning |(ab. 1680) |(ab. 1725) | (1816) |(1818) |(1840) ---------+-----------+-----------+--------+-------+--------- Run-on | | | | | Lines | 11 | 4 | 13 | 40 | 58 ---------+-----------+-----------+--------+-------+--------- Run-on | | | | | Couplets | 1 | 0 | 0 | 25 | 27 ---------+-----------+-----------+--------+-------+--------- Medial | | | | | Cesura | 52 | 47 | 46 | 53 | 30 ---------+-----------+-----------+--------+-------+--------- No | | | | | Cesura | 40 | 44 | 35 | 27 | 25 ---------+-----------+-----------+--------+-------+--------- Variant | | | | | Cesura | 8 | 9 | 19 | 20 | 45 ---------+-----------+-----------+--------+-------+--------- Feminine | | | | | Endings | 0 | 2 | 6 | 6 | 0 ---------+-----------+-----------+--------+-------+--------- [a] | | | | | Trochees | 15 | 25 | 29 | 29 | 34 ---------+-----------+-----------+--------+-------+--------- [a] | | | | | Pyrrhics | 46 | 27 | 40 | 37 | 34 ---------+-----------+-----------+--------+-------+--------- [a] | | | | | Spondees | 1 | 11 | 9 | 19 | 19 ---------+-----------+-----------+--------+-------+--------- [a] | | | | | Anapests | 0 | 1 | 1 | 3 | 1 ---------+-----------+-----------+--------+-------+---------

[a] No account is taken in the table of more than a single occurrence of the same exceptional foot in any one line.

FOOTNOTES:

[60] Here a word of caution is needed. It will be observed that the regularly balanced line of the classical couplet requires not only a medial pause, but also a pause at the end. Hence where we find, as in the verse of Keats, a large number of medial cesuras but at the same time a very large number of "run-on" lines, the characteristic effect of the medial pause is almost entirely lost, and the number of medial pauses is not significant.

[61] This combination (of pyrrhic and spondee) is of course very frequent; and where both substitutions occur together, the general average of accents is maintained, only with exchange of position. On the other hand, where there appears a large number of pyrrhics with almost no spondees (as in the case of Dryden), a different sort of verse is indicated,--one where the lines gain a certain lightness and rapidity from the lack of the full number of fully accented syllables.

[62] "Divination by Statistics," in the _Atlantic Monthly_, January, 1902.

INDEX

_Names of poems are arranged alphabetically under authors. An asterisk in connection with the page number indicates that the poem is quoted at least in part._

_Abraham and Isaac_ (Mystery Play), 112*.

Accents, arbitrary variation of, 400; conflict of, 7-11; deficiency in, 55,56; degrees of, 3-5; excess of 55, 57; hovering, 9-11; inversion of, 7, 8, 55, 56, 57 f.; kinds of, 3, 6; relation of different kinds, 7; relation to quantity, 405 f.; secondary, 3, 5, 156, 409; time-intervals of, 11, 393-396; wrenched, 8-11.

ADDISON: _Campaign_, 199*; _Cato_, 236*; on verse of Butler, 167 f.

ÆLFRIC, verse of, 116 f.

AKENSIDE: _Pleasures of the Imagination_, 238; _Virtuoso_, 104.

ALAMANNI, influence on Wyatt, 65.

ALBERTI, classical metres of, 330.

Alcaic stanza, 77.

Alexandrine, 252-259; developed by Browning, 258; French, 18; in five-stress verse, 195, 208, 258; in sonnet, 272 f.; in Spenserian stanza, 103; unrimed, 255; used at end of stanzas other than Spenserian, 107.

Alliteration, 113, 116-121; in mediæval Latin, 117; sporadic, 135. "Alliterative long line," 119, 156.

ALSCHER, on Wyatt, 11.

Anacrusis, 25.

Anapest, 24; substituted for iambus, 58 f.

Anapestic verse, two-stress, 28 f.; three-stress, 34-36; four-stress, 39 f.; five-stress, 42; six-stress, 43; seven-stress, 45; eight-stress, 48; in _vers de société_, 39.

ANDERSON, M. B.: _Inferno_, 68 f.*.

ANDERSON, R., on verse of Joseph Hall, 182.

Anglo-Saxon verse, alliteration in, 116 f.; relation of accent and quantity in, 405 f.; rime in, 124, 125 f.; stanzas in, 62 n.; two theories of, 151-154; types of, 152 f.

ARCHER, W., on Watson's sonnets, 290.

Areopagus, 332 f.

ARISTOPHANES, Swinburne on verse of, 45 f.

ARISTOTLE, his theory of metre, 413-416.

ARNOLD, M.: _East London_, 286*; _Empedocles on Ætna_, 325-327*; _Forsaken Merman_, 5*, 22 f.*, 53 f.*; _Future_, 115*; on Chapman's septenary, 262; on English hexameters, 351-353; on Longfellow's hexameters, 348; _Sohrab and Rustum_, 58*, 249 f.*.

ARNAUT, the troubadour, sestina of, 383.

"Ascending rhythm," 24.

ASCHAM: _Schoolmaster_, 330, 341.

Asclepiadean verse, 331.

Assonance, 113-115; in Celtic verse, 115; in verse of Romance languages, 113 f.

ATTERBURY, on Dryden's influence, 197; on Waller, 188 f.

_Aurora lucis rutilat_, 160*.

BACON, F., on significant sounds, 136.

BAÏF, DE, A., classical metre of, 331.

Ballade, 360-367.

Ballads, stanza of, 70, 264; verse of, 10, 157.

BANVILLE, DE, T., 358, 359.

BARBOUR: _Bruce_, 162 f*.

BARCLAY: _Ship of Fooles_, 94.

BARNES: _Parthenophil_, 273.

_Baston_, 83.

BEAUMONT, F.: _Knight of the Burning Pestle_, 263*.

BEAUMONT, J., on heroic couplet, 190 f.; verse of, 191 n.

BEERS, on heroic stanza, 73.

BENTLEY, on Milton's verse, 58.

_Beowulf_, 13*.

BERNARD (ST.): _De Nativitate Domini_, 80*.

BERNART, DE VENTADORN, 110.

BEST, J. R.: _Bon Rondeau_, 373*.

_Bestiary_, 118*.

_Bewick and Grahame_ (ballad), 157*.

BLAIR: _Grave_, 236 f.*.

Blank verse, 213-251; abandoned in Restoration drama, 196-199; early use of term, 215; in lyrical poems, 246; its decadence, 230, 234; revival in 18th century, 238; unpopular in 18th century, 204 f.

_Blow, northern wind_, 78*.

Bob-wheel, 110 n.

BÖDDEKER: _Altenglische Dichtungen_, cited, 14, 69, 78, 84, 86, 110, 111, 175.

BOLTON, T. L., on nature of rhythm, 393 n.

BOWLES, W. L.: _Sonnet_, 277*; sonnets of, 278.

BRIGHT, J. W., on "pitch-accent," 5 f.; theory of metrical accent, 401 n.

BROME, R., blank verse of, 230.

BRONSON, on Greek and English ode, 300; on odes of Collins, 305.

BROWNING, E. B.: _Cowper's Grave_, 264*; _Rhyme of the Duchess May_, 80*; _Sonnets from the Portuguese_, 283*; sonnets of, 284.

BROWNING, R.: _Abt Vogler_, 50*; _Agamemnon_, 327 f.*; blank verse of, 247-249; _Caliban upon Setebos_, 31 f.*, 57*, 145 f.*; _Cavalier Tunes_, 40*; _Epistle of Karshish_, 248*; _Fifine at the Fair_, 257 f.*; _Flight of the Duchess_, 129*; _Fra Lippo Lippi_, 249*; _Guardian Angel_, 95*; _Heretic's Tragedy_, 145*; _In a Balcony_, 248*; _Love among the Ruins_, 90*; _Misconceptions_, 37*; _One Word More_, 41*; _Pacchiarotto_, 128 f.*; _Paracelsus_, 8*, 59*, 145*; _Prospice_, 29*, 50*; _Ring and the Book_, 57*, 59*, 247*; _Saul_, 42*; sonnets of, 286, 287; _Sordello_, 211*; _Statue and the Bust_, 67*; _Why I am a Liberal_, 287*.

BÜCHER, K.: _Labor and Rhythm_, 436 n.

BURNS: _Auld Lang Syne_, 21*; _Birks of Aberfeldy_, 78*; _Bonnie Doon_, 70*; _Chevalier's Lament_, 39*; _Cotter's Saturday Night_, 104*; _Duncan Gray_, 79*; _Tam O'Shanter_, 171*; _To a Louse_, 87*.

BUTCHER, S. H., on Aristotle's view of metre, 413-416.

BUTLER: _Hudibras_, 137*, 167*.

BYRON: _Childe Harold_, 105*; _Destruction of Sennacherib_, 39*; _Don Juan_, 100*, 128*; double rimes of, 128, 129; _English Bards and Scotch Reviewers_, 206*; _Farewell, if ever_, 97*; _Francesca of Rimini_, 68*; _Prisoner of Chillon_, 171*; _She Walks in Beauty_, 92*; _Song of Saul_, 40*; _Stanzas for Music_, 44*; use of _ottava rima_, 101.

CAMPION, T.: _Anacreontics_, 27*; _Iambic Dimeter_, 334 f.*; _Observations in the Art of English Poesie_, 335 f.; _Trochaic Dimeter_, 335*.

CANNING: _Rovers_, 131*.

CANNING (and FRERE): _Sapphics_, 337*.

_Canzone_, influence of, on the sonnet, 267.

CAREW: _In Praise of his Mistress_, 89*.

CAREY, P.: _Triolet_, 382 f.*.

Catalexis, 22, 25; in the ode, 319.

CATULLUS, metres of, imitated, 339.

Caudated sonnet, 276.

Celtic verse, alliteration in, 117; assonance in, 115; rime in, 124.

Cesura, 17-19; in alexandrine, 253, 258; kinds of, 19.

_Chant Royal_, 367 f.

CHAPMAN: _All Fools_, 215*; _Hymn to Cynthia_, 343*; _Iliad_, 262*.

CHATTERTON: _Ælla_, 79*, 107 f.*; his variant of Spenserian stanza, 108.

CHAUCER: _Balade de bon conseyl_, 360f.*; _Balade on Gentilesse_, 362; _Balade to Rosemound_, 362; _Complaint to his Empty Purse_, 362; _Compleynt of Venus_, 362; _Compleynte unto Pite_, 93*, 177, 178; decasyllabic verse of, 177-179; _Fortune_, 362; free cesura in verse of, 17; French lyrical forms used by, 362; _House of Fame_, 165 f.*; influence on form of Spenserian stanza, 103; _Knights Tale_, 138 f.*; _Lak of Stedfastnesse_, 362; _Legend of Good Women_, 176* (ballade in, 362); _Monk's Tale_, 97*; octosyllabic couplet of, 166; omission of opening syllable in verse of, 20; on alliteration, 120; _Parlement of Foules_, 369*; perfect rime in, 121 n.; _Prologue_, 20*, 176*; _Proverb_, 71*; "rime royal" introduced by, 94; _Sir Thopas_, 84*.

_Chevy Chase_ (ballad), 70*.

Choral odes, 323-328.

Choriambus, 408.

_Cid, Poema del_, 114*.

Classical metres, imitations of, 330-357.

CLOUGH, A. H.: _Bothie of Tober-na-Vuolich_, 350*; hexameter of, 351; his analysis of a line of blank verse, 403.

COLERIDGE: _Ancient Mariner_, 133*, 263*; _Christabel_, 15*, 401*; _Fancy in Nubibus_, 296*; hexameters of, 346; his theory of metre, 420-422; _Hymn before Sunrise_, 241*; _Hymn to the Earth_, 345 f.*; _Kubla Khan_, 138*, 147*; _Ode on the Departing Year_, 311*; on sonnet of White, 281; on sonnets of Bowles, 278; sonnets of, 296; _To a Friend_, 75*.

COLLINS: _Ode to Evening_, 246; _Ode to Liberty_, 170*, 303 f.*; on verse of Skelton, 32; _Passions_, 310*.

"Common metre," 261 f.

_Confessio Goliae_, 259*.

CONGREVE: _Discourse on Pindaric Ode_, 302 f.; _Pindaric Ode_, 301 f.*.

Consonants, as lengthening English syllables, 396-399.

CONSTABLE: _Diana_, 273.

CORSON, on blank verse of Browning, 247 f.; on double rime, 129 f.; on _In Memoriam_ stanza, 76 f.; on Mrs. Browning's sonnets, 284; on _ottava rima_, 98, 99; on rime, 122; on Spenserian stanza of Keats, 105; on variety in verse movement, 61; on verse of Cowper, 240; on Wordsworth's Immortality Ode, 313 f.

COTTON, C.: _Rondeau_, 372 f.*; Virelai of, 385.

Couplet (see under Decasyllabic and Octosyllabic).

COURTHOPE, on Aristotle's view of metre, 415; on the sonnet, 268, 272; on verse-form in poetry, 429-432; on verse of Pope, 201; on verse of Surrey, 216.

COWLEY, Congreve on the odes of, 303; introduction of irregular ode by, 308; _Resurrection_, 307 f.*; _Solitude_, 88*.

Cowleyan ode, 298, 307-323.

COWPER: _Alexander Selkirk_, 34*; anapests of, 35; blank verse of, 240 f.; _John Gilpin_, 264; _My Mary_, 79*; on Milton's verse, 58 f.; _Sonnet to Mrs. Unwin_, 278*; _Table Talk_, 205*; _Task_, 239 f.*.

CRABBE: _Borough_, 206f.*.

CRASHAW: _Wishes for the Supposed Mistress_, 64*.

_Creation and Fall_ (Mystery Play), 95*.

Cretic, 31.

"Crown of Sonnets," 275.

CYNEWULF: _Crist_, 116*; _Elene_, rime in, 126 n.; Riddle of (strophic), 63 n.

Dactyl, 24.

Dactylic verse, two-stress, 30; three-stress, 37; four-stress, 40; five-stress, 42; six-stress, 44; seven-stress, 46; eight-stress, 48.

DANIEL: _Care-charmer Sleep_, 291 f.*; _Civil War_, 99*; _Defence of Rime_, 33 n.; _Delia_, 273, 292.

DANTE, _terza rima_ of, 65, 67-69.

DAVENANT: _Gondibert_, 71*, 72.

DAVIES, Sir J.: _Nosce Teipsum_, 73.

Decasyllabic couplet, 174-213; Chaucer's, 177; in Elizabethan age, 190; in the drama, 196-199; of the romantic poets, 209f., 212; Saintsbury on qualities of, 194f.

_De Muliere Samaritana_, 253*.

DENHAM: _Against Love_, 63*; _Cooper's Hill_, 191f.*.

_Deo Gracias_, 96*.

_Deor's Lament_, 62n.

DE QUINCEY, on Milton's verse, 233n.

"Descending rhythm," 25.

DESCHAMPS, 358.

DOBSON, A., ballades of, 367; _Dance of Death_, 368; on French lyrical forms, 358f.; on _ottava rima_, 101; on Pope, 203; _Rose Leaves_, 381f.*; _Too Hard it is to Sing_, 269f.*; _When I Saw you Last, Rose_, 378*; _With Pipe and Flute_, 374*.

DONNE, critics on the verse of, 183; _Holy Sonnets_, 274f.*; influence of, on lyrical forms of 17th century, 90; _La Corona_, 275; _Satires_, 183*.

DOUGLAS, G.: _Palace of Honour_, 101*, 133*.

DOWDEN, on Shakspere's verse, 184.

Drama, rime in, 184; verse of, characteristic, 395.

DRAYTON: _Agincourt_, 86*; _Amouret Anacreontic_, 26*; _Idea_, 273, 293; _Love's Farewell_, 292*; _Polyolbion_, 256f.*.

DRUMMOND, W.: _Sonnet_, 274*.

DRYDEN: _Absalom and Achitophel_, 56f.*, 193f.*; _Alexander's Feast_, 310; _All for Love_, 196, 234*; _Annus Mirabilis_, 72*; blank verse of, 234f.; _Conquest of Granada_, 196; _Evening's Love_, 40*; heroic couplet of, 194f.; his introduction of rimed dramatic verse, 196-199; _Indian Queen_, 196; _Marriage à la Mode_, 195f.*, 234*; _Ode for St. Cecilia's Day_, imitated by Young, 88; _Ode on Mistress Killigrew_, 309f.*; odes of, 310; on heroic stanza, 72; on verse of Denham and Waller, 188; on verse of Donne, 183; _Song for St. Cecilia's Day_, 52f.*, 142*.

DU BARTAS: _La Première Semaine_, 18*.

DUNBAR: _Lament for the Makaris_, 78*; rime royal of, 94; _Tua Mariit Wemen_, 119f.*.

EDWARDS, T., sonnets of, 277.

Elegiacs (hexameter and pentameter), 346, 355f.

_Eleven Pains of Hell_, 161.

ELIOT, GEORGE: _Spanish Gypsy_, 28*, 37*, 114*.

Elision, 59f.

ELLIS, A. J., on degrees of accent, 3, 4n.

ELLIS, R.: _Attis_, 339*; _Hymenæus of Catullus_, 339*; on classical metres, 339.

"End-stopped" lines, 19, 187-190.

_Enjambement_, 19: avoidance of in heroic verse, 187, 202; in Chaucer, 177; in couplets of the romantic poets, 208-212; in Milton, 233; in Shakspere's verse, 223.

ETHEREDGE: _Comical Revenge_, 196.

_Fair Helen_ (ballad), 9*, 79*.

_Farmer's Complaint_, 14.

Feet, as measures of verse, 24; combinations and substitutions of, 49; names of, 24, 55f., 408f.

Feminine ending, 25, 33; in Elizabethan blank verse, 226-228.

Feminine rime, 121, 128f.

FITZGERALD: _Rubáiyát_, 77*.

Five-stress verse, 174-251; early examples of, 175; introduced by Chaucer, 177.

FLETCHER, G.: _Lycia_, 273.

FLETCHER, J., blank verse of, 226-228; couplets of, 210; _Faithful Shepherdess_, 184f.*; _Valentinian_, 225*.

FLETCHER, J. (and SHAKSPERE): _Two Noble Kinsmen_, 85*.

FLETCHER, J. B., on Spenser, 17.

FLETCHER, P.: _Piscatory Eclogues_, 107*.

Foot, significance of the term, 24, 393-395, 406-408.

_Fortunae rota volvitur_, 259*.

Four-stress verse, 151-173.

French alexandrine, relation to English, 252f.

French influence, on stanza forms, 63, 82f., 110.

French lyrical forms, imitation of, 358-385.

French verse, decasyllabic, 177f.; influence on heroic couplet, 187, 190; perfect rime in, 121 n.; regular cesura in, 17, 18; influence on octosyllabic couplet, 154, 160f., 163 n.

French words, accent of, 11.

FRERE, J. H.: _Monks and the Giants_, 100*.

FROISSART, 358.

Galliambic verse, 339.

_Gammer Gurton's Needle_, 133*, 157*.

GASCOIGNE: _Notes of Instruction_ cited, 17, 94 n., 265, 291 n.; _Steel Glass_, 18*, 218.

GASCOIGNE (and KINWELMARSHE): _Jocasta_, 218.

GAY, J.: _Fables_, 168f.*.

_Genesis and Exodus_, 162*.

German hexameters, influence of, 345, 349.

Germanic verse, alliteration in, 116f.; avoidance of syllable-counting in, 151; irregular time-intervals in, 12.

GLOVER: _Leonidas_, 238.

GODRIC (ST.): _Sainte Marie_, 126*; verse of, 161.

_God Ureisun_, 118*.

GOETHE, hexameters of, 345, 349; his view of metre in the drama, 418 n.

GOLDSMITH: _Deserted Village_, 204*; Essay on Versification, 336; on blank verse, 205; _Retaliation_, 39*.

GOLLANCZ, I., on the stanza of _The Pearl_, 109.

GOODELL, T. G.: _Quantity in English Verse_, 406.

GOSSE, E.: _After Anyte of Tegea_, 370*; _Ballad of Dead Cities_, 364*; on Cowleyan ode, 309; on decadent blank verse, 230; on Dryden's blank verse, 235; on heroic stanza, 73; on ode, 298; on rime in the drama, 197; on sonnet of Walsh, 277; on verse of Denham, 192; on verse of Goldsmith, 204; on verse of Oldham, 193; on verse of Parnell, 168; on verse of Swift, 170; on verse of Waller and contemporaries, 189, 190, 191 n.; _Praise of Dionysus_, 368; _Sestina_, 384 f.*; _Villanelle_, 379 f.*.

GOWER, ballades of, 362; _Confessio Amantis_, 165*; couplets of, 166.

_Grace of God_, 71*.

GRAUNSON, French ballades of, 362.

GRAY: _Bard_, 307; _Elegy in a Churchyard_, 72*; on verse of Dryden, 194; _Progress of Poesy_, 306 f.*; _Sonnet on West_, 295 f.*.

Greek ode, imitated in English, 300, 323-328.

GREENE: _Morando_, 219.

GREIN, on Riming Poem, 126 n.

GRIMALD: _Death of Zoroas_, 218.

GRIMM, on rime, 124.

GUEST, on Poulter's Measure, 265; on significance of sounds, 136.

GUMMERE, F. B., on early English five-stress verse, 180; on rhythm in poetry, 433-436.

GURNEY, E., on Browning's rimes, 129 f.; on the function of metre in poetry, 427-429.

HALL, J.: _Virgidemiarum_, 182*, 343*.

HAMMOND, J.: _Love Elegies_, 73.

HARVEY, G., influence on imitation of classical metres, 332 f.

_Havelok the Dane_, 164*.

HAWES, rime royal of, 94.

HAWTREY, hexameter of, 351, 352*, 354.

HAZLITT, W., on verse-form in poetry, 423-425.

HEGEL, on metre in poetry, 427.

_Heliand_, 124.

HENLEY, W. E.: _Easy is the Triolet_, 381*; _Villanelle_, 378 f.*; _Ways of Death_, 370 f.*; _What is to Come_, 375*.

HERBERT, G.: _Gifts of God_, 90*; _Sonnet on Sin_, 295*.

HERDER, on rime, 123.

HERENC: _Doctrinal_, 252.

HERFORD, on verse of Leigh Hunt, 208.

Heroic couplet (see Decasyllabic couplet).

Heroic stanza, 71-73.

HERRICK: _His Poetry his Pillar_, 27*; _His Recantation_, 26*; _Thanksgiving to God_, 90*; _To Julia_, 64*; _To the Lark_, 26*; _Upon his Departure_, 25*.

Hexameter (dactylic), 340-356.

_Hildebrandlied_, 124, 152.

HILL, A.: _Praise of Blank Verse_, 239 n.*.

HOBBES: _Homer_, 73.

HOLMES, O. W.: _Chambered Nautilus_, 108*; on heroic couplet, 203 n.

Hom[oe]oteleuton, relation to rime, 125.

HOOD, T.: _Bridge of Sighs_, 30*, 130*.

HORACE, stanza of, imitated, 77.

Horatian ode, 298.

Hudibrastic couplet, 167.

HUGO, V., pantoums of, 386.

HUNT, L., on Coleridge's verse, 16 n.; on sonnets of Bowles, 278; on sonnets of Drummond, 274; on verse-form in poetry, 425 f.; _Story of Rimini_, 207 f.*; _The Fish to the Man_, 283*; _Wealth and Womanhood_, 266*.

_Hymn to the Virgin_ ("Blessed beo thu"), 260*; ("Of on that is"), 87*.

Hypermetrical syllables, 58-60.

Iambic verse, one-stress, 25; two-stress, 26 f.; three-stress, 32 f.; four-stress, 160-173; five-stress, 174-251; six-stress, 252-258; seven-stress, 44 f., 260-264; eight-stress, 46.

Iambus, 24; substituted for trisyllabic foot, 60.

Inclusive rime, 74-76.

INGELOW, J.: _Give us Love and Give us Peace_, 49*.

_In Memoriam_ stanza, 76.

Inversion of accent, 7, 8, 55, 56, 57 f.

Italian sonnet, 267-271.

Italian verse, influence on Chaucer, 178 f.; rimes in, 130; _terza rima_ derived from, 65.

JAMES I. (of England): _Reulis and Cautelis_ cited, 94 n., 120, 157 n.

JAMES I. (of Scotland): _King's Quhair_, 93*.

_Jesu for thi muchele miht_, 111*.

JOHNSON, S.: _London_, 205; on blank verse, 205; on Cowleyan ode, 308 f.; on Dryden's Killigrew Ode, 310; on tone-color, 137; on verse-form in poetry, 417; _Vanity of Human Wishes_, 205.

JONSON, B.: _Elegy_, 74*; _Epigrams_, 185*; _Epitaph_, 92*; _Epitaph on Salathiel Pavey_, 71*; _Fit of Rhyme against Rhyme_, 123; influence on classical school of verse, 186; _Pindaric Ode_, 299 f.*; _Sad Shepherd_, 225; _Sejanus_, 224*.

_Judas_, 254.

KAWCZYNSKI, on alliteration, 117; on origin of alexandrine, 252.

KEATS: _Chapman's Homer_, 282; _Endymion_, 209*; _Eve of St. Agnes_, 105*; _Grasshopper and Cricket_, 282*; _Hyperion_, 242*; _Isabella_, 100*; _Lamia_, 8*; _Mermaid Tavern_, 38*; _Ode to Psyche_, 143*; Sonnets of, 282; _Sonnet to Haydon_, 22*.

KENT, A. J., on verse of Leigh Hunt, 208 f.

_King Horn_, 154*.

KINGSLEY, C.: _Andromeda_, 354*.

KIPLING, R.: _Last Chantey_, 21 f.*; _Mulholland's Contract_, 65*; _Song of the English_, 49*; _Wolcott Balestier_, 44 f.*.

KITTREDGE, G. L., on French decasyllabic couplet, 178.

LACHMANN, on Anglo-Saxon verse, 151 f.

LANDOR: _Children Playing in a Churchyard_, 64*; _English Hexameters_, 353*; on Milton's sonnets, 276.

LANG, A.: _Ballade of Primitive Man_, 365 f.*; _Ballades of Blue China_, 363, 365, 366; on Pope, 202 f.

LANGLAND: _Piers Plowman_, 119*.

LANGTOFT, P. DE, Chronicle of, 82.

LANIER, S.: _Ballad of Trees and the Master_, 131*; his theory of English verse, 391-393, 400; _Science of English Verse_ cited, 21, 49.

LARMINIE, W., on assonance, 115; on quantity in English, 399; on rime, 123.

Latin _septenarius_, 259; relation to ballad metre, 264.

Latin verse, influence on octosyllabic couplet, 160f.; influence on stanza, 63; rime in, 124 f.; used with Anglo-Saxon, 153.

LAYAMON: _Brut_, 118*, 127*; verse of, 119.

Lays, four-stress couplet in, 164 f.

LE GALLIENNE, R., irregular verse of, burlesqued, 329 n.

_Legend-Cycle_, 255.

LEGOUIS, E., on Spenser's verse, 17.

_Lenten ys come_, 111*.

LENTZNER, on the sonnet, 268, 286, 287.

Leonine rime, 132.

LEWIS, C. M., on octosyllabic couplet, 160 f.; on sources of Chaucer's verse, 179.

LIDDELL, M., his theories of English verse, 394 f., 401 n., 407.

LINDSAY, D.: _Satyre of the Three Estates_, 85*.

_Little Soth Sermun_, 261.

LLOYD, R., verses against blank verse, 239 n.*.

LODGE: _Phyllis_, 273.

LOK, sonnets of, 273.

LONGFELLOW: _Evangeline_, 348*; _Golden Legend_, 48*, 51*; hexameters of, 348 f., 355; _Hiawatha_, 37*, 408; _Maidenhood_, 64*; _Saga of King Olaf_, 30 f.*; _Sonnets on Divina Commedia_, 289*.

_Love in Idleness_, pantoum from, 386-388*.

LOWELL: _Commemoration Ode_, 317*; on Gray's _Progress of Poesy_, 307; on Spenserian stanza, 103.

LUICK, on revival of alliterative verse, 156.

_Lutel wot hit anymon_, 174 f.*.

LYDGATE, rime royal of, 94.

LYLY: _Woman in the Moon,_ 219.

Lyrical verse characteristic, 395.

Lyrics, complex measures of early English, 110 f.

MACAULAY, G. C., on verse of Fletcher, 227 n.

MACDONALD, G.: _Triolet_, 383*.

MACHAULT, 178, 358.

Malaysian verse, pantoum derived from, 386.

MALHERBE, influence on heroic verse, 187.

MANNING, R.: _Chronicle_, 82*, 254*; _Handlying Synne,_ 163*; simplifying of French metrical forms by, 82 f.

MARLOWE, blank verse of, 221; couplets of, 210; _Faustus_, 57*, 219 f.*; _Hero and Leander_, 181*, 190; _Jew of Malta_, 139*; _Tamburlaine_, 219*.

_Marriage of Wit and Science_, 255 f.*.

MASON, W., sonnets of, 277.

MASSINGER, blank verse of, 230; _New Way to Pay Old Debts_, 229*.

MASSON, on Milton's tailed sonnet, 276.

MAYOR, J. B.: _Chapters on English Metre_ cited, 409; on Browning's blank verse, 249; on Ellis's view of accent, 4 n.; on substitutions of feet, 60.

MEREDITH, G.: _Phaëthon_, 339.

Metre, its place and function in poetry, 413-436.

Metrical romances, tail-rime in, 84.

MEYER, C. F., on rime, 123, 124.

MIDDLETON, blank verse of, 228; _Changeling_, 227*.

MILL, J. S., on rhythm in poetry, 433.

MILTON: _At a Solemn Music_, 329; blank verse of, 232 f.; _Il Penseroso_, 166 f.*; _L'Allegro_, 38*; _Lycidas_, 99*, 142*; _Nativity Ode_, 33*, 107*; _On his Blindness_, 275*; _On Time_, 329; _Paradise Lost_, 4*, 7*, 15*, 57*, 58*, 59*, 140*, 141*, 230 f.*; _Passion_, 94; _Psalm II_., 66*; _Psalm VI_., 74*; _Samson Agonistes_, 231 f.*, 323-325*; _Sonnet on Piedmont Massacre_, 141*; sonnets of, 276.

MINOT, L.: _Battle of Halidon Hill_, 96*.

_Misfortunes of Arthur_, 219.

MITCHELL, S. WEIR: _Psalm of the Waters_, 36*.

MOLZA, FRANCESCO, 216.

"_Monk's Tale_ stanza," 97.

_Monologue d'outre Tombe_, 386*.

MOODY, W. V.: _Menagerie_, 91*; _Ode in Time of Hesitation_, 321-323*.

MOORE, T.: _Believe me, if all those endearing young charms_, 40*; _Down in yon Summervale_, 121 n.*; _Go Where Glory Waits Thee_, 33 f.*.

MORRIS, R., on early octosyllabic verse, 162.

MORRIS, W.: _Earthly Paradise_, 93 f.*, 173*; _Fair Spring Morning_, 329; _Folk-Mote by the River_, 159*; _Jason_, 213*.

MOULTON, R. G., on Browning's _Caliban_, 32.

MOUSSET, classical metres of, 331.

Music, its relation to verse, 391-396, 407 n., 413 f., 434-436.

_Must I be Carried to the Skies_, 262*.

Mystery plays, verse of, 94 f., 112, 265.

NASH, T., on English hexameters, 342; Preface to _Menaphon_, 215.

_Ne mai no lewed_, etc., 109 f.*.

NEWCOMER, A. G., on wrenched accent, 10.

NEWMAN, metre of his _Iliad_ translation, 262.

NORDEN, on rime, 125.

Norse verse, influence on Anglo-Saxon, 126; stanza in, 63.

_Nutbrowne Maide_ (ballad), 132*.

OCCLEVE, rime royal of, 94.

Octosyllabic couplet, 160-173.

Ode (The), 298-329.

OLDHAM, J.: _Satires upon the Jesuits_, 192*.

Onomatop[oe]ia, 135 f.

_Ormulum_, 260*.

O'SHAUGHNESSY, A.: _Fountain of Tears_, 36*.

OTFRIED, verse of, 123, 124.

_Ottava rima,_ 98-101; possible source of sonnet, 267.

OTWAY: _Venice Preserved_, 235*.

_Owl and the Nightingale_, 162*.

Pantoum, 385-388.

PARIS, G., on Machault, 178.

PARNELL: _Night-Piece on Death_, 168*.

PASSERAT, J.: _Villanelle_, 377*.

_Passion of our Lord_, 254.

_Pater Noster_, 161*.

_Patience_, 155*.

PATMORE: _Amelia_, 319 n.*; _Ode_, 318*; on the ode, 319; _Unknown Eros_, 319.

Pauses, 16-23; varied to preserve metrical time, 404 f.

PAYNE, J., virelai of, 385.

PEACOCK, T. L.: _Misfortunes of Elphin_, 33*.

_Pearl, The,_ 109*.

PECK, S. M.: _Under the Rose_, 382*.

PEELE: _Arraignment of Paris_, 218*.

PETRARCA: _Sonnet_, 271*.

Phalæcian verse, 331, 338.

PHILIPS, J.: _Cider_, 238.

PHILLIPS, S.: _Marpessa_, 251; _Paolo and Francesca_, 250 f.*.

_Ph[oe]nix_, 153*.

Pindaric ode, 298, 299-307.

Pitch-accent, so-called, 5 f.

PITT, W., 131 n.

POE: _Lenore_, 134*; on English hexameter, 349; _Rationale of Verse_, 392; _Raven_, 47*.

_Poema Morale_, 127*, 260.

POPE, A.: _Essay on Criticism_, 12*, 57*, 142*, 199 f.*; _Iliad_, 200 f.*; on verse of Denham and Waller, 188; on verse of Dryden, 194; rules of verse, 201 f.; _Solitude_, 27*.

Poulter's Measure, 255, 265 f.

Pre-Raphaelites, 10.

_Preservation of King Henry VII_., 343.

PRIOR: _Better Answer_, 39*.

Provençal, lyrical forms of, 358, 383.

PUTTENHAM, G.: _Arte of English Poesie_ cited, 8 n., 18, 94 n., 334 n.

Pyrrhic, 49, 55, 56.

Quantity in English, 391-406; in English verse, 330, 332 f., 338, 354 f., 356, 357.

Quatrains, 69-77.

_Quinque Gaudia_, 85*.

RALEIGH, W.: _Pilgrim to Pilgrim_, 35*.

RANCHIN: _Triolet_, 381*.

READ, T. B.: _Drifting_, 88*.

Refrain stanzas, 78-90.

_Regulae de Rhythmis_, 81*.

Rhythm, arts of, 413 f.; change of, 53-55, 61.

_Rhythmus_, meaning of, 124.

RICH, B.: _Don Simonides_, 219.

RIEGER, on rime in Anglo-Saxon, 126 n.

Rime, 113, 121-135; as organizer of stanza, 63; broken, 131 f.; defended by Daniel, 336 n.; feminine, 121, 128 f.; functions of, 122; imperfect, 122 n.; in Butler's _Hudibras_, 167 f.; in drama, 196-199; internal, 132-135 (in ballads, 70; in Middle English alexandrines, 255; in septenary, 259-261); objections to, 122 f.; origin of, 123-125; suspected by classicists, 214, 232, 330; triple, 121, 128-131.

_Rime couée_, 80-86; in French, 81; in Latin, 80 f.

Rime royal, 93 f.; in Chaucer's _Balade_, 361.

_Riming Poem_ (Anglo-Saxon), 125 f.*.

ROBERT OF GLOUCESTER: _Chronicle_, 265.

ROBERTSON, J. M., his theories of English verse, 24 n., 392-394, 400, 403.

_Robin Hood_ (ballad), 70*, 263*.

_Roland, Chanson de_, 113 f.*.

Romance languages, assonance in, 113.

Romance metres, regular time-intervals in, 12, 14 n.

Rondeau, 368, 371-376.

Rondel, 368-371.

ROSSETTI: _Ballad of Dead Ladies_, 362 f.*; _Blessed Damozel_, 7*; _House of Life_, 284*, 285*; _Love's Nocturn_, 146*; _My Sister's Sleep_, 75*; on Drayton's sonnet, 293; _Penumbra_, 135*; _Rose Mary_, 91*; _Sister Helen_, 80*; sonnets of, 285; _Sunset Wings_, 89*; _To Death_ (rondeau), 374*; _Willowwood_, 9*.

Roundel, in Chaucer, 369; Swinburne's form of, 376.

ROWLANDS, S., verse of, 190.

"Run-on" lines, 19 (see also _Enjambement_).

RUSSELL, T., sonnets of, 277.

SACKVILLE: _Mirror for Magistrates_, 94.

SACKVILLE (and NORTON): _Gorboduc_, 217*.

SAINTSBURY, on alexandrine, 258 f.; on Blair, 237; on Dryden's couplet, 194 f.; on Dryden's dactyls, 40; on heroic stanza, 73; on Shenstone, 35 f.; on Thomson, 238.

SANDYS, G., heroic couplets of, 189 f., 191; influence on Pope's verse, 201; _Metamorphoses_, 191*; _Paraphrase of Luke_, 63*.

Satire, heroic couplet in, 181, 182, 183, 206.

_Satire on People of Kildare_, 91*.

Scandinavian verse, influence in England, 126.

SCHELLING, F. E., on Campion's classical metres, 335 f.; on influence of Jonson's verse, 186; on Raleigh's anapests, 35.

SCHILLER, elegiac distich of, 346; on rhythm in the drama, 433.

SCHIPPER, on accent, 3; on Anglo-Saxon alliteration, 117; on early imitation of classical verse, 330 f.; on Layamon, 119; on the octosyllabic couplet, 161; on Poulter's Measure, 265; on rime, 123-125; on rime in Cynewulf, 126 n.; on rime royal, 94; on _Riming Poem_, 126; on Romance stanza-forms, 110 f.; on the sonnet, 270; on the stanza, 62; on tumbling verse, 158 n.; on types of alexandrine, 255; on "unaccented rime," 121 n.

SCHLEGEL., A. W., on tone-color, 137.

SCHRÖER, on early blank verse, 218.

SCOLLARD, C.: _Villanelle_, 380*.

SCOTT, W.: _Hunting Song_, 13*; _Lady of the Lake_, 29*, 172*. _Scottish Field_ (ballad), 120 f.*.

Scottish verse, alliteration in, 120.

_Sdruciolla_, 215.

SEAMAN, O.: _Battle of the Bays_, 329 n.*.

Septenary, 259-264; in drama, 218; internal rime in, 132; mingled with alexandrine, 252, 253 f., 261, 265; unrimed, 260, 262.

SERAFINO: _Strambotti_, 272.

Sestina, 383-385.

SHAKSPERE: _As You Like It_, 57*; blank verse of, 223 f.; _Henry V._, 140*; heroic verse of, 184; _It was a lover_, etc., 9*; _Julius Cæsar_, 58*; _King John_, 20*; _Love's Labor's Lost_, 38*, 183 f.*; _Macbeth_, 20*; _Measure for Measure_, 20*, 222*; _Merchant of Venice_, 57*; _Midsummer Night's Dream_, 26*, 31*, 139*; _Much Ado_, 215; _Ph[oe]nix and the Turtle_, 63*, 74*; _Rape of Lucrece_, 93*; _Richard II._, 20*; _Romeo and Juliet_, 7*, 57*; _Sonnets_, 293*, 294*; sonnets of, 294 f.; _Tempest_, 37*, 222 f.*; _Troilus and Cressida_, 138*; _Twelfth Night_, 51 f.*; _Two Gentlemen of Verona_, 221*; _Venus and Adonis_, 92*.

SHAKSPERE (and FLETCHER): _Two Noble Kinsmen_, 85*.

SHARP, W., on the sonnet, 268 n.

SHELLEY: _Adonais_, 105 f.*; _Alastor_, 243*; _Arethusa_, 28*; _Epipsychidion_, 210*; _Flight of Love_, 50 f.*; heroic verse of, 210; _Ode to Naples_, 314 f.*; _Ode to West Wind_, 66 f.*; _Ozymandias_, 281 f.*; _Queen Mab_, 329; _Sensitive Plant_, 69*; sonnets of, 282; _To a Skylark_, 34*; use of Spenserian stanza, 106; view of verse-form in poetry, 422 f.

SHENSTONE, heroic stanza of, 73; _Pastoral Ballad_, 35*; _Schoolmistress_, 104.

SHERMAN, F. D.: _Ballade to Austin Dobson_, 366 f.*.

SIDNEY: _Anacreontics_, 332*; _Asclepiadics_, 331*; _Astrophel and Stella_, 74*, 77*, 256*, 272*, 273*, 291*; _Dorus and Zelmane_, 340 f.*; hexameters of, 341; _Mopsa_, 266*; _Phaleuciakes_, 331*; _Psalm VIII_., 69*; sonnets of, 273; _Thyrsis and Dorus_, 65 f.*; view of verse-form in poetry, 416 f.

SIEVERS, on Anglo-Saxon verse, 152 f.; on stanzaic and stichic verse, 63.

_Sir Fyrumbras_, 261*.

_Sir Gawain and the Green Knight_, 109, 155 f.*.

SKALAGRIMSSON, Egil, 126.

SKEAT, on sources of Chaucer's couplet, 178; theory of English verse, 394 n.

SKELTON: _Colyn Cloute_, 32*; rime royal of, 94.

_Song of Songs_ (French version), 81*.

Sonnet, 267-297; bipartite structure of, 268, 270, 280, 282, 285, 286, 290, 293; English form of, 290; Italian form of, 270; revived in 18th century, 277; sequences, 273; "Ten Commandments" of, 268 n.

Sonnets on the sonnet, 278, 279, 284, 288.

Sound-qualities of verse made expressive of sense, 135-137.

SOUTHEY: _Curse of Kehama_, 329; hexameters of, 347 f.; _Sapphics_, 337*; _Vision of Judgment_, 347*.

Spanish verse, 28, 115; assonance in, 114.

SPEDDING, J., on English hexameter, 351.

SPENSER: _Amoretti_, 293*; _Faerie Queene_, 102*; free cesura in, 17; interest in classical metres, 332 f.; _Mother Hubbard's Tale_, 181*; _Shepherd's Calendar_, 15*, 89*, 158 f.*, 179 f.*; _Tetrasticon_, 332*; tumbling verse of, 159; unrimed sonnets of, 219; _Virgil's Gnat_, 98 f.*.

Spenserian sonnet, 293*.

Spenserian stanza, 102-106; stanzas influenced by, 107 f.

Spondee, 56, 57.

STANYHURST, R.: _Æneid_, 341 f.*; hexameters of, 342 f.

Stanzas, 62-112; complex forms of, under French influence, 110; formed by refrains, 78; how determined and described, 62; tail-rime, 80-86.

STEDMAN, E. C., on rhythm in poetry, 432 f.

STENGEL, on French alexandrine, 252; on French decasyllabic verse, 177 f.; on octosyllabic verse, 160.

STETSON, C. P.: _A Man Must Live_, 375 f.*.

STEVENSON, R. L., on tone-color, 138.

Stichic verse, 62.

STILLINGFLEET, B., sonnets of, 277.

_Stond wel, moder_, 84*.

STONE, W. J.: _Odyssey_, 356*; on quantity in English verse, 356 f.

Stress (see Accent).

Substitution of feet, 55-61.

SUCKLING: _A Soldier_, 86*.

_Suete iesu, king of blysse_, 69*.

SURREY, EARL OF, accents in verse of, 10; _Æneid_, 215 f.*; _How no Age is Content_, 266*; inventor of English sonnet, 290; _Psalm LV_., 255*; _Restless State of a Lover_, 71*; _Sonnet_, 290*; verse of, 216.

SWIFT: _Death of Dr. Swift_, 169 f.*.

SWINBURNE: _Armada_, 51*, 134*; _Atalanta in Calydon_, 9*, 146*; _Ballad of François Villon_, 367*; _Birds_, 45*; _Century of Roundels_, 42*; _Choriambics_, 340*; _Death of Wagner_, 60*; _Garden of Cymodoce_, 43*; _Hendecasyllabics_, 338; _Hesperia_, 44*; _Last Oracle_, 43*; _Laus Veneris_, 78*; _Leper_, 9*; _March_, 13*, 48*; _Night in Guernsey_, 47*; on choral ode of Milton, 325; on English hexameters, 353 f.; on sonnets of Wordsworth, 280; _On the Cliffs_, 329; on Whitman, 431 n.; _Roundel_, 376*; _Sapphics_, 340*; _Seaboard_, 51*; _Song in Season_, 28*; _Thalassius_, 329; _Tristram of Lyonesse_, 212*; _Winter in Northumberland_, 130 f.*, 147*.

Syllable-counting, in Surrey's verse, 216; want of, in early English verse, 16, 112, 151.

Syllables, artificially varied in length when in metre, 401-404; kinds of accented, 3.

SYMONDS, J. A., on blank verse, 214, 232, 233; of 18th century, 239; of _Gorboduc_, 217; of Jonson, 225; of Keats, 242; of Marlowe, 220 f.; of Shakspere, 222; of Tennyson, 246; of Webster, 229; on heroic verse of the romantic poets, 210; _Sonnets on the Thought of Death_, 287 f.*.

Tailed sonnet, 276.

Tail-rime (see _Rime couée_).

TAYLOR, B.: _Home Pastorals_, 349*; _National Ode_, 320 f.*.

TAYLOR, W., on German and English hexameters, 345; _Ossian's Hymn to the Sun_, 344 f.*.

TEN BRINK, on Anglo-Saxon verse, 151 f.; on Chaucer's verse, 177, 178; on early five-stress verse, 175; on verse of court romances, 164 f.; on verse of _King Horn_, 155.

TENNYSON: _Alcaics on Milton_, 337*; blank verse of, 246; _Boadicea_, 339; _Break, break, break_, 21*; _Charge of the Light Brigade_, 30*; _Coming of Arthur_, 143; _Daisy_, 77; elegiac distich of, 346*; _Enoch Arden_, 58*, 59*, 144*; _Geraint and Enid_, 59*; _Hendecasyllabics_, 337 f.*; _In Memoriam_, 75 f.*; _Locksley Hall_, 13*, 46 f.*; _Lotos-Eaters_, 106*; _Maud_, 32*, 42*, 43*, 52*, 317; _Merlin and Vivien_, 58*; _Montenegro_, 285 f.*; _Northern Farmer_, 44*; _[OE]none_, 59*; on English hexameters, 353; on quantity in English, 338; _Oriana_, 80*; _Palace of Art_, 74*; _Passing of Arthur_, 244*; _Princess_, 8*, 58*, 134*, 144 f.*, 245*, 246*; _Queen Mary_, 245*; _Sapphics_, 339*; sonnets of, 286; _Tears, Idle Tears_, 246*; _To Maurice_, 77*; _Two Voices_, 64*; _Vision of Sin_, 41*, 54 f.*; _Wellington Ode_, 315 f.*.

Tercets, 63-69.

Terminology, classical in English verse, 24 n., 406-409.

_Terza rima,_ 65-69.

THACKERAY, irregular verse in ballads of, 158 n.; _Sorrows of Werther_, 47*; _What Makes my Heart_, etc., 132*.

THOMSON, as imitator of Spenser's verse, 104; _Castle of Indolence_, 103*, 143*; _Seasons_, 237 f.*.

THOMSON, J.: _City of Dreadful Night_, 95*.

TILLBROOK, S., on Southey's hexameters, 347 n.

Time-element in English verse, 391-409.

Time-intervals, 11-23; irregular, 13-16; regular, 12 f.; the basis of metrical feet, 408.

TODHUNTER, on Shelley's verse, 106.

TOLOMEI, C., 331.

TOMLINSON, on the sonnet, 267 f.

Tone-color, 135-147.

Tone-quality, 113-147.

TOTTEL: _Songs and Sonnets_, 10, 87*, 98*, 218, 266*, 271*, 290*, 372.

_Trial before Pilate_ (Mystery Play), 157*.

TRIGGS, on verse of _De Muliere Samaritana_, 253 f.

Triolet, 381-383.

Triple endings in Elizabethan drama, 226-228.

Triplet, used in heroic verse, 195, 208.

TRISSINO, G., 214, 330.

Trochaic verse, two-stress, 27 f.; three-stress, 33 f.; four-stress, 37 f.; five-stress, 41; six-stress, 43; seven-stress, 45, 259; eight-stress, 46 f.

Trochee, 24; substituted for iambus, 57 f.

_Troy Book_, 156.

Truncation, 25, 33.

"Tumbling verse," 157 f., 159; relation to decasyllabic, 179 f.

TURBERVILLE: _Heroical Epistles_, 219.

UDALL, N.: _Ralph Roister Doister_, 14*.

VAN DYKE, H., on Tennyson's _Wellington Ode_, 317.

Variety in verse, significant, 61.

_Vers baïfins_, 331.

_Vers de société_, 39, 365.

_Versi sciolti_, 214, 330 f.

Villanelle, 376-380.

VILLON, 358, 363, 365, 367, 374.

Virelai, 385.

VOITURE, 358, 371; _Rondeau_, 371*.

Vowels, long and short in English, 396 f.

WACE, _Brut_, 160*.

WADDINGTON: _Manuel des Pechiez_, 163 n.*.

WALLER: _Battle of the Summer Islands_, 187*; _Go, Lovely Rose_, 89*; influence on heroic couplet, 187-190; _Of the Danger of his Majesty_, etc., 186*.

WARD, on verse of Cowper, 240.

WARNER, W.: _Albion's England_, 261*.

WARTON brothers, revivers of sonnet, 277.

WARTON, T., on verse of Joseph Hall, 182; _Sonnet on Dugdale's Monasticon_, 276 f.*.

WATSON (of Cambridge), distich of, 341*.

WATSON, T.: _Tears of Fancy_, 273.

WATSON, W.: _Hymn to the Sea_, 355*; _Sonnet on History_, 297*; _Sonnet to the Sultan_, 289*.

WATTS, T., on verse-form in poetry, 426 f.; _Sonnet's Voice_, 288*.

_Wayle whyte, A,_ 86*.

WEBBE, W.: _Discourse of English Poetrie_ cited, 46, 334, 341, 344; _Eclogue of Vergil_, 344*; _Sapphics_, 333*.

WEBSTER: _Duchess of Malfi_, 228*.

WENDELL, B., on Shakspere's verse, 223 f.

WHITE, G., on _chant royal_, 368; on French lyrical forms, 359 f.

WHITE, J. B.: _Sonnet to Night_, 281*.

WHITMAN, W., verse of, 431.

WOOD, H., on the heroic couplet, 189 f.

WOODBERRY, on the heroic couplet, 207.

WORDSWORTH: _Intimations of Immortality_ (ode), 312 f.*; _I wandered lonely_, 92*; _Norman Boy_, 264*; on blank verse, 232; on theory of metre, 417-420; _Peter Bell_, 91*; _Pet Lamb_, 257*; _Scorn not the Sonnet_, 279*; _Solitary Reaper_, 97 f.*; _Sonnet, The_, 278 f.*; sonnets of, 278, 280; _The World is too much with us_, 279 f.*; _Tintern Abbey_, 243*; _White Doe of Rylstone_, 171 f*.

WYATT, accents in verse of, 10 f.; _How to use the court_, 65*; _Of his love that pricked his finger_, 98*; _O goodly hand_, 87*; _ottava rima_ introduced by, 98; _Power of Love_, 96*; _Rondeau_, 372*; _Sonnet_, 271*; sonnet introduced by, 272; text of poems of, 10 f.; _The joy so short_, 20*; _Torment of the Unhappy Lover_, 101 f.*; unaccented rime in, 122 n.

YOUNG: _Night Thoughts_, 238; _Ocean_, 87 f.*; stanza of odes of, 88.

End of Project Gutenberg's English Verse, by Raymond MacDonald Alden, Ph.D.