The Project Gutenberg eBook of A History of English Versification
Title: A History of English Versification
Author: J. Schipper
Release date: July 29, 2013 [eBook #43352]
Most recently updated: October 23, 2024
Language: English
Credits: Produced by KD Weeks, Jonathan Ingram and the Online
Distributed Proofreading Team at http://www.pgdp.net
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 metre | 1 |
| 2. | Object of the science of metre | 1 | |
| 3. | Definition of rhythm | 2 | |
| 4. | Distinction between prose and poetry | 3 | |
| 5. | Phonetic qualities of syllables | 4 | |
| 6. | Definition and use of the word accent | 4 | |
| 7. | Classification of accent | 5 | |
| 8. | Marks indicating position of accent | 8 | |
| 9. | Principles of versification and their terms | 9 | |
| 10. | Rhyme; its twofold purpose | 11 | |
| 11. | End-rhyme, or full-rhyme | 12 | |
| 12. | Vocalic assonance | 12 | |
| 13. | Alliteration | 13 | |
| CHAPTER II | |||
| THE ALLITERATIVE VERSE IN OLD ENGLISH | |||
| § | 14. | General remarks | 15 |
| 15. | Theories on the metrical form of the alliterative line | 15 | |
| 16. | The four-beat theory | 16 | |
| 17. | The two-beat theory | 19 | |
| 18. | Accentuation of Old English | 24 | |
| 19. | The secondary accent | 28 | |
| 20. | Division and metrical value of syllables | 29 | |
| 21. | Structure of the whole alliterative line | 30 | |
| 22. | The structure of the hemistich in the normal alliterative line | 31 | |
| 23. | Number of unaccented syllables of the thesis | 33 | |
| 24. | Order of the verse-members in the hemistich | 35 | |
| Analysis of the Verse Types. | |||
| I. Hemistichs of four members. | |||
| 25. | Type A, with sub-types A 1–3 | 36 | |
| 26. | Type B, with sub-types B 1, 2 | 41 | |
| 27. | Type C, with sub-types C 1–3 | 42 | |
| 28. | Type D, with sub-types D 1–4 | 42 | |
| 29. | Type E, with sub-types E 1, 2 | 43 | |
| II. Hemistichs of five members. | |||
| 30. | Type A*, with sub-types A* 1, 2; Type B*; Type C*; Type D*, with sub-types D* 1–3 | 44 | |
| 31. | Principles adopted in classification | 45 | |
| 32. | Combination of hemistichs by means of alliteration | 45 | |
| Principles of Alliteration. | |||
| 33. | Quality of the alliteration | 46 | |
| 34. | Position of the alliterative words | 48 | |
| 35. | Alliteration in relation to the parts of speech and to the order of words | 50 | |
| 36. | Arrangement and relationship of verse and sentence | 54 | |
| The Lengthened Verse. | |||
| 37. | The lengthened line; alliteration | 55 | |
| 38. | The origin and structure of the lengthened verse | 57 | |
| 39. | Examples of commonly occurring forms of the lengthened hemistich | 59 | |
| Formation of Stanzas and Rhyme. | |||
| 40. | Classification and examples | 62 | |
| 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 rhyme | 65 |
| 42. | Combination of alliteration and rhyme | 65 | |
| B. The ‘Proverbs of Alfred’ and Layamon’s ‘Brut’. | |||
| 43. | Development of the progressive form of the alliterative line | 67 | |
| 44. | Nature and origin of the four-beat short-lined metre | 69 | |
| 45. | Number of stresses | 72 | |
| 46. | Analysis of verse-types | 74 | |
| 47. | Extended types | 75 | |
| 48. | Verse-forms rhythmically equivalent | 78 | |
| C. The Progressive Form of the Alliterative Line, Rhymed Throughout. ‘King Horn.’ | |||
| 49. | Further development of the Layamon-verse | 79 | |
| 50. | The metre of King Horn and its affinity to the alliterative line | 82 | |
| 51. | Characteristics of King Horn and Layamon compared | 84 | |
| 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 verse | 85 |
| 53. | Use and treatment of words in alliterative verse | 87 | |
| 54. | Examples of alliteration | 88 | |
| 55. | Comparison of Middle and Old English alliterative verse | 90 | |
| 56. | The versification of Piers Plowman | 93 | |
| 57. | Modification of forms in the North of England and in the Midlands | 95 | |
| B. the Alliterative Line Combined With Rhyme. | |||
| 58. | Growing influence of verse formed on foreign models | 97 | |
| 59. | Lyrical stanzas: four-beat and two-beat lines | 97 | |
| 60. | Forms of structure and versification | 99 | |
| 61. | Narrative verse | 101 | |
| 62. | Relation between rhyme and alliteration | 101 | |
| 63. | Features of alliterative-rhyming lines | 105 | |
| 64. | Structures of the cauda | 105 | |
| 65. | Two-beat lines in tail-rhyme stanzas | 106 | |
| 66. | Rhyming alliterative lines in Mystery Plays | 108 | |
| 67. | Alliteration in Moralities and Interludes | 109 | |
| 68. | Four-beat scansion of Bale’s verses | 110 | |
| 69. | Examples of the presence or absence of anacrusis in the two hemistichs | 110 | |
| 70. | Entire tail-rhyme stanzas | 113 | |
| 71. | Irregular tail-rhyme stanzas: Skeltonic verse | 114 | |
| 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 rhyme | 119 | |
| 74. | Examples of the development of the four-beat alliterative line in reversed chronological order | 120 | |
| 75. | Summing-up of the evidence | 124 | |
| 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 metres | 126 |
| 77. | The different kinds of line | 127 | |
| 78. | The breaking up of long lines | 128 | |
| 79. | Heroic verse; tail-rhyme staves | 131 | |
| 80. | Different kinds of caesura | 131 | |
| 81. | Causes of variation in the structure of metres of equal measures | 133 | |
| CHAPTER VI | |||
| VERSE-RHYTHM AND THE STRUCTURE OF VERSE | |||
| § | 82. | Lines with and without diaeresis | 135 |
| 83. | Effect of diaeresis on modulation | 136 | |
| 84. | Suppression of the anacrusis | 137 | |
| 85. | Level stress, or ‘hovering accent’ | 138 | |
| 86. | Absence of thesis in the interior of a line | 139 | |
| 87. | Lengthening of a word by introduction of unaccented extra syllable | 141 | |
| 88. | Inversion of rhythm | 141 | |
| 89. | Disyllabic or polysyllabic thesis | 143 | |
| 90. | Epic caesura | 145 | |
| 91. | Double or feminine endings | 146 | |
| 92. | Enjambement, or run-on line | 147 | |
| 93. | Rhyme-breaking | 148 | |
| 94. | Alliteration | 149 | |
| CHAPTER VII | |||
| THE METRICAL TREATMENT OF SYLLABLES | |||
| § | 95. | General remarks on formative and inflexional syllables | 151 |
| 96. | Treatment of the unaccented e of words of three and four syllables in Middle English | 152 | |
| 97. | Special remarks on individual inflexional endings | 154 | |
| 98. | Treatment of -en in Middle and Modern English | 155 | |
| 99. | The comparative and superlative endings -er, -est | 156 | |
| 100. | The ending -est | 157 | |
| 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 verbs | 159 | |
| 104. | The final -e in Middle English poetry | 160 | |
| 105. | Examples of the arbitrary use of final -e | 161 | |
| 106. | The final -e in later poetry of the North | 162 | |
| 107. | Formative endings of Romanic origin | 163 | |
| 108. | Contraction of words ordinarily pronounced in full | 165 | |
| 109. | Amalgamation of two syllables for metrical purposes | 166 | |
| 110. | Examples of slurring or contraction | 167 | |
| 111. | Other examples of contraction; apocopation | 168 | |
| 112. | Lengthening of words for metrical purposes | 169 | |
| CHAPTER VIII | |||
| WORD-ACCENT | |||
| § | 113. | General remarks | 171 |
| I. Word-accent in Middle English. | |||
| A. Germanic words. | |||
| 114. | Alleged difference in degree of stress among inflexional endings containing e | 172 | |
| 115. | Accent in trisyllables and compounds | 174 | |
| 116. | Pronunciation of parathetic compounds | 175 | |
| 117. | Rhythmical treatment of trisyllables and words of four syllables | 175 | |
| B. Romanic words. | |||
| 118. | Disyllabic words | 177 | |
| 119. | Trisyllabic words | 178 | |
| 120. | Words of four and five syllables | 179 | |
| II. Word-accent in Modern English. | |||
| 121. | Romanic accentuation still continued | 180 | |
| 122. | Disyllabic words | 181 | |
| 123. | Trisyllabic and polysyllabic words | 181 | |
| 124. | Parathetic compounds | 182 | |
| 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 lines | 183 |
| 126. | Examples of the four-foot line | 183 | |
| 127. | Treatment of the caesura in four-foot verse | 185 | |
| 128. | Treatment of four-foot verse in North English and Scottish writings | 186 | |
| 129. | Its treatment in the Midlands and the South | 187 | |
| 130. | Combinations of four-foot and three-foot verse in Middle English | 188 | |
| 131–2. | Freer variety of this metre in Modern English | 188 | |
| 133. | Two-foot verse | 190 | |
| 134. | One-foot verse | 191 | |
| CHAPTER X | |||
| THE SEPTENARY, THE ALEXANDRINE, AND THE THREE-FOOT LINE | |||
| § | 135. | The septenary | 192 |
| 136. | Irregularity of structure of the septenary rhyming line as shown in the Moral Ode | 193 | |
| 137. | Regularity of the rhymeless septenary verse of the Ormulum | 193 | |
| 138. | The septenary with a masculine ending | 194 | |
| 139. | The septenary as employed in early lyrical poems and ballads | 195 | |
| 140. | Use of the septenary in Modern English | 196 | |
| 141–4. | Intermixture of septenaries, alexandrines, and four-beat lines | 197 | |
| 145, 146. | Origin of the ‘Poulter’s Measure’ | 202 | |
| 147. | The alexandrine: its first use | 204 | |
| 148. | Structure of the alexandrine in Mysteries and Moral Plays | 205 | |
| 149. | The alexandrine in Modern English | 205 | |
| 150. | The three-foot line | 206 | |
| CHAPTER XI | |||
| THE RHYMED FIVE-FOOT VERSE | |||
| § | 151. | Rhymed five-foot verse in Middle English | 209 |
| 152. | Sixteen types of five-foot verse | 210 | |
| 153. | Earliest specimens of this metre | 212 | |
| 154. | Chaucer’s five-foot verse; treatment of the caesura | 213 | |
| 155. | Masculine and feminine endings; rhythmic licences | 214 | |
| 156. | Gower’s five-foot verse; its decline | 215 | |
| 157. | Rhymed five-foot verse in Modern English | 216 | |
| 158. | Its use in narrative poetry and by Shakespeare | 217 | |
| 159. | The heroic verse of Dryden, Pope, and later writers | 218 | |
| DIVISION III. VERSE-FORMS OCCURRING IN MODERN ENGLISH POETRY ONLY | |||
| CHAPTER XII | |||
| BLANK VERSE | |||
| § | 160. | The beginnings of Modern English poetry | 219 |
| 161. | Blank verse first adopted by the Earl of Surrey | 219 | |
| 162. | Characteristics of Surrey’s blank verse | 221 | |
| 163. | Further development of this metre in the drama | 222 | |
| 164. | The blank verse of Shakespeare | 223 | |
| 165. | Rhymed and unrhymed lines in Shakespeare’s plays | 224 | |
| 166. | Numerical proportion of masculine and feminine endings | 225 | |
| 167. | Numerical proportion of ‘weak’ and ‘light’ endings | 225 | |
| 168. | Proportion of unstopt or ‘run-on’ and ‘end-stopt’ lines | 226 | |
| 169. | Shakespeare’s use of the full syllabic forms of -est, -es, -eth, -ed | 227 | |
| 170. | Other rhythmical characteristics of Shakespeare’s plays | 228 | |
| 171. | Alexandrines and other metres occurring in combination with blank verse in Shakespeare | 230 | |
| 172. | Example of the metrical differences between the earlier and later periods of Shakespeare’s work | 232 | |
| 173. | The blank verse of Ben Jonson | 233 | |
| 174. | The blank verse of Fletcher | 234 | |
| 175. | Characteristics of Beaumont’s style and versification | 235 | |
| 176. | The blank verse of Massinger | 236 | |
| 177. | The blank verse of Milton | 237 | |
| 178. | The dramatic blank verse of the Restoration | 239 | |
| 179. | Blank verse of the eighteenth century | 240 | |
| 180. | Blank verse of the nineteenth century | 240 | |
| CHAPTER XIII | |||
| TROCHAIC METRES | |||
| § | 181. | General remarks; the eight-foot trochaic line | 242 |
| 182. | The seven-foot trochaic line | 243 | |
| 183. | The six-foot trochaic line | 244 | |
| 184. | The five-foot trochaic line | 245 | |
| 185. | The four-foot trochaic line | 246 | |
| 186. | The three-foot trochaic line | 246 | |
| 187. | The two-foot trochaic line | 247 | |
| 188. | The one-foot trochaic line | 247 | |
| CHAPTER XIV | |||
| IAMBIC-ANAPAESTIC AND TROCHAIC-DACTYLIC METRES | |||
| § | 189. | General remarks | 249 |
| I. Iambic-anapaestic Metres. | |||
| 190. | Eight-foot iambic-anapaestic verse | 250 | |
| 191. | Seven-foot iambic-anapaestic verse | 250 | |
| 192. | Six-foot iambic-anapaestic verse | 251 | |
| 193. | Five-foot iambic-anapaestic verse | 251 | |
| 194. | Four-foot iambic-anapaestic verse | 252 | |
| 195. | Three-foot iambic-anapaestic verse | 253 | |
| 196. | Two-foot iambic-anapaestic verse | 253 | |
| 197. | One-foot iambic-anapaestic verse | 254 | |
| II. Trochaic-dactylic Metres. | |||
| 198. | Eight-foot trochaic-dactylic verse | 254 | |
| 199. | Seven-foot trochaic-dactylic verse | 255 | |
| 200. | Six-foot trochaic-dactylic verse | 255 | |
| 201. | Five-foot trochaic-dactylic verse | 256 | |
| 202. | Four-foot trochaic-dactylic verse | 256 | |
| 203. | Three-foot trochaic-dactylic verse | 257 | |
| 204. | Two-foot dactylic or trochaic-dactylic verse | 257 | |
| 205. | One-foot dactylic verse | 258 | |
| CHAPTER XV | |||
| NON-STROPHIC, ANISOMETRICAL COMBINATIONS OF RHYMED VERSE | |||
| § | 206. | Varieties of this metre; Poulter’s measure | 259 |
| 207–8. | Other anisometrical combinations | 260 | |
| CHAPTER XVI | |||
| IMITATIONS OF CLASSICAL FORMS OF VERSE AND STANZA | |||
| § | 209. | The English hexameter | 262 |
| 210. | Structure of the hexameter | 263 | |
| 211. | Elegiac verse; the minor Asclepiad; the six-foot iambic line; Phaleuciac verse; Hendecasyllabics; rhymed Choriambics | 264 | |
| 212. | Classical stanzas:—the Sapphic metre; the Alcaic metre; Anacreontic stanzas | 266 | |
| 213. | Other imitations of classical verses and stanzas without rhyme | 267 | |
| BOOK II THE STRUCTURE OF STANZAS | |||
| PART I | |||
| CHAPTER I. DEFINITIONS | |||
| STANZA, RHYME, VARIETIES OF RHYME | |||
| § | 214. | Structure of the stanza | 270 |
| 215. | Influence of lyrical forms of Provence and of Northern France on Middle English poetry | 271 | |
| 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 rhyme | 272 | |
| 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 rhyme | 273 | |
| 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-rhyme | 276 | |
| 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 poetry | 279 |
| 221. | Rhyme-linking or ‘concatenation’ in Middle English | 280 | |
| 222. | The refrain or burthen; the wheel and the bob-wheel | 280 | |
| 223. | Divisible and indivisible stanzas | 281 | |
| 224. | Bipartite equal-membered stanzas | 282 | |
| 225. | Bipartite unequal-membered stanzas | 282 | |
| 226. | Tripartite stanzas | 283 | |
| 227. | Specimens illustrating tripartition | 284 | |
| 228. | The envoi | 286 | |
| 229. | Real envois and concluding stanzas | 286 | |
| 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 stanzas | 288 |
| 231. | Four-line stanzas, consisting of couplets | 288 | |
| 232. | The double stanza (eight lines of the same structure) | 289 | |
| 233. | Stanzas of four isometrical lines with intermittent rhyme | 290 | |
| 234. | Stanzas of eight lines resulting from this stanza by doubling | 290 | |
| 235. | Stanzas developed from long-lined couplets by inserted rhyme | 291 | |
| 236. | Stanzas of eight lines resulting from the four-lined, cross-rhyming stanza and by other modes of doubling | 292 | |
| 237. | Other examples of doubling four-lined stanzas | 293 | |
| 238. | Six-lined isometrical stanzas | 294 | |
| 239. | Modifications of the six-lined stanza; twelve-lined and sixteen-lined stanzas | 295 | |
| II. Anisometrical Stanzas. | |||
| 240. | Chief species of the tail-rhyme stanza | 296 | |
| 241. | Enlargement of this stanza to twelve lines | 297 | |
| 242. | Further development of the tail-rhyme stanza | 298 | |
| 243. | Variant forms of enlarged eight and ten-lined tail-rhyme stanzas | 298 | |
| 244. | Tail-rhyme stanzas with principal verses shorter than tail-verses | 299 | |
| 245. | Other varieties of the tail-rhyme stanza | 300 | |
| 246. | Stanzas modelled on the tail-rhyme stanza | 300 | |
| 247. | Stanzas formed of two septenary verses | 301 | |
| 248. | Analogical developments from this type | 302 | |
| 249. | Eight-lined (doubled) forms of the different four-lined stanzas | 302 | |
| 250. | Other stanzas of similar structure | 303 | |
| CHAPTER IV | |||
| ONE-RHYMED INDIVISIBLE AND BIPARTITE UNEQUAL-MEMBERED STANZAS | |||
| I. One-rhymed and Indivisible Stanzas. | |||
| § | 251. | Three-lined stanzas of one rhyme | 305 |
| 252. | Four-lined stanzas of one rhyme | 306 | |
| 253. | Other stanzas connected with the above | 307 | |
| II. Bipartite Unequal-membered Isometrical Stanzas. | |||
| 254. | Four-lined stanzas | 308 | |
| 255. | Five-lined stanzas | 308 | |
| 256. | Four-lined stanzas of one rhyme extended by the addition of a couplet | 310 | |
| III. Bipartite Unequal-membered Anisometrical Stanzas. | |||
| § | 257–8. | Four-lined stanzas; Poulter’s measure and other stanzas | 311 |
| 259. | Five-lined stanzas | 314 | |
| 260. | Shortened tail-rhyme stanzas | 316 | |
| 261. | Six-lined stanzas | 317 | |
| 262. | Seven-lined stanzas | 319 | |
| 263. | Eight-, nine-, and ten-lined stanzas | 320 | |
| 264. | The bob-wheel stanzas in the Middle English period | 321 | |
| 265. | Bob-wheel stanzas of four-stressed rhyming verses | 322 | |
| 266. | Modern English bob-wheel stanzas | 323 | |
| CHAPTER V | |||
| TRIPARTITE STANZAS | |||
| I. Isometrical Stanzas. | |||
| § | 267. | Six-lined stanzas | 326 |
| 268. | Seven-lined stanzas; the Rhyme Royal stanza | 327 | |
| 269. | Eight-lined stanzas | 329 | |
| 270. | Nine-lined stanzas | 330 | |
| 271. | Ten-lined stanzas | 331 | |
| 272. | Eleven-, twelve-, and thirteen-lined stanzas | 332 | |
| II. Anisometrical Stanzas. | |||
| 273–4. | Six-lined stanzas | 333 | |
| 275. | Seven-lined stanzas | 335 | |
| 276–8. | Eight-lined stanzas | 337 | |
| 279. | Nine-lined stanzas | 339 | |
| 280–1. | Ten-lined stanzas | 341 | |
| 282. | Eleven-lined stanzas | 343 | |
| 283. | Twelve-lined stanzas | 344 | |
| 284. | Thirteen-lined stanzas | 345 | |
| 285. | Fourteen-lined stanzas | 346 | |
| 286. | Stanzas of fifteen to twenty lines | 347 | |
| 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 remark | 348 |
| 288. | Six-lined stanzas | 349 | |
| 289. | Seven-lined stanzas | 351 | |
| 290–2. | Eight-lined stanzas; the Italian ottava rima | 352 | |
| 293. | Nine-lined stanzas | 355 | |
| 294. | Ten-lined stanzas | 355 | |
| 295. | Eleven-lined stanzas | 356 | |
| 296. | Twelve-lined stanzas | 356 | |
| CHAPTER VII | |||
| THE SPENSERIAN STANZA AND THE FORMS DERIVED FROM IT | |||
| § | 297. | First used in the Faerie Queene | 358 |
| 298–300. | Imitations and analogous forms | 359 | |
| CHAPTER VIII | |||
| THE EPITHALAMIUM STANZA AND OTHER ODIC STANZAS | |||
| § | 301. | The Epithalamium stanza | 363 |
| 302. | Imitations of the Epithalamium stanza | 365 | |
| 303–5. | Pindaric Odes, regular and irregular | 366 | |
| CHAPTER IX | |||
| THE SONNET | |||
| § | 306. | Origin of the English sonnet | 371 |
| 307. | The Italian sonnet | 371 | |
| 308. | Structure of the Italian form illustrated by Watts-Dunton | 373 | |
| 309. | The first English sonnet-writers, Surrey and Wyatt | 373 | |
| 310. | Surrey’s transformation of the Italian sonnet, and the form adopted by Shakespeare | 374 | |
| 311. | Another form used by Spenser in Amoretti | 375 | |
| 312. | The form adopted by Milton | 375 | |
| 313. | Revival of sonnet writing in the latter half of the eighteenth century | 376 | |
| 314. | The sonnets of Wordsworth | 377 | |
| 315. | The sonnet in the nineteenth century | 379 | |
| CHAPTER X | |||
| OTHER ITALIAN AND FRENCH POETICAL FORMS OF A FIXED CHARACTER | |||
| 316–7. | The madrigal | 380 | |
| 318–9. | The terza-rima | 381 | |
| 320–1. | The sextain | 383 | |
| 322. | The virelay | 385 | |
| 323. | The roundel | 385 | |
| 324. | The rondeau | 387 | |
| 325. | The triolet | 388 | |
| 326. | The villanelle | 388 | |
| 327. | The ballade | 389 | |
| 328. | The Chant Royal | 390 | |