imitative origin of things like couplets, or even quatrains (which
might, and almost certainly would, suggest themselves without pattern),
the case is different with such a thing as the permutation of rhyme in
a fixed order of sevens _ababbcc_. It may, therefore, be very likely
that Chaucer took this from Guillaume de Machault, a slightly older
French poet (1284?-1377), with whom he was certainly acquainted. If so,
it is unlikely that Machault invented it, though he may have done so;
for there is almost every possible cross-arrangement of rhymes in the
enormous wealth of French and Provençal lyric from the eleventh to the
fourteenth century. But it was certainly not a frequent metre before.
On the other hand, Chaucer's _Troilus_ made it the most fashionable
metre in English throughout the fifteenth century for long narrative
poems, and it was splendidly written by Sackville in the mid-sixteenth,
but thereafter succumbed to the octave. The last considerable example
of it, in the larger Elizabethan period, was the _Leoline and Sydanis_
of Sir Francis Kynaston, a great admirer of Chaucer, who actually also
translated part of _Troilus_ into Latin rhyme-royal. But it was revived
in the worthiest fashion by the late Mr. William Morris.
VII. OCTAVE.--There are two principal eight-line stanzas of
decasyllables used in English. The oldest form, employed by Chaucer,
appears to have been derived from the French, as it is certainly used
by Deschamps, and may have been by Machault. Here the rhymes are
arranged _ababbcbc_. By addition of an Alexandrine this arithmetically
makes the Spenserian (_v. inf._). The other--later, but much more
largely used--is derived from the Italian _ottava rima_, the rhyme
order of which is _abababcc_. This is the kind employed by Fairfax
(with great results, though rather in the direction of its final
couplet than as a whole) in his translation of Tasso (1600), and (with
a comic bent also directly imitated from Italian) by Frere in _The
Monks and the Giants_, and (after him) by Byron in _Beppo_ and _Don
Juan_. The greatest modern serious employment of it is in Shelley's
_Witch of Atlas_.
VIII. SPENSERIAN.--The Spenserian stanza of nine lines--eight
decasyllables and an Alexandrine, rhymed _ababbcbcc_--is entirely the
invention of Edmund Spenser. It is false to say that it was "taken
from the Italians"; for there is no such stanza in Italian, and the
octave-decasyllabic part of it is rhymed differently from the Italian
octave. It is irrelevant to say that it is the Chaucerian octave
with an Alexandrine added; for it is exactly in the addition of the
Alexandrine that the whole essence and the whole beauty of the stanza
consist. It is still more irrelevant, though true, to assert that there
had been a few attempts (as by More) to add an Alexandrine to other
stanzas or to lengthen out their last line into one; for it is of
_this_ stanza that we are talking, and not of something else. Therefore
it is sufficient to say once more that the Spenserian stanza is the
invention of Edmund Spenser, and one of the greatest inventions known
in prosody.
IX. BURNS METRE.--This arrangement is found first in the verse of the
Provençal prince, William IX. Count of Poitiers (poems about 1090).
Pus oezem de novelh florir
Pratz e vergiers reverderir
Rius e fontanas esclarrir
Auras e vens
Beu deu quas des lo joy jourir
Dou es jauzens.
He has it also in a seven-line form, with four instead of three eights
to start with; while the shorter variety is repeated in Northern
France, as in the beautiful song of "Bele Aeliz." It appears in one
English romance, _Octovian Imperator_, and largely in the Miracle
plays; but later seems to have been preserved only in Scotland, where
Burns gave it once more world-wide vogue.
X. OTHER STANZAS.--Of the numerous other forms of what some improperly
call "irregular verse"--what King James the Sixth (First) showed
himself much more of a Solomon in calling "broken and cuttit," and
adding, "quhairof new formes are daylie inventit according to the
Poëtes Pleasour"--it is impossible to give an exhaustive account, or
even to supply a mere list with examples of the "formes."[181] It is
sufficient to say that when the new English prosody was in making
there were already extensive patterns of such verse in French and
Provençal poetry; that these were freely imitated and improved upon.
In the present writer's larger _History_ the passages dealing with the
contents of MS. Harl. 2253, with the Vernon MS., and with the Miracle
plays will be found to contain specifications of almost every form,
and examples of not a few. This liberty continued in the lyrics of the
Elizabethan period in the larger sense, being especially manifested
in the later Elizabethan miscellanies of the time proper, and in the
Caroline poets; but was discontinued in practice, and frowned upon
in principle, during the eighteenth century. It was revived in the
nineteenth by the great poets of the first Romantic period to some
extent, but to a much greater degree by some of their "intermediate"
successors, like Beddoes and Darley; while, from Tennyson and Browning
onward, it has been the delight of almost every poet worthy of the name
to add to the variety.
FOOTNOTES:
[162] The longest passage that my memory (assisted in this case by
the kindness of my friend and colleague Professor Hardie) supplies is
in Aristophanes, _Eq._ 911-940. And it is not insignificant that this
not only becomes (and seems actually to be started by) a burlesque
repetition--
Α. εμου μεν ουν.
Κ. εμου μεν ουν,
but can only be made out by constantly breaking words, as in
εις ἡν αναλων ουκ εφε-
ξεις ουδε ναυπηγουμενος.
[163]
Stirpe decens, elegans specie,
Sed magis actibus atque fide,
Terrea prospera nil reputans
Jussa Dei sibi corde ligans.
This, which is still fourth century, is important as showing _couplet_
rhyme. Hilary had rhymed in _fours_.
[164] It may be added that while the ancient trimeter is very largely
patient of substitution, the French Alexandrine positively refuses any,
and the English is, for an English line, distinctly intolerant of it.
[165]
And somewhat of that tree, they bond until his hands.
[166] As thus:
[_Et_] me|um est | propo|situm | [_hac_] in | taber|na mori.
[167] (_a_) From Heywood:--
(1) Octosyllabic principally:
And I to every soul again
Did give a beck them to retain,
And axèd them this question than,
If that the soul of such a womàn
Did late among them there appear?
(_Four P's._)
But in close proximity such lines as
But Lord! how low the Souls made curtesy,
and
'Christ, help,' quoth a soul that lay for his fees,
make their appearance.
(2) Hawesian or Barclayan decasyllables staggering into Alexandrine or
anapæstic doggerel:
How can he have pain by imagination,
That lacketh all kinds of consideration?
And in all senses is so insufficient
That nought can he think in ought that may be meant
By any means to devise any self thing,
Nor devise in thing past, present, or coming?
(_Wit and Folly._)
(For other passages from Heywood see Scanned Conspectus, § XVIII.)
(_b_) Longer examples:--
(1) With Alexandrine norm:
Therefore see that all shine as bright as Saint George,
Or as doth a key newly come from the smith's forge.
(_Ralph Roister Doister._)
(2) With fourteener ditto:
_D._ I know not what a devil thou meanest, thou bringest me mere in
doubt.
_H._ Knowest not on what tom-tailor's man sits broaching through a
clout?
(_Gammer Gurton's Needle._)
It is curious how closely this unreverend metre sometimes comes to the
heroic model of _Sigurd_.
(3) With decasyllabic ditto:
Housed to say that as servants are obedient,
To their bodily masters being in subjection,
Even so evil men that are not content
Are subject and slave to their lust and affection,
where, once more, the norm may be shifted to the anapæst.
[168]
̆ ̄ ̆ ̄ ̆ ̄ ̆ ̄||̆ ̄ ̆ ̄ ̆ ̄ ̆ ̄
̆ ̄ ̆ ̄ ̆ ̄ ̆ ̄||̆ ̄ ̆ ̄ ̆ ̄ ̆ ̄
= ̆ ̄ ̆ ̄ ̆ ̄ ̆ ̄
̆ ̄ ̆ ̄ ̆ ̄
̆ ̄ ̆ ̄ ̆ ̄ ̆ ̄
̆ ̄ ̆ ̄ ̆ ̄
(Substitution of individual feet in each case immaterial.)
[169] The nearest is probably No. 28 in Bartsch, _Romanzen und
Pastourellen_, "Volez vos que je vos chante," with its famous verse
about the nightingale and the mermaid. But there is a perpetual
tendency to cut the eights to sevens and the sixes to fives, as thus:
Li rosignox est mon pere
Qui chante sur la ramee
El plus haut boscage.
La seraine ele est ma mere
Qui chante en la mer salee
El plus haut rivage.
[170] There are examples, as in the _Vie de Saint Léger_ and in Alberic
of Besançon's fragmentary poem on Alexander, but few of them, and the
couplet soon conquers.
[171]
Buona pulcella fut Eulali_a_, } _rhyme._
Bel auret corps, bellezour anim_a_. }
Voldrent la veintre li deo inim_i_ } _assonance._
Voldrent la faire diaule serv_ir_. }
[172] Not to the present writer, nor, he thinks, to any one who is
really familiar with the _Chansons de geste_.
[173]
A book of verses underneath the bough,
A jug of wine, a loaf of bread--and thou
Beside me singing in the wilderness--
Oh! wilderness were Paradise enow!
[174]
I seal myself upon thee with my might,
Abiding always out of all men's sight,
Until God loosen over sea and land
The thunder of the trumpets of the night--
The only difference of these is that FitzGerald, following, I believe,
his Persian original, left the third lines quite blank, while Mr.
Swinburne rhymed these in adjacent stanzas.
[175] For examples see above, Book II. Chap. VI. pp. 209, 210.
[176]
To whom shal I then pleyne of my distresse?
Who may me helpe? Who may my harm redresse?
_Shall I compleyne unto my lady fre? }
Nay, certes! for she hath such hevynesse, }
For fere, and eek for wo, that, as I gesse,}
In litil tyme it wol her bane be._ }
But were she sauf, it were no fors of me!
Alas! that ever lovers mote endure,
For love, | so ma|ny a pe|rilous a|venture!
(ll. 191-199.)
[177]
My dere herte and best beloved fo,
Why liketh yow to do me al this wo,
_What have I doon that greveth yow, or sayd,
But for I serve and love yow and no mo?
And whilst I lyve I wol ever do so;
And therefor, swete, ne beth nat yvel apayd.
For so good and so fair as [that] ye be }
Hit were right grete wonder but ye hadde }
Of alle servantes, bothe of goode and badde;}
And leest worthy of alle hem, I am he._ }
Not dissimilar suggestions may be found in Dunbar's _Golden Targe_.
[178]
We heard how they you hight,
If they might find that child,
For to have told you right,
But certes they are beguiled.
{_Swilk tales are not to trow,
{ Full well wot ilka wight,
{ Thou shall never more have might
{Ne maistery unto you._
[179]
Who, as an offering at your shrine,
Have sung this hymn and here entreat
One spark of your diviner heat
To light upon a love of mine.
[180]
Consider the sea's listless chime,
Time's self it is, made audible:
The murmur of the earth's own shell--
Secret continuance sublime
Is the sea's end; our sight may pass
No furlong further. Since time was
This sound hath told the lapse of time.
(_The Sea Limits._)
[181] For instance, Coleridge has shown, in the _Ancient Mariner_, that
the ballad or common measure of four lines, 8, 6, 8, 6, _abab_, can be
extended to any number of lines up to _nine_ (_v. sup._ p. 97), with
the number and order of each rhyme-end varied to suit, and yet without
overrunning, or loosening the general grip and character of the stanza.
Now the smallest knowledge of mathematics will show the enormous number
of combinations--five-, six-, seven-, eight-, and nine-lined, with the
_a_ and _b_ rhymes variously grouped--that would require tabulation
even up to this limit. And it would argue utter insensibility to the
qualities and capacities of English poetry to deny that, on the morrow
of this classification, a poet might arise who would give the same
solid effect to _ten_ or more lines with still more endlessly varied
rhyme-permutation. Instead, therefore, of attempting a hopeless and
even mischievous task (for these classifications always generate the
idea that whatsoever is outside of them is bad), it has seemed better
to lay down, and to illustrate largely and variously, the principles on
which all such legitimate combinations have been formed hitherto, but
on which they may legitimately be formed anew _ad infinitum_. And this,
it is hoped, has been done sufficiently here.
CHAPTER IV
BIBLIOGRAPHY
(The following list contains almost everything with which any student,
who is not making the subject one of exhaustive and practically
original research, need make himself acquainted; while it will carry
him pretty far even in that direction. Further information will be
found in the works of Mr. T. S. Omond, _English Metrists_ (Tunbridge
Wells, 1903), and _English Metrists of the Eighteenth and Nineteenth
Centuries_ (Oxford and London, 1907), as well as in the present
writer's larger _History of English Prosody_. Several of the works
hereinafter catalogued will be found collected in Professor Gregory
Smith's _Elizabethan Critical Essays_ (2 vols., Oxford, 1904), and
extracts from not a very few of them in the present writer's _Loci
Critici_ (Boston, U.S.A., and London, 1903).)
ABBOTT, E. A. _Shakesperian Grammar_ (London, 1869), and (with J. R.
Seeley) _English Lessons for English People_ (London, 1871). Reissued
frequently.
ALDEN, R. M. _English Verse_ (New York, 1904), and _Introduction to
Poetry_ (New York, 1909).
[BLAKE, J. W.] _Accent and Rhythm explained by the Law of
Monopressures_ (Edinburgh, 1888).
BREWER, R. F. _Manual of English Poetry_ (London, 1869). Reissued and
enlarged later as _Orthometry_ (London, 1893).
BRIDGES, R. S. _Milton's Prosody_ (Oxford, 1889). Frequently reissued,
especially in 1901, with important additions on stress-prosody.
BYSSHE, EDWARD. _The Art of English Poetry_ (London, 1702). Frequently
reprinted throughout the eighteenth century, the best edition being
that of 1708.
CALVERLEY, C. S. _On Metrical Translation_, originally in a magazine.
Reprinted in _Works_ (London, 1901).
CAMPION, THOMAS. _Observations in the Art of English Poetry_ (London,
1602). Reprinted in Gregory Smith's _Elizabethan Essays_, in Bullen's
_Works_ of Campion (London, 1889), and in the Oxford edition of these
_Works_ (1910).
CAYLEY, C. B. _Remarks and Experiments on English Hexameters_
(_Transactions of Philological Society_, Berlin, 1861), and Preface to
translation of Æschylus's _Prometheus Bound_ (London, 1867).
COLERIDGE, S. T. Preface to _Christabel_. Almost any edition of _Poems_.
CONWAY, GILBERT. _A Treatise of Versification_ (London, 1878).
CROWE, WILLIAM. _A Treatise on English Versification_ (Oxford, 1827).
DANIEL, SAMUEL. _A Defence of Rhyme_ (London, 1603?-1607). In Gregory
Smith, and in all reprints of Daniel's _Works_, as well as among the
_Poems_ in Chalmers's _Poets_.
DRYDEN, JOHN. No single concentrated treatment, but interesting
glances, some of which will be found in _Loci Critici_ (_v. sup._), and
all of which can be easily traced in Professor Ker's edition of the
_Critical Essays_ (2 vols., Oxford, 1900).
GASCOIGNE, GEORGE. _Certain Notes of Instruction in English Verse_
(London, 1575). Reprinted in Gregory Smith, in Arber's English reprints
(London, 1868), etc.
GOLDSMITH, OLIVER. _Essay on Versification_ (_British Magazine_,
London, 1763). Reprinted in all editions of his _Works_ as
"Miscellaneous Essays, No. 18."
GUEST, EDWIN. _History of English Rhythms_ (2 vols., London, 1838).
Reprinted and edited in one vol. by Professor Skeat (London, 1882).
HODGSON, SHADWORTH. "English Verse" in _Outcast Essays_, etc. (London,
1881).
HOOD, T. (the younger). _The Rules of Rhyme_ (London, 1869).
JENKIN, FLEEMING. Papers on Metre in _Saturday Review_ for 1883.
Reprinted in _Memoir and Remains_ (Edinburgh, 1887).
JOHNSON, SAMUEL. Papers chiefly in _The Rambler_ (London, 1750). To
be found partly in _Loci Critici_, and completely in all editions of
the _Rambler_ itself. A few remarks on prosody are in the "Grammar"
accompanying the _Dictionary_, and many scattered over the _Lives of
the Poets_.
KER, W. P.--_Analogies between English and Spanish Verse_
(_Philological Society's Transactions_, London, 1899).
KING JAMES THE FIRST (SIXTH OF SCOTLAND). _Rewlis and Cautelis_. [Full
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and in Gregory Smith.
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1906).
LIDDELL, MARK H. _Introduction to the Scientific Study of English
Poetry_ (New York, 1902).
MASON, JOHN. _An Essay on the Power of Numbers and the Principle of
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_Loci Critici_.
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vi. (Oxford, 1894). Rehandled in paper on the _Scansion of English
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important remarks (see text) in _Letters_ and _Correspondence_.
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1898). Reprinted, without specimens, together with Mr. Bridges'
_Prosody of Milton_ (Oxford, 1901).
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Reprinted by Arber (London, 1870) and in Gregory Smith.
INDEX
["Gloss." indicates that the word will be found explained at its
alphabetical place in the Glossary.]
Abbott, Dr., 259, 337
Abnormal lines in Shakespeare, 130
Accent and accentual system, Bk. I. Ch. II. and _passim_ (Gloss.)
Acephalous, 51, 157 (Gloss.)
Acrostic (Gloss.)
Adjective, forms in -_y_, 166 _note_
_Adonais_, 204
_Agincourt, Ballad of_, 303
_Alastor_, 204, 312
Alberic of Besançon, 330 _note_
Alcaics, 124 (Gloss.)
Alcman, 318
Alden, Mr. R. M., 337
Alexandrine, 15, 49, 51, 53, 55, 61, 65-71, 79, 84, 85, 90, 91, 102, 109,
129, 130, 159, 171, 177, 192, 193, 205, 212, 227,
290 (Gloss. and Origin-List)
_Alexis, St._, 331
_Alison_, 45
Allen, Mr. Grant, 125, 281
Alliteration, 34
Alliterative verse, 37-40, 48-50, 134-139, 151-153, 155 (Gloss.),
316, 317
_Alresford Pool_, 187
Ambrose, St., 38, 318
_Amoryus and Cleopes_, 53
Amphibrach (Gloss.)
Amphimacer (Gloss.)
Anacreon, 318
Anacrusis (Gloss.)
Anapæst, 31 and _passim_ (Gloss.)
_Ancient Mariner, The_, 272, 301, 329, 336 _note_
_Andromeda_, 123, 257, 306
Anglo-Saxon (or Old English) prosody, 37, 38, 134-137
_Anima Anceps_, 219 _note_
_Annus Mirabilis_, 209
Anti-bacchic (Gloss.)
_Anti-Jacobin, The_, 300
Antispast (Gloss.)
Antistrophe, 90 (Gloss.)
"Appoggiatura" (Gloss.)
_Arcades_, 185, 308
Aristophanes, 304, 318 _note_, 328
Arnold, M. (1822-1888), 102, 127, 212, 213, 286, 298
Arsis (Gloss.)
"Arte Mayor," 326
Artificial French forms, 125-127
Ascham, R. (1515-1568), 120, 121, 234
_Asolando_, 285 _note_
Assonance, 34 (Gloss.)
_Astræa_, 266
"At a Month's End," 217
Atonic (Gloss.)
_Atys, The_, 125, 281
_Awntyrs of Arthur, The_, 49
Ayton, Sir R. (1570-1638), 81
Bacchic (Gloss.)
Ballad (1647) (Gloss.)
Ballad-measure, 53, 56, 81, 96, 97 (Gloss. and Origin-List)
Ballade, 126 (Gloss.)
Bar (Gloss.)
Barbour, John (1316-1395), 55
_Bard, The_, scanned, 89-91
Barham, R. H. (1788-1844), 298, 308
Bartsch, 330
"Baston," 233
_Battle of Alcazar, The_, 64
"Battle of the Baltic, The," 300
Beat (Gloss.)
Beaumont (1584-1616) and Fletcher (1579-1625), 68, 175, 176
Beaumont, Sir John (1583-1627), 78, 187, 188, 239, 298, 311
Beddoes, T. L. (1803-1849), 206, 336
Behn, Afra (1640-1689), 189
_Bele Aeliz_, 335
_Bells and Pomegranates_, 211
_Beowulf_, 37
_Beppo_, 203, 300
Bernard of Morlaix, 329
_Beryn_, 165
_Bestiary, The_, 112, 143, 320, 323
_Blackwood's Magazine_, 21
Blake, W. (1757-1827), 33, 42, 93, 94, 112, 143, 145, 199, 298
Blank verse, 63-72, 88, 89, 104-108, 174 _sq._ (Gloss.)
Blind Harry (fifteenth century), 56, 163
"Boadicea" (Cowper's), 10, 302
"Boadicea" (Tennyson's), 125, 281
Bob and Wheel (Gloss.)
_Boethius_ (the Provençal), 321, 331
_Bothie of Tober-na-Vuolich, The_, 122
Bowles, W. L. (1762-1850), 200, 299
Bradshaw, Mr., 159
Brewer, R. F., 259, 337
Bridges, Mr., 12 _note_, 260, 261 _note_, 337
Brightland, J., 245
"Broken and cuttit" verse, 169, 173, 202, 237
Bronte, Emily (1818-1848), 129
Browne, W. (1591-1643), 75, 80, 187, 299
Browning, E. B. (1806-1861), 29, 212, 271, 299
Browning, R. (1812-1889), 100, 102, 105, 109, 117, 210-212, 285 _note_,
299, 324, 336
Brunne, Robert of (_fl._ 1288-1338), 233
Burden (Gloss.)
Burns, R. (1759-1796), and Burns-metre, 44-46, 199, 273,
299 (Gloss. and Origin-List)
Byron, Lord (1788-1824), 114, 203, 268, 300, 311, 334
Bysshe, E. (_fl._ 1702-1712), 16, 19, 27, 195, 242-245, 337
Cadence, 233 (Gloss.)
Cæsura (Gloss.)
Calverley, C. S. (1831-1884), 338
Campbell, T. (1777-1844), 300
Campion, Thomas (_d._ 1619), 33, 73, 121, 238, 300, 338
Canning, G. (1770-1827), 123, 124, 292, 300
_Canterbury Tales, The_, 51
"Canute Song, The," 136
Carey, John (1756-1826), 252
Carol, 164 (Gloss.)
Caroline verse, 189
"Castaway, The," 302
_Castle of Indolence, The_, 315
Catalexis (Gloss.)
Catullus, 125, 281, 283
Cayley, C. B., 338
Chalkhill, J. (_fl. c._ 1600?), 76, 187
Chamberlain, R. (_fl._ 1640-1660), 301
Chamberlayne, W. (1619-1689), 76, 187, 301
_Chansons de geste_, 266, 312, 323
Chant-royal (Gloss.)
Chapman, G. (1559?-1634), 281, 325
Chatterton, Thomas (1752-1770), 42, 93, 143, 145, 199, 301
Chaucer, G. (1340?-1400), 14, 42, 43, 47, 50, 51, 148, 155-163, 172, 186,
190, 191, 222, 233, 266, 267, 273, 278, 289, 291, 295, 296, 301, 307,
321-325, 332, 334
_Chauceriana_, 162
_Cherry and the Slae, The_, 57
Chesterfield, Philip Dormer Stanhope, 4th Earl of (1694-1773), 114
_Chevy Chase_, 53, 104
_Childe Harold_, 203, 300
Choriamb, 119 (Gloss.)
_Christabel_, 8, 42, 60, 95-100, 112, 170, 201, 251, 252, 301, 308, 312
_Christmas Eve and Easter Day_, 211
Churchill, Ch. (1731-1764), 194
_Cleanness_, 48
Cleveland, J. (1613-1658), 129 _note_, 301
_Cloud_, Shelley's, scanned, 100, 112, 204
Clough, A. H. (1819-1861), 122
_Coda_ (Gloss.)
Coleridge, S. T. (1772-1834), 8, 42, 95-100, 112, 121, 124, 143, 145,
166 _note_, 201, 208, 251, 252, 272, 299, 301, 312, 329, 336 _note_,
338
Collins, W. (1721-1759), 33, 94-100, 194, 196-199, 273, 301
"Come unto these yellow sands," 182 _note_
"Common," 7 and _passim_ (Gloss.)
Common measure, 81 _sq._ (Gloss.)
_Complaints_, Chaucer's, 332, 333
_Comus_, 177, 308
_Confessio Amantis_, 51
Congreve, W. (1670-1729), 302
Conway, G., 259, 338
Couplet (Gloss.)
"Cowee," 233
Cowley, A. (1618-1667), 78, 302, 324
Cowper, W. (1731-1800), 89, 94, 113, 125, 194, 196, 197, 292, 304
Crabbe, G. (1754-1832), 87, 88, 194
Cretic (Gloss.)
Crowe, W. (1745-1829), 27, 246, 252, 290, 338
_Crown of Laurel_, 54
_Cupid and Psyche_, 187 _note_
"Cuttit and broken" verse, 169, 173, 202, 237
_Cynara_, 129
Dactyl, 31, 33, and _passim_ (Gloss.)
Dallas, E.S. (1828-1879), 257
Damasus, Pope, 319
Daniel, S. (1562-1619), 185, 238, 338
Dante, 167 _note_, 284, 292, 295, 321, 322
Darley, G. (1795-1840), 206, 336
Darwin, E. (1731-1802), 200
Davenant, Sir John (1606-1668), 70, 176
David, A., 292
Davidson, Mr. John (1857-1909), 219
Davies, Sir John (1569-1626), 266
Decasyllable, 46 _sq._ and _passim_ (Gloss. and Origin-List)
_De Contemptu Mundi_, 329
_Defence of Guenevere, The_, 215, 309
Dennis, John (1657-1734), 241
Deschamps, Eust., 334
"Deserter," Curran's, 219 _note_
Di-iamb (Gloss.)
Dimeter (Gloss.)
Dispondee (Gloss.)
Distich (Gloss.)
Ditrochee (Gloss.)
Dixon, R. W. (1853-1900), 218, 219, 295, 303
Dobson, Mr. Austin, 125-127
Dochmiac (Gloss.)
Doggerel, 54, 55, 163 (Gloss. and Origin-List)
"Dolores" metre, 112-115
_Don Juan_, 203, 300
Donne, John (1573-1631), 73, 81, 302, 305
Douglas, G., 163
Dowson, E., 129
Drant, T. (d. 1578?), 236
Drayton, M. (1563-1631), 75, 77, 109, 185, 187, 225, 283, 302, 303, 324
"Dream of Fair Women, The," 209
Dryden, John (1631-1700), 15, 17 _note_, 29, 34 _note_, 82-85, 101-103,
129 _note_, 192, 193, 240, 241, 267, 274, 281, 290, 302, 303, 305,
310, 324, 332, 338
Dunbar, W. (1465?-1530?), 56, 163, 303
Duple (Gloss.)
Durfey, T. (1653-1723), 197, 199
Dyer, John (1700?-1758), 195 _note_, 303
_Dying Swan_ (Tennyson's) scanned, 110-112
_Earthly Paradise, The_, 215, 309
"E.I.O.," 54, 164
Elegiacs, English, 73, 122
_Elegy_, Gray's, 209
_Elinor Rumming_, 54
Elision (Gloss.)
Ellis, A. J. (1814-1890), 259
End-stopped (Gloss.)
_Endymion_, 205, 306
_England's Jubile_, 301
Enjambment (Gloss.)
"Enterlace," 233
Envoi (Gloss.)
Epanaphora (Gloss.)
Epanorthosis (Gloss.)
_Epithalamion_ (Spenser's), 62
Epitrite (Gloss.)
Epode (Gloss.)
Equivalence, 32 and _passim_ (Gloss.)
_Eulalia, Hymn of St._, 151 _note_, 321, 331
_Evangeline_, 116, 122, 256, 306, 307
Evans, Archdeacon (1789-1866), 257
_Eve of St. Agnes, The_, 205, 306
"Eve of St. John," 270
_Eve of St. Mark, The_, 206, 306
"Eveleen's Bower," 202, 270
"Evening, Ode to" (Collins'), 302
"Evening on the Broads," 119
_Example of Virtue, The_, 305
Extrametrical syllables, 18 _note_
Eye-rhyme, 172 (Gloss.)
_Faerie Queene, The_, 171, 280
Fairfax, E. (d. 1635), 77, 185, 187, 303, 311, 334
"Feet" ("foot"), 6 and _passim_ (Gloss.)
Feminine endings (Gloss.)
_Fifine at the Fair_, 212, 267, 303
"Fifteener," 39, 40 (Gloss.)
"Fingering," 35 (Gloss.)
Fitzgerald, E. (1809-1883). 217, 303, 332
Fletcher, Giles (1588?-1623), 304
Fletcher, John, _see_ Beaumont and F., 304
Fletcher, Phineas (1582-1650), 304
Foot, _see_ Feet
"Fourteener," 34, 40, 41, 49, 53, 55, 84, 85, 115, 140, 149, 153, 165,
167, 193, 215 (Gloss. and Origin-List)
French prosody, its connections, agreements, and differences with
English, 14
Frere, J. H. (1769-1846), 304, 334
_Friar Bacon and Friar Bungay_, 64
_Friars of Berwick, The_, 186, 303
Galliambics, 125 (Gloss.)
_Gamelyn_, 165, 281, 325, 326
Garth, S. (1661-1719), 85, 193
Gascoigne, G. (1525?-1577), 9, 15, 19, 59, 65, 155, 166, 168, 174, 199,
234, 235, 241, 290, 304, 314, 338
_Gawain and the Green Knight_, 48, 152, 221
Gay, J. (1685-1732), 92, 114, 310
Gemell or Geminel, 302 (Gloss.)
_Genesis and Exodus_, 14, 43, 47, 60, 145, 170, 221, 321
Gifford, H. (_fl._ 1580), 74
Gildon, C. (1665-1724), 245
Glover, R. (1712-1785), 88, 304
_Goblin Market_, 215, _note_
Godric, St. (12th cent.), 38, 136, 304
Goldsmith, O. (1728-1774), 96, 194, 338
_Gorboduc_, 63, 174
_Gorgeous Gallery of Gallant Inventions_, 72
_Gospel of Nicodemus_, 328
Gower, John (1325?-1408), 14, 42, 51, 153, 154, 156, 206, 222, 233, 274,
304
"Grandmamma" (Locker's), 300
"Grave Poem," the, 38, 136
Gray, T. (1718-1771), 89-92, 142, 194, 196-199, 249, 250, 294, 301, 302,
332
Greek prosody, its resemblance and relations to English, 1, 6, 7, 20,
32 _note_, 281
Greene, Robert (1560?-1592), 64
_Grongar Hill_, 195 _note_, 303
Guest, Dr. (1800-1880), 11 _note_, 38, 135, 237, 253-255, 292, 323, 324,
325, 329, 338
"Haidee, Lines to," 114
_Hamlet_, 130
Hampole, Richard Rolle of, (1290?-1349), 46, 47, 304, 305, 321
Hardie, Prof., 284 _note_, 318 _note_
Harvey, Gabriel (1545?-1630), 121, 236
_Havelok_, 149
Hawes, S. (d. 1523?), 163, 223, 305
Hayley, W. (1745-1820), 300
Head-rhyme (Gloss.)
Hendecasyllables, 124, 125 (Gloss.)
Henley, Mr. W. E. (1849-1903), 128, 219, 286
Henryson, R. (1430?-1506?), 56, 155, 163
Heptameter (Gloss.)
Herbert of Cherbury, Lord (1583-1648), 82, 333
_Hero and Leander_, 186
"Heroic" couplet, etc. (Gloss.)
Herrick, R. (1591-1674), 81, 305
"Hesperia," 118
Hewlett, Mr., 12 _note_
Hexameters, 120-123 (Gloss.)
Heywood, John (1497?-1580?), 54, 326, 327 _note_
Hiatus (Gloss.)
_Hiawatha_, 307
Hilary, 318
Hodgson, Mr. S., 260, 338
"Hollyhock" song (Tennyson's), 27, 99, 112
Holmes, O. W., 300
Hood, Tom, the elder (1799-1845), 269 _note_
Hood, Tom, the younger (1835-1874), 259, 338
Horace, 266, 289, 318
_Horn_ (_King_), 149, 221, 320, 323, 328
_House of Fame, The_, 50
Hughes, Thomas (fl. 1587), 64
Hunt, H. J. Leigh (1784-1859), 101, 305, 306
_Hyperion_, 205, 306
Iambic, 19, 31, and _passim_ (Gloss.)
"Immortality" Ode (Wordsworth's), 200 _note_
_Ingoldsby Legends, The_, 298
_In Memoriam_ metre, 81 _sq._, 312 (Origin-List)
Inverted stress (Gloss.)
Ionic (Gloss.)
_Isabella_, 204, 205, 306
"J. D.", 239
James I. of Scotland (1394-1437), 56, 163, 172 _note_
James VI. of Scotland (I. of England), (1566-1625), 236, 257, 296, 335,
338
_Jason, The Life and Death of_, 309
Jenkin, Prof. F. (1833-1885), 260, 338
"Jerusalem the Golden," 329
Johnson, Dr. (1709-1784), 12, 19, 87, 88, 194, 196, 246, 338
Jonson, Ben (1573?-1637), 72, 176, 187, 239, 241, 302, 305, 307, 333
_Judas_ poem, 41, 328
_Kapiolani_, 116, 201, 288
Keats, John (1795-1821), 101, 102, 108, 192, 205-6, 305, 306, 324
Ker, Prof., 326, 338, 339
_King Horn_, 112
_Kingis Quair, The_, 163, 290
Kingsley, Ch. (1819-1875), 118, 123, 257, 306
Kynaston, Sir Francis (1587-1642), 186, 334
_La Belle Dame sans Merci_, 206, 306
_L'Allegro_, 308
_Lamia_, 102, 306
Landor, W. S. (1775-1864), 306
Langland, W. (1330?-1400?), 49, 152, 153, 190, 222, 307, 323
Lanier, S., 261
_Laon and Cythna_, 204
"Last Buccaneer, The" (Macaulay's), 271, 308
"Last Leaf, The" (Holmes's), 300
"Last Ride Together, The," 211
Latham, R. G. (1812-1888), 11 _note_, 257
Latin prosody, its connection, agreements, and differences with English,
1, 6, 7, 20, 32 _note_
_Laus Veneris_, 217, 332
Lawes, H. (1596-1662), 240 _note_
Layamon (_fl. c._ 1200), 39-42, 137-139, 307, 319
_Lay of the Last Minstrel, The_, 201
_Lays of Ancient Rome_, 308
_Le Bone Florence of Rome_, 44
_Leger, Vie de St._, 330 _note_
_Leoline and Sydanis_, 334
Leonine verse, 143 (Gloss.)
"Letter of Advice" (Praed's), 114
Lewis, C. M., 339
Lewis, D. (1683-1760), 92
Lewis, M. G. (1775-1818), 200 _note_, 203, 307, 312
Liddell, Prof. Mark H., 339
_Life and Death of Jason, The_, 215
Line and Line-Combination, 33 and _passim_ (Gloss.)
Locker, F. (1821-1895), 300, 307
"Long," Bk. I. Chap. II. and _passim_ (Gloss.)
"Long" lines, 115, 116 (Origin-List)
"Long Measure," 81 _sq._ and _passim_ (Gloss.)
Longfellow, H. W. (1807-1882), 122, 256, 307
"Lotos-Eaters, The," 209
"Love among the Ruins," 211
_Love is Enough_, 118, 215-309
_Love-Rune_, 144
_Lycidas_, 183, 275, 309
Lydgate, John (1370?-1451?), 52, 53, 162, 223, 233, 287, 307
Lydgatian line, 52, 53 (Gloss.)
Lyndsay, Sir D. (1490-1555), 163
Macaulay, Lord (1800-1859), 207, 208 _note_, 271
Macaulay, Prof. G. C., 52
_Macbeth_, 23 _note_, 129, 130
Machault, G. de, 331, 334
M'Cormick, Dr., 12 _note_
Maginn, W. (1793-1842), 308
_Mano_, 218, 294, 303
Mapes, W. (_fl. c._ 1200), 325
"Mark Antony" (Cleveland's), 301
Marlowe, C. (1564-1593), 64, 66, 75, 174, 187, 308
Marmion, S. (1603-1639), 76, 187
Marot, C., 330
Martial, 318
Marvell, A. (1621-1678), 82
_Mary Ambree_, 74
Masculine rhyme (Gloss.)
Mason, J. (1706-1763), 247, 339
Masson, Prof., 258, 339
_Maud_, 115
Mayor, Prof. J. B., 260, 339
_Medea_ (Glover's), 304
Meredith, Mr. George (1829-1909), 125, 219, 281
_Merope_, 298
Metham, John (15th century), 53
Metre, 6 and _passim_ (Gloss.)
_Metrum_ (Gray's), 198, 250
Milton, John (1608-1674), 11, 12, 15, 25 _note_, 70, 71, 177-185, 191,
195, 240, 246, 260, 273, 277, 279, 289, 293, 294, 296, 308, 309, 324
_Mirror for Magistrates_, 166, 234 _note_, 322, 324
_Misfortunes of Arthur_, 64
Mitford, W. (1744-1827), 19, 248, 339
"Molly Mog," 92, 114
Molossus (Gloss.)
_Monks and the Giants, The_, 304
_Monk's Tale_, 289
Monometer (Gloss.)
Monopressure (Gloss.)
Monosyllabic foot, 23, 281; illustrations, _passim_
Montgomerie, Alex. (1556?-1610?), 57, 163
Moore, T. (1779-1852), 202, 270, 309
_Moral Ode_, 41, 141, 220, 281, 325
Morris, W. (1834-1896), 103, 108, 117, 118, 156, 206, 214, 215, 298, 306,
309, 334
_Mother Hubberd's Tale_, 62, 75
Murray, Lindley (1745-1826), 252
Musical and rhetorical arrangements of verse, 8 _note_, 35 (Rule 41)
(Gloss.)
Myers, F. (1843-1901), 128, 129
Nash, T. (1567-1601), 238
"Nativity" hymn (Milton's), 308
"Needy Knife-Grinder, The," 123, 292
Norton, Thomas (1532-1584), 63
_Notes of Instruction_ (Gascoigne's), 234, 235, 305
"Nut-brown Maid, The," 164
Occleve, 162, 199
Octave, 185, 186, 203-205 (Gloss. and Origin-List)
Octometer (Gloss.)
Octosyllable, 40 and _passim_ (Gloss. and Origin-List)
_Octovian Imperator_, 335
Old English prosody, _see_ Anglo-Saxon
_Omar Khayyám_, 217, 303, 332
Omond, Mr. T. S., 256, 261, 337, 339
_Orison of Our Lady_, 140, 141, 321
Orm and the _Ormulum_, 14, 17, 38, 140, 220, 310
O'Shaughnessy, A. E. (1844-1881), 217, 310
_Ossian_, 33 _note_, 199
_Ottava rima_ (Gloss. and Origin-List)
_Owl and the Nightingale, The_, 14, 42, 145, 221
Pæon (Gloss.)
"Palace of Art, The," 209
_Paracelsus_, 210
_Paradise Lost_ and _Paradise Regained_, 178-181, 309
_Pastime of Pleasure, The_, 305
"Paternoster," the M.E., 136, 220
Patmore, Coventry (1823-1896), 258, 339
_Pauline_, 210
Pause, 33 and _passim_ (Gloss.)
Pause-foot, 23 _note_, 281
_Pearl, The_, 49, 152
Peele, George (1558?-1597?), 64, 65, 174, 300, 310
Pemberton, H. (1694-1771), 245, 246
Pentameter (Gloss.)
Percy, Bp. (1729-1811), 75, 97, 197, 199, 310
_Phaethon_ (Mr. Meredith's), 281
_Pharonnida_, 187, 301
Philips, A. (1675?-1749), 199
_Phœnix, The_, 37
_Phœnix Nest, The_, 72
_Piers Plowman, The Vision of_, 49, 152, 153, 307
_Pills to Purge Melancholy_, 82
Pindar, 318
"Pindaric," 25 (Gloss.)
Poe, Edgar A. (1809-1840), 310, 340
"Poet, The" (Tennyson's), 209, 303
_Polyolbion_, 160, 266
Poole, Joshua (_fl. c._ 1640), 239
Pope, Alex. (1688-1744), 29, 85-87, 192-194
"Position" (Gloss.)
"Poulter's measure," 59, 167, 267 (Gloss.)
Praed, W. M. (1802-1839), 92, 114, 310
_Prick of Conscience_, 47, 305, 321
Prior, M. (1664-1721), 82, 194, 310
Proceleusmatic (Gloss.)
Prologue to _Canterbury Tales_, 50, 51
_Prometheus Unbound_, 204
Provençal, 273
_Proverbs of Alfred_, 141, 220
_Proverbs of Hendyng_, 142, 221
Prudentius, 318
Pulteney, W. (1684-1764), 114
Puttenham, G. or R. (both _fl. c._ 1560-1590), 237, 241, 340
Pyrrhic, 31 (Gloss.)
Quantity, 20 _sq._ and _passim_ (Gloss.)
_Quarterly Review, The_, 252
Quartet, Quatrain (Gloss. and Origin-List)
_Queen Mab_, 203, 312
"Queen was in the Parlour, The," 326
Quintet (Gloss.)
Quintilian, 284 _note_
Redundance (Gloss.)
Refrain (Gloss.)
_Reliques_ (Percy's), 197, 199, 310
_Revolt of Islam, The_, 204
Rhyme, 33-34 and _passim_ (Gloss.)
Rhyme-royal, 50, 56, 185, 215 (Gloss. and Origin-List)
"Rhyming Poem," 136
Rhythm (Gloss. and _passim_)
_Richard Cœur de Lion_, 43, 47
"Riding Rhyme," 157 (Gloss.)
_Rime couée_, 43, 150 _sq._ (Gloss. and Origin-List)
Robert of Gloucester (13th century), 41, 149, 281, 311, 325
Robert Manning (or of Brunne, _q.v._), 329
Romance (Gloss.)
"Romance-six," 43 and _passim_ (Gloss. and Origin-List)
Romances, the, 149
Rondeau, Rondel, 125 (Gloss.)
Roscommon, W. Dillon, Earl of (1633?-1685), 241
"Rose-cheeked Laura," 73, 74
Rossetti, Christina (1830-1894), 29, 213, 293, 311
Rossetti, D. G. (1828-1882), 120, 213, 293, 311, 333
Ruskin, Mr. (1819-1900), 260, 340
Rymer, T. (1641-1713), 241
Sackville, Thomas, Earl of Dorset (1536-1608), 166 _note_, 311, 334
_St. Alexis_, 331
_St. Eulalia_, 151 _note_, 321, 331
_St. Leger_, 330 _note_
_St. Paul_, 128
_Samson Agonistes_, 184, 309
Sandys, George (1578-1644), 78, 79, 311, 338
Sapphics, 124 (Gloss.)
_Saturday Review, The_, 260
Savage, R. (?-1743), 194
Sayers, F. (1763-1817), 94, 95, 200, 250, 312
Schipper, Dr., 340
Scott, Alex. (1528?-1584?), 57, 163
Scott, Sir Walter (1771-1832), 145, 200, 201, 300, 307, 312
_Seasons, The_, 195, 196
"Section," Guest's and others', 254 _note_ (Gloss.)
Sedley, Sir Charles (1639-1701), 189
Seeley, J. R., 259
Septenar, 40 (Gloss.)
Septet (Gloss.)
Sestet (Gloss.)
Sestine (Gloss.)
Shakespeare, W. (1564-1616), 15, 28, 29, 66-68, 79, 80, 129, 130, 174,
175, 181-183, 191, 224, 225, 279, 289, 293, 296, 308, 312, 324
Shelley, P. B. (1792-1822), 29, 96, 104, 203-205, 295, 306, 312, 335
Shenstone, W. (1714-1763), 18 _note_, 92, 113, 142, 194, 247, 313, 340
_Shepherd's Kalendar, The_, 15, 60, 145, 169-171
Sheridan, T. (1719-1788), 247
Shirley, James (1596-1666), 69, 176
"Short," 6 and _passim_ (Gloss.)
"Short" lines, 317
"Short measure," 167 (Gloss.)
Sidney, Sir P. (1554-1586), 169, 171, 267, 313, 324
Sievers, Dr., 37
_Sigurd the Volsung_ and _Sigurd_ metre, 118, 215, 309, 325
Single-moulded (Gloss.)
_Sir Thopas_, 143, 155, 160, 330
_Sir Tristrem_, 45
Skeat, Prof., 11 _note_, 260, 340
Skelton, John (1460?-1529), 54, 163, 223, 292
Skeltonic, 54 (Gloss.)
"Skylark" (Shelley's), 204
Slur (Gloss.)
Smith, Prof. Gregory, 337
"Song to a Portuguese Air," 309, 325
Sonnet, 167, 171, and _passim_ (Gloss.)
_Sordello_, 210
Southey, R. (1744-1843), 25, 95, 96, 121, 122, 123, 124, 143, 145, 200,
250, 299, 313, 340
Spanish poetry, 271, 273
Spedding, James (1808-1881), 340
Spenser, E., and Spenserian, 15, 42, 60-62, 75, 121, 145, 156, 169-172, 194, 224, 225, 236, 292, 305, 306, 308, 313, 324, 340 (Origin-List)
Spondee, 30 and _passim_ (Gloss.)
Stanyhurst, R. (1547-1618), 236
Stanza or Stave (Gloss.)
_Steel Glass, The_, 65, 174, 305
Steele, Joshua (1700-1791), 248, 249, 340
Stone, Mr. W. J. 123, 200, 236, 340
_Story of Thebes, The_, 52
Stress, Bk. I. Chap. II. and _passim_ (Gloss.)
"Stress-unit," 19 (Gloss.)
Strophe (Gloss.)
"Substitution," 32 and _passim_ (Gloss.)
Suckling, Sir John (1605-1642), 70
Surrey, Earl of (1517?-1547), 15, 59, 63, 159, 166, 223, 273, 313
Swift, Jon. (1667-1745), 194
Swinburne, A. C. (1836-1909), 29, 92, 100, 103, 114, 115, 118-120, 123, 124, 215-217, 257, 267, 268 _note_, 275, 283, 288, 292, 311, 313, 314, 327-332
Syllables, their position in English prosody, Bk. I. Chap. III. and _passim_
Symonds, J. A, (1840-1893), 12 _note_, 259, 340
Synalœpha (Gloss.)
Syncope (Gloss.)
Synizesis (Gloss.)
Syzygy (Gloss.)
Tailed sonnet (Gloss.)
_Tamburlaine_, 64
Tasso (Fairfax's), 185, 303, 334
Taylor, W. (1765-1836), 200, 250
_Temple of Glass, The_, 52
Tennyson, Lord (1809-1892), 24-29, 82, 99, 103, 106-108, 110-112, 115-116, 124, 125, 208-210, 257, 266, 268 _note_, 279, 283, 288, 297, 314, 332, 333, 336
Tercet (Gloss.)
_Terza rima_, 167, 307, 314 (Gloss.)
Tetrameter (Gloss.)
_Thalaba_, 96, 97, 313
Thaun, Ph. de, 112, 143
_Thealma and Clearchus_, 76, 187
Thelwall, John (1764-1834), 252, 270, 340
Thesis (Gloss.)
Thetbaldus, 143
Thomson, James (I.) (1700-1748), 88, 195, 196
Thomson, James (II.) (1834-1882), 217, 218
Thomson, Mr. William, 12 _note_, 261
"Time" (Gloss.)
_Tottel's Miscellany_, 168
"Townley" Plays, 46
Trench, Archbishop (1807-1886), 257
Tribrach, 31 and _passim_ (Gloss.)
Triolet, 125 (Gloss.)
Triple (Gloss.)
Triplet (Gloss.)
Trochee, 31 and _passim_ (Gloss.)
_Troilus and Criseyde_, 50, 290, 334
Truncation (Gloss.)
Tumbling verse, 237 (Gloss.)
Turberville, G. (1548?-1610?), 60, 168
Turn of words (Gloss.)
Tusser, T. (1524?-1580), 74, 168, 234, 314
Tyrwhitt, 248
"Under the Greenwood Tree," 28 _note_, 183 _note_
_Veni Redemptor gentium_, 38
Vernon, MS., 155, 322, 323
Verrier. M., 12 _note_, 100, 340
Verse (Gloss.)
_Versus caudatus_, 291
_Vie de St. Leger_, 330 _note_
"Vilikins and his Dinah," 285
_Vision of Judgment, The_, 121, 251, 313
"Vision of Sin, The," 209
Vowel-music, 35 (Gloss.)
_Voyage of Maeldune, The_, 116
Wace, 138
Wadham, Mr. E., 258, 340
Walker, John (of the Dictionary) (1732-1807), 252
Walker, W. Sidney (1795-1846), 258
Waller, Edm. (1606-1687), 78, 311, 314
Warton, T. (1728-1790), 200, 267
Watson, T., Bishop (1513-1584), 120
Watson, T., sonneteer (1557?-1592), 171
Watts, Dr. (1674-1748), 123, 245, 292, 314
Weak ending (Gloss.)
Webb, D. (1719-1798), 245
Webbe, W. (_fl. c._ 1586), 236, 340
"Wheel," 48, 49 (Gloss.)
Whitman, Walt, 33 _note_, 314
_William of Palerne_, 48, 221
William of Poitiers, 335
_Witch of Atlas, The_, 204, 335
Wither, George (1588-1667), 81, 187
Woodford, Dr. S. (1636-1700), 240
Wordsworth, W. (1770-1850), 104, 200, 250, 251, 314
Wrenched accent (Gloss.)
Wyatt, Sir T. (1503?-1542), 15, 57, 58, 61 _note_, 159, 166, 223, 295, 314
Wynn, Southey's letter to, 250
Wyntoun (15th century), 55, 233, 274
"Yardley Oak," 196
"York" Plays, 45
Young, E. (1683-1765), 89
_Zophiel_, 129
THE END
_Printed by R. & R. CLARK, LIMITED, Edinburgh._
* * * * *
Transcriber's Notes
In a few cases where sidenotes refer to new topics introduced within a
long paragraph, an additional paragraph break has been added.
All footnotes have been renumbered [1] ... [181]. Because of the number
and the length of some footnotes, all are presented at the end of the
chapter or section to which they refer.
On page 86 in the example (3) from the Rape of the Lock the first part
of each line is angled up the page, and second part of each line is
angled down.
Where changes have been made to the text (to correct more typographical
errors) these are listed as follows:
p. 29, footnote [24]: added missing opening quotation mark ("Quantity")
p. 38: added missing closing parenthesis around paragraph (_"Grave"
Poem.... added in dots._)
p. 54: added period to subtitle (Examples of Skeltonic and other
Doggerel.)
p. 57: added period to subtitle ( ... Poets before Spenser.)
p. 58: the foot markers in the last line of the Wyatt sonnet have been
repositioned, such that the original
For good | is thè | life | end|ing faithfully.
reads
For good | is thè | life end|ing faith|fully.
p. 59: final foot symbol in line 3 of the example in paragraph (d) was
moved from the end of the line to the expected position preceding "the
dice", as in
... what chance | come on | the dice.
p. 63 added missing foot symbol breaking the word "Unhap|py" to line 11
of the example in paragraph (a)
Unhap|py she | that on | no sleep | could chance,
p. 66: the final foot symbol in line 4 of the Marlowe sonnet moved from
Their minds, | and mu|ses, on | admirèd | themes;
to the expected position
Their minds, | and mu|ses, on | admir|èd themes;
p. 67: the final foot symbol in line 8 of the example in paragraph (2)
was moved from
With worms | that are | thy cham|ber-maids; O, | here
to
With worms | that are | thy cham|ber-maids; | O, here
p. 68: note that the diacritic over the "o'" combines breve and macron,
whereas a macron alone may be expected in the context (Trisyllabic at
... "ĭty̆ ō̆'.")
p. 71: added the missing final foot symbol from the line
Wherewith | she tamed | the brind|ed li|oness
p. 74 example (2): note that no foot symbol is given where expected at
the sentence break in
Let my | despair | prevail! O stay, | hope is | not spent.
p. 77 example (c) first line: changed "fictions" to "fictious", in
If fictious light I mix with Truth Divine
p. 105, example (d): changed final punctuation (unclear period) to comma
If you'd be free | o' the stove-|side, rocking-chair,
p. 118: added missing close parenthesis at end of paragraph
(Intentionally irregular ... and some here.)
p. 178, footnote [84], example (b): changed closing single quotation
mark to double quotation mark ( ... we must pronounce "spir't,") `
p. 225: added missing close parenthesis (as by Spenser ... and for
"history" by Drayton).
p. 335: changed "Emund" to "Edmund" (the invention of Edmund Spenser)