These specimens, as is usual in anapestic verse, show considerable freedom in the treatment of the part of the foot containing the light syllables, subst.i.tuted iambi being very common. Note the iambi in the Sh.e.l.ley stanza, line 1, second foot, and line 5, first foot. In the latter case, however, the first light syllable of line 5 is really supplied by the syllable added to make the feminine ending of line 4. In like manner, in the Scott stanza, the first syllable of line 8 is really supplied by the _-ing_ of line 7; and where we have both feminine ending (in line 1) and a full anapest following, the effect is that of a hypermetrical syllable which must be hurried over in the reading. In the specimen from Browning we find an iambus in the opening foot in lines 2 and 6 (also, of course, in lines 1 and 5).

_Two-stress dactylic._

One more Unfortunate, Weary of breath, Rashly importunate, Gone to her death!

Take her up tenderly, Lift her with care; Fashioned so slenderly, Young, and so fair!

(THOMAS HOOD: _The Bridge of Sighs._ ab. 1830.)

Here the alternate lines are catalectic, both light syllables being wanting.

Cannon to right of them, Cannon to left of them, Cannon in front of them Volley'd and thunder'd; Storm'd at with shot and sh.e.l.l, Boldly they rode and well, Into the jaws of Death, Into the mouth of h.e.l.l Rode the six hundred.

(TENNYSON: _Charge of the Light Brigade._ 1854.)

Here the fourth and ninth lines are catalectic.

Loudly the sailors cheered Svend of the Forked Beard, As with his fleet he steered Southward to Vendland; Where with their courses hauled All were together called, Under the Isle of Svald Near to the mainland.

(LONGFELLOW: _Saga of King Olaf_, xvii. 1863.)

In the reading of these stanzas from Tennyson and Longfellow there is so marked a stress on the final syllable as to make the second dactyl (except in the opening lines of the Tennyson stanza) more like a Cretic (in the cla.s.sical terminology); _i.e._ a foot made up of two heavy syllables with a light syllable between them. But no such foot is generally recognized in English verse.

_Two-stress irregular._

On the ground Sleep sound: I'll apply To your eye, Gentle lover, remedy.

When thou wak'st, Thou tak'st True delight In the sight Of thy former lady's eye.

(SHAKSPERE: Puck's Song in _Midsummer Night's Dream_, III. ii. ab.

1595.)

What I hate, Be consecrate To celebrate Thee and Thy state, No mate For Thee; What see For envy In poor me?

(BROWNING: Song in _Caliban upon Setebos_. 1864.)

In the usual printing of _Caliban upon Setebos_ this song is brought into the form of the five-accent lines. It is evidently intended, however, to be read in two-accent groups. Professor Moulton has remarked interestingly that Browning gives the unique figure of Caliban not only a grammar but a prosody of his own.

Though my rime be ragged, Tattered and jagged, Rudely raine-beaten, Rusty and moth-eaten; If ye take wel therewith, It hath in it some pith.

(JOHN SKELTON: _Colyn Cloute_. ab. 1510.)

This is a specimen of what Mr. Churton Collins calls "that headlong voluble breathless doggrel which, rattling and clashing on through quick-recurring rhymes, ... has taken from the name of its author the t.i.tle of Skeltonical verse." (Ward's _English Poets_, vol. i. p. 185.) The number of accents, as well as the number of syllables, is irregular, being quite as often (perhaps more often) three as two.

_Three-stress iambic._

O let the solid ground Not fail beneath my feet Before my life has found What some have found so sweet; Then let come what come may, What matter if I go mad, I shall have had my day.

(TENNYSON: Song in _Maud_, xi. 1855.)

(In combination with verse of four, five, and six stresses:)

The Oracles are dumb; No voice or hideous hum Runs through the arched roof in words deceiving.

Apollo from his shrine Can no more divine, With hollow shriek the steep of Delphos leaving: No nightly trance or breathed spell Inspires the pale-eyed priest from the prophetic cell.

(MILTON: _Ode on the Morning of Christ's Nativity_. 1629.)

Here, in line 5, we have an instance of a verse truncated at the beginning,--rare in modern English poetry.

(With feminine ending:)

The mountain sheep are sweeter, But the valley sheep are fatter; We therefore deemed it meeter To carry off the latter.

We made an expedition; We met an host and quelled it; We forced a strong position, And killed the men who held it.

(THOMAS LOVE PEAc.o.c.k: War Song of Dinas Vawr, from _The Misfortunes of Elphin_. 1829.)

In line 2 is an instance of anacrusis.

_Three-stress trochaic._

(In combination with iambic:)

Go where glory waits thee, But, while fame elates thee, Oh! still remember me.

When the praise thou meetest To thine ear is sweetest, Oh! then remember me.

(THOMAS MOORE: _Go Where Glory Waits Thee_. ab. 1820.)

(In combination with six-stress verses:)

Hail to thee, blithe Spirit!

Bird thou never wert, That from heaven, or near it, Pourest thy full heart In profuse strains of unpremeditated art.

Higher still and higher From the earth thou springest, Like a cloud of fire The blue deep thou wingest, And singing still dost soar, and soaring ever singest.

(Sh.e.l.lEY: _To a Skylark_. 1820.)

Here lines 2 and 4 are catalectic.

_Three-stress anapestic._

I am monarch of all I survey; My right there is none to dispute; From the centre all round to the sea I am lord of the fowl and the brute.

(COWPER: _Verses supposed to be written by Alexander Selkirk._ 1782.)