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A History of English Versification

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This work offers a systematic, historical and technical study of English versification, beginning with definitions of rhythm, accent, and the phonetic basis of metre and proceeding through the Old English alliterative line to its evolution in Middle and later English. It analyzes scansion, metrical types, alliteration, rhyme, stanza forms, and the relation of verse to sentence structure, classifies line and hemistich patterns, and surveys lyrical and narrative stanzas. Numerous poetic examples illustrate principles, and editorial notes record textual variants, errata, and typographical corrections for accurate reading.

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Title: A History of English Versification

Author: J. Schipper

Release date: July 29, 2013 [eBook #43352]
Most recently updated: October 23, 2024

Language: English

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Transcriber’s Note

The technical nature of this text required the extensive use of characters and typographical features that are not supported in Kindle and ePub formats. The html version, available from Project Gutenberg, will provide the most useful reading experience.

The text includes a brief list of errata, prepared by the author or printer. The uncorrected text is shown here, but the change is annotated with mouseover text which containing the corrected value. The errata relating to p. 268 and the passages regarding Bulwer are themselves, it seems, errata. There are no such page references there.

There are also a number of printer’s errors that were detected and corrected, which are also annotated using mouseover text.

This is a translation from a German original. Where there are apparent printing anomalies, an edition of the original was consulted and corrections made here. Cited materials were also occasionally consulted.

Please consult the more detailed notes at the end of this text for more details about corrections and other observations.

The characters used for metrical notation include a 'metrical breve', which is not widely supported. However, the Cardo TrueType font set has been found to provide good results. Also, there are numerous instances of multiple diacritical marks for most of the verse examples, which indicate rhythms and stresses. These may not display consistently for all letters in all browsers.

The cover image has been fabricated and is placed in the public domain.

A HISTORY OF
ENGLISH VERSIFICATION

BY

JAKOB SCHIPPER, Ph.D.

PROFESSOR OF ENGLISH PHILOLOGY IN THE UNIVERSITY OF VIENNA
MEMBER OF THE KAISERLICHE AKADEMIE DER WISSENSCHAFTEN, VIENNA
HON. D.LITT. OXON.; HON. LITT.D. CANTAB.
HON. LL.D. EDINBURGH AND ABERDEEN
HONORARY MEMBER OF THE MODERN LANGUAGE ASSOCIATION OF AMERICA

OXFORD
AT THE CLARENDON PRESS
1910

HENRY FROWDE, M.A.

PUBLISHER TO THE UNIVERSITY OF OXFORD
LONDON, EDINBURGH, NEW YORK
TORONTO AND MELBOURNE


PREFACE

It is now more than twenty years since a reviewer of the author’s Englische Metrik, in three volumes, expressed the opinion that ‘an English translation of it would do a service to English philology’. At that time, however, it seemed doubtful whether such a voluminous work, which probably would have interested only a comparatively small circle of English scholars, would have found a market. Even in Germany, although the work was favourably reviewed, and although at the time when it appeared great interest was felt in metrical research, the sale was comparatively slow.

Much livelier, on the other hand, was the demand for an abridged edition of it which appeared under the title Grundriss der englischen Metrik (Wien, 1895). It was therefore found possible, several years after its publication, to make arrangements with the Delegates of the Clarendon Press for an English edition of this smaller book. Unfortunately, however, the printing of the manuscript, which was submitted to the supervision of the late Professor York Powell, was delayed, first by the illness and the untimely death of that eminent scholar, and afterwards by other circumstances which it is not necessary to mention here.

On the whole the English text of the present volume is a close rendering of the German book, except in the first few chapters, which have been somewhat more fully worked out. It may also be mentioned that one or two modern English poets who seemed to be unduly neglected in the German book have received a larger share of attention in the English edition. Some errors of the original work have, of course, also been corrected here.

The treatment of the subject in this handbook is the same as in the author’s larger work. The systematic arrangement of the different kinds of verse in Book I, and of the varieties of stanzas in Book II, will enable the reader easily to find the appropriate place for any new forms of verse or stanza that may come in his way, and will also facilitate the use of the large German work, to which frequent references are given, for the benefit of those students who may desire more detailed information.

From the Preface to the German edition of the present work some remarks on the accents, chiefly in Part II of Book I, may be repeated here in order to prevent misunderstanding.

These accents on particular syllables in equal-measured rhythms are merely meant to facilitate the scansion of the verse according to the author’s view of its rhythmical movement, and to enable the student to apprehend more readily the precise meaning of the descriptions. They are by no means intended to dictate a schematic scansion to the reader, as it is obvious that the finer shades of the rhythm cannot be indicated by such a mode of accentuation. The safer and easier way undoubtedly would have been to put no accents at all; but this would have been less convenient for the reader, to whose own judgement it may be left in every case to be guided by the accents just so far as he may think proper.

In making this statement, however, I may be allowed to mention that none of the English friends who kindly assisted me in revising my manuscript has found fault with my system of accentuation.

My sincerest thanks for their kind help and advice are due to Dr. Francis J. Curtis, now Professor of English Philology in the Mercantile Academy at Frankfort on the Main, and in a still higher degree to Dr. James Morison, of Shotover Cottage, Headington Quarry, Oxford, Examiner in Sanskrit and German, both of them formerly Lectors of English in the University of Vienna. I am under equally great obligations to Dr. Henry Bradley, to whose care the final revision of the MS. was entrusted by the Delegates of the Clarendon Press, and who also had the great kindness to superintend the printing of it. To him I am indebted for several useful suggestions regarding the typographical arrangement, and still more for his valuable help in regard to the style of the book. To the Delegates and the Secretary of the Clarendon Press I feel greatly obliged not only for undertaking the publication, but also for the patient consideration they have shown me during the slow progress of this work.

J. SCHIPPER.

Vienna, Feb. 6, 1910.


CONTENTS

BOOK I. THE LINE
PART I. THE NATIVE METRE
CHAPTER I
GENERAL INTRODUCTION TO THE SCIENCE OF METRE
AND THE STRUCTURE OF VERSE
   PAGE
§ 1.Uses of the study of English metre1
 2.Object of the science of metre1
 3.Definition of rhythm2
 4.Distinction between prose and poetry3
 5.Phonetic qualities of syllables4
 6.Definition and use of the word accent4
 7.Classification of accent5
 8.Marks indicating position of accent8
 9.Principles of versification and their terms9
 10.Rhyme; its twofold purpose11
 11.End-rhyme, or full-rhyme12
 12.Vocalic assonance12
 13.Alliteration13
CHAPTER II
THE ALLITERATIVE VERSE IN OLD ENGLISH
§ 14.General remarks15
 15.Theories on the metrical form of the alliterative line15
 16.The four-beat theory16
 17.The two-beat theory19
 18.Accentuation of Old English24
 19.The secondary accent28
 20.Division and metrical value of syllables29
 21.Structure of the whole alliterative line30
 22.The structure of the hemistich in the normal alliterative line31
 23.Number of unaccented syllables of the thesis33
 24.Order of the verse-members in the hemistich35
Analysis of the Verse Types.
I. Hemistichs of four members.
 25.Type A, with sub-types A 1–336
 26.Type B, with sub-types B 1, 241
 27.Type C, with sub-types C 1–342
 28.Type D, with sub-types D 1–442
 29.Type E, with sub-types E 1, 243
II. Hemistichs of five members.
 30.Type A*, with sub-types A* 1, 2; Type B*; Type C*; Type D*, with sub-types D* 1–344
 31.Principles adopted in classification45
 32.Combination of hemistichs by means of alliteration45
Principles of Alliteration.
 33.Quality of the alliteration46
 34.Position of the alliterative words48
 35.Alliteration in relation to the parts of speech and to the order of words50
 36.Arrangement and relationship of verse and sentence54
The Lengthened Verse.
 37.The lengthened line; alliteration55
 38.The origin and structure of the lengthened verse57
 39.Examples of commonly occurring forms of the lengthened hemistich59
Formation of Stanzas and Rhyme.
 40.Classification and examples62
CHAPTER III
THE FURTHER DEVELOPMENT OF THE FREER FORM OF
THE ALLITERATIVE LINE IN LATE OLD ENGLISH AND
EARLY MIDDLE ENGLISH
  A. Transitional Forms.
§ 41.Increasing frequency of rhyme65
 42.Combination of alliteration and rhyme65
  B. The ‘Proverbs of Alfred’ and Layamon’s ‘Brut’.
 43.Development of the progressive form of the alliterative line67
 44.Nature and origin of the four-beat short-lined metre69
 45.Number of stresses72
 46.Analysis of verse-types74
 47.Extended types75
 48.Verse-forms rhythmically equivalent78
  C. The Progressive Form of the Alliterative Line, Rhymed Throughout. ‘King Horn.’
 49.Further development of the Layamon-verse79
 50.The metre of King Horn and its affinity to the alliterative line82
 51.Characteristics of King Horn and Layamon compared84
CHAPTER IV
THE ALLITERATIVE LINE IN ITS CONSERVATIVE FORM
DURING THE FOURTEENTH AND FIFTEENTH CENTURIES
  A. the Alliterative Verse Without Rhyme.
§ 52.Homilies and lives of the saints in rhythmical prose. Poems in regular alliterative verse85
 53.Use and treatment of words in alliterative verse87
 54.Examples of alliteration88
 55.Comparison of Middle and Old English alliterative verse90
 56.The versification of Piers Plowman93
 57.Modification of forms in the North of England and in the Midlands95
  B. the Alliterative Line Combined With Rhyme.
 58.Growing influence of verse formed on foreign models97
 59.Lyrical stanzas: four-beat and two-beat lines97
 60.Forms of structure and versification99
 61.Narrative verse101
 62.Relation between rhyme and alliteration101
 63.Features of alliterative-rhyming lines105
 64.Structures of the cauda105
 65.Two-beat lines in tail-rhyme stanzas106
 66.Rhyming alliterative lines in Mystery Plays108
 67.Alliteration in Moralities and Interludes109
 68.Four-beat scansion of Bale’s verses110
 69.Examples of the presence or absence of anacrusis in the two hemistichs110
 70.Entire tail-rhyme stanzas113
 71.Irregular tail-rhyme stanzas: Skeltonic verse114
  C. Revival of the Four-beat Alliterative Verse in the Modern English Period.
 72.Examples from Gascoigne, Wyatt, Spenser, &c.117
 73.Attempted modern revival of the old four-beat alliterative line without rhyme119
 74.Examples of the development of the four-beat alliterative line in reversed chronological order120
 75.Summing-up of the evidence124
PART II. FOREIGN METRES
DIVISION I. THE FOREIGN METRES IN GENERAL
CHAPTER V
INTRODUCTION
AND THE STRUCTURE OF VERSE
§ 76.Influence of French and Low Latin metres126
 77.The different kinds of line127
 78.The breaking up of long lines128
 79.Heroic verse; tail-rhyme staves131
 80.Different kinds of caesura131
 81.Causes of variation in the structure of metres of equal measures133
CHAPTER VI
VERSE-RHYTHM
AND THE STRUCTURE OF VERSE
§ 82.Lines with and without diaeresis135
 83.Effect of diaeresis on modulation136
 84.Suppression of the anacrusis137
 85.Level stress, or ‘hovering accent’138
 86.Absence of thesis in the interior of a line139
 87.Lengthening of a word by introduction of unaccented extra syllable141
 88.Inversion of rhythm141
 89.Disyllabic or polysyllabic thesis143
 90.Epic caesura145
 91.Double or feminine endings146
 92.Enjambement, or run-on line147
 93.Rhyme-breaking148
 94.Alliteration149
CHAPTER VII
THE METRICAL TREATMENT OF SYLLABLES
§ 95.General remarks on formative and inflexional syllables151
 96.Treatment of the unaccented e of words of three and four syllables in Middle English152
 97.Special remarks on individual inflexional endings154
 98.Treatment of -en in Middle and Modern English155
 99.The comparative and superlative endings -er, -est156
 100.The ending -est157
 101.The endings -eth, -es (’s)158
 102.The ending -ed (’d, t)158
 103.The ending -ed (-od, -ud) of the 1st and 3rd pers. sing. pret. and plur. pret. of weak verbs159
 104.The final -e in Middle English poetry160
 105.Examples of the arbitrary use of final -e161
 106.The final -e in later poetry of the North162
 107.Formative endings of Romanic origin163
 108.Contraction of words ordinarily pronounced in full165
 109.Amalgamation of two syllables for metrical purposes166
 110.Examples of slurring or contraction167
 111.Other examples of contraction; apocopation168
 112.Lengthening of words for metrical purposes169
CHAPTER VIII
WORD-ACCENT
§ 113.General remarks171
I. Word-accent in Middle English.
A. Germanic words.
 114.Alleged difference in degree of stress among inflexional endings containing e172
 115.Accent in trisyllables and compounds174
 116.Pronunciation of parathetic compounds175
 117.Rhythmical treatment of trisyllables and words of four syllables175
B. Romanic words.
 118.Disyllabic words177
 119.Trisyllabic words178
 120.Words of four and five syllables179
II. Word-accent in Modern English.
 121.Romanic accentuation still continued180
 122.Disyllabic words181
 123.Trisyllabic and polysyllabic words181
 124.Parathetic compounds182
DIVISION II. VERSE-FORMS COMMON TO THE MIDDLE AND
MODERN ENGLISH PERIODS
CHAPTER IX
LINES OF EIGHT FEET, FOUR FEET, TWO FEET, AND ONE FOOT
§ 125.The eight-foot line and its resolution into four-foot lines183
 126.Examples of the four-foot line183
 127.Treatment of the caesura in four-foot verse185
 128.Treatment of four-foot verse in North English and Scottish writings186
 129.Its treatment in the Midlands and the South187
 130.Combinations of four-foot and three-foot verse in Middle English188
 131–2.Freer variety of this metre in Modern English188
 133.Two-foot verse190
 134.One-foot verse191
CHAPTER X
THE SEPTENARY, THE ALEXANDRINE, AND THE THREE-FOOT LINE
§ 135.The septenary192
 136.Irregularity of structure of the septenary rhyming line as shown in the Moral Ode193
 137.Regularity of the rhymeless septenary verse of the Ormulum193
 138.The septenary with a masculine ending194
 139.The septenary as employed in early lyrical poems and ballads195
 140.Use of the septenary in Modern English196
 141–4.Intermixture of septenaries, alexandrines, and four-beat lines197
 145, 146.Origin of the ‘Poulter’s Measure’202
 147.The alexandrine: its first use204
 148.Structure of the alexandrine in Mysteries and Moral Plays205
 149.The alexandrine in Modern English205
 150.The three-foot line206
CHAPTER XI
THE RHYMED FIVE-FOOT VERSE
§ 151.Rhymed five-foot verse in Middle English209
 152.Sixteen types of five-foot verse210
 153.Earliest specimens of this metre212
 154.Chaucer’s five-foot verse; treatment of the caesura213
 155.Masculine and feminine endings; rhythmic licences214
 156.Gower’s five-foot verse; its decline215
 157.Rhymed five-foot verse in Modern English216
 158.Its use in narrative poetry and by Shakespeare217
 159.The heroic verse of Dryden, Pope, and later writers218
DIVISION III. VERSE-FORMS OCCURRING IN MODERN ENGLISH POETRY ONLY
CHAPTER XII
BLANK VERSE
§ 160.The beginnings of Modern English poetry219
 161.Blank verse first adopted by the Earl of Surrey219
 162.Characteristics of Surrey’s blank verse221
 163.Further development of this metre in the drama222
 164.The blank verse of Shakespeare223
 165.Rhymed and unrhymed lines in Shakespeare’s plays224
 166.Numerical proportion of masculine and feminine endings225
 167.Numerical proportion of ‘weak’ and ‘light’ endings225
 168.Proportion of unstopt or ‘run-on’ and ‘end-stopt’ lines226
 169.Shakespeare’s use of the full syllabic forms of -est, -es, -eth, -ed227
 170.Other rhythmical characteristics of Shakespeare’s plays228
 171.Alexandrines and other metres occurring in combination with blank verse in Shakespeare230
 172.Example of the metrical differences between the earlier and later periods of Shakespeare’s work232
 173.The blank verse of Ben Jonson233
 174.The blank verse of Fletcher234
 175.Characteristics of Beaumont’s style and versification235
 176.The blank verse of Massinger236
 177.The blank verse of Milton237
 178.The dramatic blank verse of the Restoration239
 179.Blank verse of the eighteenth century240
 180.Blank verse of the nineteenth century240
CHAPTER XIII
TROCHAIC METRES
§ 181.General remarks; the eight-foot trochaic line242
 182.The seven-foot trochaic line243
 183.The six-foot trochaic line244
 184.The five-foot trochaic line245
 185.The four-foot trochaic line246
 186.The three-foot trochaic line246
 187.The two-foot trochaic line247
 188.The one-foot trochaic line247
CHAPTER XIV
IAMBIC-ANAPAESTIC AND TROCHAIC-DACTYLIC METRES
§ 189.General remarks249
 I. Iambic-anapaestic Metres.
 190.Eight-foot iambic-anapaestic verse250
 191.Seven-foot iambic-anapaestic verse250
 192.Six-foot iambic-anapaestic verse251
 193.Five-foot iambic-anapaestic verse251
 194.Four-foot iambic-anapaestic verse252
 195.Three-foot iambic-anapaestic verse253
 196.Two-foot iambic-anapaestic verse253
 197.One-foot iambic-anapaestic verse254
 II. Trochaic-dactylic Metres.
 198.Eight-foot trochaic-dactylic verse254
 199.Seven-foot trochaic-dactylic verse255
 200.Six-foot trochaic-dactylic verse255
 201.Five-foot trochaic-dactylic verse256
 202.Four-foot trochaic-dactylic verse256
 203.Three-foot trochaic-dactylic verse257
 204.Two-foot dactylic or trochaic-dactylic verse257
 205.One-foot dactylic verse258
CHAPTER XV
NON-STROPHIC, ANISOMETRICAL COMBINATIONS OF RHYMED VERSE
§ 206.Varieties of this metre; Poulter’s measure259
 207–8.Other anisometrical combinations260
CHAPTER XVI
IMITATIONS OF CLASSICAL FORMS OF VERSE AND STANZA
§ 209.The English hexameter262
 210.Structure of the hexameter263
 211.Elegiac verse; the minor Asclepiad; the six-foot iambic line; Phaleuciac verse; Hendecasyllabics; rhymed Choriambics264
 212.Classical stanzas:—the Sapphic metre; the Alcaic metre; Anacreontic stanzas266
 213.Other imitations of classical verses and stanzas without rhyme267
BOOK II
THE STRUCTURE OF STANZAS
PART I
CHAPTER I. DEFINITIONS
STANZA, RHYME, VARIETIES OF RHYME
§ 214.Structure of the stanza270
 215.Influence of lyrical forms of Provence and of Northern France on Middle English poetry271
 216.Classification of rhyme according to the number of the rhyming syllables: (1) the monosyllabic or masculine rhyme; (2) the disyllabic or feminine rhyme; (3) the trisyllabic, triple, or tumbling rhyme272
 217.Classification according to the quality of the rhyming syllables: (1) the rich rhyme; (2) the identical rhyme; (3) the broken rhyme; (4) the double rhyme; (5) the extended rhyme; (6) the unaccented rhyme273
 218.Classification according to the position of the rhyming syllables: (1) the sectional rhyme; (2) the inverse rhyme; (3) the Leonine rhyme or middle rhyme; (4) the interlaced rhyme; (5) the intermittent rhyme; (6) the enclosing rhyme; (7) the tail-rhyme276
 219.Imperfect or ‘eye-rhymes’278
CHAPTER II
THE RHYME AS A STRUCTURAL ELEMENT OF THE STANZA
§ 220.Formation of the stanza in Middle English and Romanic poetry279
 221.Rhyme-linking or ‘concatenation’ in Middle English280
 222.The refrain or burthen; the wheel and the bob-wheel280
 223.Divisible and indivisible stanzas281
 224.Bipartite equal-membered stanzas282
 225.Bipartite unequal-membered stanzas282
 226.Tripartite stanzas283
 227.Specimens illustrating tripartition284
 228.The envoi286
 229.Real envois and concluding stanzas286
PART II. STANZAS COMMON TO MIDDLE AND MODERN ENGLISH, AND OTHERS FORMED ON THE ANALOGY OF THESE
CHAPTER III
BIPARTITE EQUAL-MEMBERED STANZAS
 I. Isometrical Stanzas.
§ 230.Two-line stanzas288
 231.Four-line stanzas, consisting of couplets288
 232.The double stanza (eight lines of the same structure)289
 233.Stanzas of four isometrical lines with intermittent rhyme290
 234.Stanzas of eight lines resulting from this stanza by doubling290
 235.Stanzas developed from long-lined couplets by inserted rhyme291
 236.Stanzas of eight lines resulting from the four-lined, cross-rhyming stanza and by other modes of doubling292
 237.Other examples of doubling four-lined stanzas293
 238.Six-lined isometrical stanzas294
 239.Modifications of the six-lined stanza; twelve-lined and sixteen-lined stanzas295
 II. Anisometrical Stanzas.
 240.Chief species of the tail-rhyme stanza296
 241.Enlargement of this stanza to twelve lines297
 242.Further development of the tail-rhyme stanza298
 243.Variant forms of enlarged eight and ten-lined tail-rhyme stanzas298
 244.Tail-rhyme stanzas with principal verses shorter than tail-verses299
 245.Other varieties of the tail-rhyme stanza300
 246.Stanzas modelled on the tail-rhyme stanza300
 247.Stanzas formed of two septenary verses301
 248.Analogical developments from this type302
 249.Eight-lined (doubled) forms of the different four-lined stanzas302
 250.Other stanzas of similar structure303
CHAPTER IV
ONE-RHYMED INDIVISIBLE AND BIPARTITE UNEQUAL-MEMBERED STANZAS
 I. One-rhymed and Indivisible Stanzas.
§ 251.Three-lined stanzas of one rhyme305
 252.Four-lined stanzas of one rhyme306
 253.Other stanzas connected with the above307
 II. Bipartite Unequal-membered Isometrical Stanzas.
 254.Four-lined stanzas308
 255.Five-lined stanzas308
 256.Four-lined stanzas of one rhyme extended by the addition of a couplet310
 III. Bipartite Unequal-membered Anisometrical Stanzas.
§ 257–8.Four-lined stanzas; Poulter’s measure and other stanzas311
 259.Five-lined stanzas314
 260.Shortened tail-rhyme stanzas316
 261.Six-lined stanzas317
 262.Seven-lined stanzas319
 263.Eight-, nine-, and ten-lined stanzas320
 264.The bob-wheel stanzas in the Middle English period321
 265.Bob-wheel stanzas of four-stressed rhyming verses322
 266.Modern English bob-wheel stanzas323
CHAPTER V
TRIPARTITE STANZAS
 I. Isometrical Stanzas.
§ 267.Six-lined stanzas326
 268.Seven-lined stanzas; the Rhyme Royal stanza327
 269.Eight-lined stanzas329
 270.Nine-lined stanzas330
 271.Ten-lined stanzas331
 272.Eleven-, twelve-, and thirteen-lined stanzas332
 II. Anisometrical Stanzas.
 273–4.Six-lined stanzas333
 275.Seven-lined stanzas335
 276–8.Eight-lined stanzas337
 279.Nine-lined stanzas339
 280–1.Ten-lined stanzas341
 282.Eleven-lined stanzas343
 283.Twelve-lined stanzas344
 284.Thirteen-lined stanzas345
 285.Fourteen-lined stanzas346
 286.Stanzas of fifteen to twenty lines347
PART III. MODERN STANZAS AND METRES OF FIXED FORM ORIGINATING UNDER THE INFLUENCE OF THE RENASCENCE, OR INTRODUCED LATER
CHAPTER VI
STANZAS OF THREE AND MORE PARTS CONSISTING OF UNEQUAL PARTS ONLY
§ 287.Introductory remark348
 288.Six-lined stanzas349
 289.Seven-lined stanzas351
 290–2.Eight-lined stanzas; the Italian ottava rima352
 293.Nine-lined stanzas355
 294.Ten-lined stanzas355
 295.Eleven-lined stanzas356
 296.Twelve-lined stanzas356
CHAPTER VII
THE SPENSERIAN STANZA AND THE FORMS DERIVED FROM IT
§ 297.First used in the Faerie Queene358
 298–300.Imitations and analogous forms359
CHAPTER VIII
THE EPITHALAMIUM STANZA AND OTHER ODIC STANZAS
§ 301.The Epithalamium stanza363
 302.Imitations of the Epithalamium stanza365
 303–5.Pindaric Odes, regular and irregular366
CHAPTER IX
THE SONNET
§306.Origin of the English sonnet371
 307.The Italian sonnet371
 308.Structure of the Italian form illustrated by Watts-Dunton373
 309.The first English sonnet-writers, Surrey and Wyatt373
 310.Surrey’s transformation of the Italian sonnet, and the form adopted by Shakespeare374
 311.Another form used by Spenser in Amoretti375
 312.The form adopted by Milton375
 313.Revival of sonnet writing in the latter half of the eighteenth century376
 314.The sonnets of Wordsworth377
 315.The sonnet in the nineteenth century379
CHAPTER X
OTHER ITALIAN AND FRENCH POETICAL FORMS OF A FIXED CHARACTER
 316–7.The madrigal380
 318–9.The terza-rima381
 320–1.The sextain383
 322.The virelay385
 323.The roundel385
 324.The rondeau387
 325.The triolet388
 326.The villanelle388
 327.The ballade389
 328.The Chant Royal390