The Grammar of English Grammars

Part 4 — CHAPTER IV.—VERSIFICATION. (continued 3)

Reading edition

Trochaic of eight feet, as these sundry examples will suggest, is much oftener met with than iambic of the same number; and yet it is not a form very frequently adopted. The reader will observe that it requires a considerable pause after the fourth foot; at which place one might divide it, and so reduce each couplet to a stanza of four lines, similar to the following examples:—

PART OF A SONG, IN DIALOGUE.

SYLVIA.

CORIN.

SYLVIA.

CORIN.

Poems by ANNA LÆTITIA BARBAULD, p. 56.

PART OF A CHARITY HYMN.

A still more common form is that which reduces all these tetrameters to single rhymes, preserving their alternate succession. In such metre and stanza, is Montgomery's "Wanderer of Switzerland, a Poem, in Six Parts," and with an aggregate of eight hundred and forty-four lines. Example:—

First six stanzas of Part VI, pp. 71 and 72.

MEASURE II.—TROCHAIC OF SEVEN FEET, OR HEPTAMETER.

Example.—Psalm LXX,[510] Versified.

This verse, like all other that is written in very long lines, requires a cæsural pause of proportionate length; and it would scarcely differ at all to the ear, if it were cut in two at the place of this pause—provided the place were never varied. Such metre does not appear to have been at any time much used, though there seems to be no positive reason why it might not have a share of popularity. To commend our versification for its "boundless variety," and at the same time exclude from it forms either unobjectionable or well authorized, as some have done, is plainly inconsistent. Full trochaics have some inconvenience, because all their rhymes must be double; and, as this inconvenience becomes twice as much when any long line of this sort is reduced to two short ones, there may be a reason why a stanza precisely corresponding to the foregoing couplets is seldom seen. If such lines be divided and rhymed at the middle of the fourth foot, where the cæsural pause is apt to fall, the first part of each will be a trochaic line of four feet, single-rhymed and catalectic, while the rest of it will become an iambic line of three feet, with double rhyme and hypermeter. Such are the prosodial characteristics of the following lines; which, if two were written as one, would make exactly our full trochaic of seven feet, the metre exhibited above:—

But trochaic of seven feet may also terminate with single rhyme, as in the following couplet, which is given anonymously, and, after a false custom, erroneously, in N. Butler's recent Grammar, as "trochaic of six feet, with an additional long syllable:—

In Frazee's Grammar, a separate line or two, similar in metre to these, and rightly reckoned to have seven feet, and many lines, (including those above from Tennyson, which W. C. Fowler erroneously gives for Heptameter,) being a foot longer, are presented as trochaics of eight feet; but Everett, the surest of our prosodists, remaining, like most others, a total stranger to our octometers, and too little acquainted with trochaic heptameters to believe the species genuine, on finding a couple of stanzas in which two such lines are set with shorter ones of different sorts, and with some which are defective in metre, sagely concludes that all lines of more than "six trochees" must necessarily be condemned as prosodial anomalies. It may be worth while to repeat the said stanzas here, adding such corrections and marks as may suggest their proper form and scansion. But since they commence with the shorter metre of six trochees only, and are already placed under that head, I too may take them in the like connexion, by now introducing my third species of trochaics, which is Everett's tenth.

MEASURE III.—TROCHAIC OF SIX FEET, OR HEXAMETER.

Example.—Health.

This metre appears to be no less rare than the preceding; though, as in that case, I know no good reason why it may not be brought into vogue. Professor John S. Hart says of it: "This is the longest Trochaic verse that seems to have been cultivated."—Hart's Eng. Gram., p. 187. The seeming of its cultivation he doubtless found only in sundry modern grammars. Johnson, Bicknell, Burn, Coar, Ward, Adam,—old grammarians, who vainly profess to have illustrated "every species of English verse,"—make no mention of it; and, with all the grammarians who notice it, one anonymous couplet, passing from hand to hand, has everywhere served to exemplify it.

Of this, "the line of six Trochees," Everett says: "This measure is languishing, and rarely used. The following example is often cited:

Again: "We have the following from BISHOP HEBER:—

Only the first and the third lines of these stanzas are to our purpose," remarks the prosodist. That is, only these he conceived to be "lines of six Trochees." But it is plain, that the third line of the first stanza, having seven long syllables, must have seven feet, and cannot be a trochaic hexameter; and, since the third below should be like it in metre, one can hardly forbear to think the words which I have inserted in brackets, were accidentally omitted.

Further: "It is worthy of remark," says he, "that the second line of each of these stanzas is composed of six Trochees and an additional long syllable. As its corresponding line is an Iambic, and as the piece has some licenses in its construction, it is far safer to conclude that this line is an anomaly than that it forms a distinct species of verse. We must therefore conclude that the tenth [the metre of six trochees] is the longest species of Trochaic line known to English verse."—Everett's Versification, pp. 95 and 96.

This, in view of the examples above, of our longer trochaics, may serve as a comment on the author's boast, that, "having deduced his rules from the usage of the great poets, he has the best reason for being confident of their correctness."—Ibid., Pref., p. 5.

Trochaic hexameter, too, may easily be written with single rhyme; perhaps more easily than a specimen suited to the purpose can be cited from any thing already written. Let me try:—

Example I.—The Sorcerer.

Example II.—An Example of Hart's, Corrected

A couplet of this sort might easily be reduced to a pleasant little stanza, by severing each line after the third foot, thus:—

But a similar succession of eleven syllables, six long and five short, divided after the seventh, leaving two iambs to form the second or shorter line,—(since such a division produces different orders and metres both,—) will, I think, retain but little resemblance in rhythm to the foregoing, though the actual sequence of quantities long and short is the same. If this be so, the particular measure or correspondent length of lines is more essential to the character of a poetic strain than some have supposed. The first four lines of the following extract are an example relevant to this point:—

Ariel's Song.

MEASURE IV.—TROCHAIC OF FIVE FEET, OR PENTAMETER

Example I.—Double Rhymes and Single, Alternated.

Example II—Rhymes Otherwise Arranged.

This measure, whether with the final short syllable or without it, is said, by Murray, Everett, and others, to be "very uncommon." Dr. Johnson, and the other old prosodists named with him above, knew nothing of it. Two couplets, exemplifying it, now to be found in sundry grammars, and erroneously reckoned to differ as to the number of their feet, were either selected or composed by Murray, for his Grammar, at its origin—or, if not then, at its first reprint, in 1796. They are these:—

(1.)

L. Murray's Gram., 12mo, 175; 8vo, 257; Chandler's, 196; Churchill's, 187; Hiley's, 126; et al.

(2.)

Murray, same places; N. Butler's Gr., p. 193; Hallock's, 244; Hart's, 187; Weld's, 211; et al.

Richard Hiley most absurdly scans this last couplet, and all verse like it, into "the Heroic measure," or a form of our iambic pentameter; saying, "Sometimes a syllable is cut off from the first foot; as,

J. S. Hart, who, like many others, has mistaken the metre of this last example for "Trochaic Tetrameter," with a surplus "syllable," after repeating the current though rather questionable assertion, that, "this measure is very uncommon," proceeds with our "Trochaic Pentameter," thus: "This species is likewise uncommon. It is composed of five trochees; as,

And again: [[Fist]] "The SAME with an ADDITIONAL accented syllable; as,

These examples appear to have been made for the occasion; and the latter, together with its introduction, made unskillfully. The lines are of five feet, and so are those about the ruddy farmer; but there is nothing "additional" in either case; for, as pentameter, they are all catalectic, the final short syllable being dispensed with, and a cæsura preferred, for the sake of single rhyme, otherwise not attainable. "Five trochees" and a rhyming "syllable" will make trochaic hexameter, a measure perhaps more pleasant than this. See examples above.

MEASURE V.—TROCHAIC OF FOUR FEET, OR TETRAMETER.

Example I.—A Mournful Song.

Example II.—A Song Petitionary.

Example III.—Song of Juno and Ceres.

Example IV.—On the Vowels.

Example V.—Use Time for Good.

Example IV.[sic for VI—KTH]—"The Turkish Lady"—First Four Stanzas.

Example VII.—The Palmer's Morning Hymn.

Example VIII—A Short Song, of Two Stanzas.

Example IX.—Lingering Courtship.

Example X.—"Boadicea"—Four Stanzas from Eleven.

Example XI—"The Thunder Storm"—Two Stanzas from Ten.

Example XII.—"The Triumphs of Owen," King of North Wales.[513]

Example XIII.—"Grongar Hill."—First Twenty-six Lines.

OBSERVATIONS.

OBS. 1.—This is the most common of our trochaic measures; and it seems to be equally popular, whether written with single rhyme, or with double; in stanzas, or in couplets; alone, or with some intentional intermixture. By a careful choice of words and style, it may be adapted to all sorts of subjects, grave, or gay; quaint, or pathetic; as may the corresponding iambic metre, with which it is often more or less mingled, as we see in some of the examples above. Milton's L'Allegro, or Gay Mood, has one hundred and fifty-two lines; ninety-eight of which are iambics; fifty-four trochaic tetrameters; a very few of each order having double rhymes. These orders the poet has not—"very ingeniously alternated" as Everett avers; but has simply interspersed, or commingled, with little or no regard to alternation. His Il Penseroso, or Grave Mood, has twenty-seven trochaic tetrameters, mixed irregularly with one hundred and forty-nine iambics.

OBS. 2.—Everett, who divides our trochaic tetrameters into two species of metre, imagines that the catalectic form, or that which is single-rhymed, "has a solemn effect,"—"imparts to all pieces more dignity than any of the other short measures,"—"that no trivial or humorous subject should be treated in this measure,"—and that, "besides dignity, it imparts an air of sadness to the subject."—English Verses., p. 87. Our "line of four trochees" he supposes to be "difficult of construction,"—"not of very frequent occurrence,"—"the most agreeable of all the trochaic measures,"—"remarkably well adapted to lively subjects,"—and "peculiarly expressive of the eagerness and fickleness of the passion of love."—Ib., p. 90. These pretended metrical characteristics seem scarcely more worthy of reliance, than astrological predictions, or the oracular guessings of our modern craniologists.

OBS. 3.—Dr. Campbell repeats a suggestion of the older critics, that gayety belongs naturally to all trochaics, as such, and gravity or grandeur, as naturally, to iambics; and he attempts to find a reason for the fact; while, perhaps, even here—more plausible though the supposition is—the fact may be at least half imaginary. "The iambus," says he, "is expressive of dignity and grandeur; the trochee, on the contrary, according to Aristotle, (Rhet. Lib. Ill,) is frolicsome and gay. It were difficult to assign a reason of this difference that would be satisfactory; but of the thing itself, I imagine, most people will be sensible on comparing the two kinds together. I know not whether it will be admitted as a sufficient reason, that the distinction into metrical feet hath a much greater influence in poetry on the rise and fall of the voice, than the distinction into words; and if so, when the cadences happen mostly after the long syllables, the verse will naturally have an air of greater gravity than when they happen mostly after the short."—Campbell's Philosophy of Rhetoric, p. 354.

MEASURE VI.—TROCHAIC OF THREE FEET, OR TRIMETER.

Example I.—Youth and Age Contrasted.

Example II—Common Sense and Genius.

This short measure is much oftener used in stanzas, than in couplets. It is, in many instances, combined with some different order or metre of verse, as in the following:—

Example III.—Part of a Song.

Example IV.—From an Ode to the Thames.

Example V.—"The True Poet"—First Two of Nine Stanzas.

Example VI.—"Summer Longings"—First Two of Five Stanzas.

MEASURE VII.—TROCHAIC OF TWO FEET, OR DIMETER.

Example I.—Three Short Excerpts.

_Example II.—Specimen with Single Rhyme.

"To Quinbus Flestrin, the Man-Mountain"_

A LILLIPUTIAN ODE

I.

II.

III.

Example III.—Two Feet with Four.

Example IV.—Lines of Three Syllables with Longer Metres.

1. WITH TROCHAICS.

2. WITH IAMBICS.

Example V.—"The Shower."—In Four Regular Stanzas.

Example VI.—"A Good Name?"—Two Beautiful Little Stanzas.

OBSERVATIONS.

OBS. 1.—Trochaics of two feet, like those of three, are, more frequently than otherwise, found in connexion with longer lines, as in some of the examples above cited. The trochaic line of three syllables, which our prosodists in general describe as consisting, not of two feet; but "of one Trochee and a long syllable," may, when it stands alone, be supposed to consist of one amphimac; but, since this species of foot is not admitted by all, and is reckoned a secondary one by those who do admit it, the better practice is, to divide even the three syllables into two feet, as above.

OBS. 2.—Murray, Hart, Weld, and many others, erroneously affirm, that, "The shortest Trochaic verse in our language, consists of one Trochee and a long syllable."—Murray's Gram., p. 256; Hart's, First Edition, p. 186; Weld's, Second Edition, p. 210. The error of this will be shown by examples below—examples of true "Trochaic Monometer," and not of Dimeter mistaken for it, like Weld's, Hart's, or Murray's.

OBS. 3.—These authors also aver, that, "This measure is defective in dignity, and can seldom be used on serious occasions."—Same places. "Trochaic of two feet—is likewise so brief, that," in their opinion, "it is rarely used for any very serious purpose."—Same places. Whether the expression of love, or of its disappointment, is "any very serious purpose" or not, I leave to the decision of the reader. What lack of dignity or seriousness there is, in several of the foregoing examples, especially the last two, I think it not easy to discover.

MEASURE VIII.—TROCHAIC OF ONE FOOT, OR MONOMETER.

Examples with Longer Metres.

1. WITH IAMBICS.

2. WITH ANAPESTICS, &c.

"T~o l=ove ~and t~o l=angu~ish, T~o s=igh | ~and c~ompl=ain, H~ow cr=u~el's th~e =angu~ish! H~ow t~orm=ent | -~ing th~e p=ain! Suing, Pursuing, Flying, Denying, O the curse | of disdain! How torment | -ing's the pain!" GEO. GRANVILLE: Br. Poets, Vol. v, p. 31.

OBSERVATIONS.

OBS. 1.—The metres acknowledged in our ordinary schemes of prosody, scarcely amount, with all their "boundless variety," to more than one half, or three quarters, of what may be found in actual use somewhere. Among the foregoing examples, are some which are longer, and some which are shorter, than what are commonly known to our grammarians; and some, also, which seem easily practicable, though perhaps not so easily quotable. This last trochaic metre, so far as I know, has not been used alone,—that is, without longer lines,—except where grammarians so set examples of it in their prosodies.

OBS. 2.—"Trochaic of One foot," as well as "Iambic of One foot," was, I believe, first recognized, prosodically, in Brown's Institutes of English Grammar, a work first published in 1823. Since that time, both have obtained acknowledgement in sundry schemes of versification, contained in the new grammars; as in Farnum's, and Hallock's, of 1842; in Pardon Davis's, of 1845; in S. W. Clark's, and S. S. Greene's, of 1848; in Professor Fowler's, of 1850. Wells, in his School Grammar, of 1846, and D. C. Allen, in an other, of 1847, give to the length of lines a laxity positively absurd: "Rhymed verses," say they, "may consist of any number of syllables."—Wells, 1st Ed., p. 187; late Ed., 204; Allen, p. 88. Everett has recognized "The line of a single Trochee," though he repudiates some long measures that are much more extensively authorized.

ORDER III.—ANAPESTIC VERSE.

In full Anapestic verse, the stress is laid on every third syllable, the first two syllables of each foot being short. The first foot of an anapestic line, may be an iambus. This is the most frequent diversification of the order. But, as a diversification, it is, of course, not regular or uniform. The stated or uniform adoption of the iambus for a part of each line, and of the anapest for the residue of it, produces verse of the Composite Order. As the anapest ends with a long syllable, its rhymes are naturally single; and a short syllable after this, producing double rhyme, is, of course, supernumerary: so are the two, when the rhyme is triple. Some prosodists suppose, a surplus at the end of a line may compensate for a deficiency at the beginning of the next line; but this I judge to be an error, or at least the indulgence of a questionable license. The following passage has two examples of what may have been meant for such compensation, the author having used a dash where I have inserted what seems to be a necessary word:—

The anapestic measures are few; because their feet are long, and no poet has chosen to set a great many in a line. Possibly lines of five anapests, or of four and an initial iambus, might be written; for these would scarcely equal in length some of the iambics and trochaics already exhibited. But I do not find any examples of such metre. The longest anapestics that have gained my notice, are of fourteen syllables, being tetrameters with triple rhyme, or lines of four anapests and two short surplus syllables. This order consists therefore of measures reducible to the following heads:—

MEASURE I.—ANAPESTIC OF FOUR FEET, OR TETRAMETER.

Example I.—A "Postscript."—An Example with Hypermeter.

Example II.—"The Feast of the Poets."—First Twelve Lines.

Example III.—The Crowning of Four Favourites.

Example IV.—"Glenara."—First Two of Eight Stanzas.

Example V.—"Lochiel's Warning."—Ten Lines from Eighty-six.

Example VI.—"The Exile of Erin."—The First of Five Stanzas.

Example VII.—"The Poplar Field."

OBSERVATIONS.

OBS. 1.—Everett avers, that, "The purely Anapestic measure is more easily constructed than the Trochee, [Trochaic,] and of much more frequent occurrence."—English Versification, p. 97. Both parts of this assertion are at least very questionable; and so are this author's other suggestions, that, "The Anapest is [necessarily] the vehicle of gayety and joy;" that, "Whenever this measure is employed in the treating of sad subjects, the effect is destroyed;" that, "Whoever should attempt to write an elegy in this measure, would be sure to fail;" that, "The words might express grief, but the measure would express joy;" that, "The Anapest should never be employed throughout a long piece;" because "buoyancy of spirits can never be supposed to last,"—"sadness never leaves us, BUT joy remains but for a moment;" and, again, because, "the measure is exceedingly monotonous."—Ibid., pp. 97 and 98.

OBS. 2.—Most anapestic poetry, so far as I know, is in pieces of no great length; but Leigh Hunt's "Feast of the Poets," which is thrice cited above, though not a long poem, may certainly be regarded as "a long piece," since it extends through fifteen pages, and contains four hundred and thirty-one lines, all, or nearly all, of anapestic tetrameter. And, surely, no poet had ever more need of a metre well suited to his purpose, than he, who, intending a critical as well as a descriptive poem, has found so much fault with the versification of others. Pope, as a versifier, was regarded by this author, "not only as no master of his art, but as a very indifferent practiser."—Notes on the Feast of the Poets, p. 35. His "monotonous and cloying" use of numbers, with that of Darwin, Goldsmith, Johnson, Haley, and others of the same "school," is alleged to have wrought a general corruption of taste in respect to versification—a fashion that has prevailed, not temporarily,

"But ever since Pope spoil'd the ears of the town With his cuckoo-song verses, half up and half down"—Ib.

OBS. 3.—Excessive monotony is thus charged by one critic upon all verse of "the purely Anapestic measure;" and, by an other, the same fault is alleged in general terms against all the poetry "of the school of Pope," well-nigh the whole of which is iambic. The defect is probably in either case, at least half imaginary; and, as for the inherent joyousness of anapestics, that is perhaps not less ideal. Father Humphrey says, "Anapæstic and amphibrachic verse, being similar in measure and movement, are pleasing to the ear, and well adapted to cheerful and humourous compositions; and sometimes to elegiac compositions, and subjects important and solemn."—Humphrey's English Prosody, p. 17.

OBS. 4.—The anapest, the dactyl, and the amphibrach, have this in common,—that each, with one long syllable, takes two short ones. Hence there is a degree of similarity in their rhythms, or in their several effects upon the ear; and consequently lines of each order, (or of any two, if the amphibrachic be accounted a separate order,) are sometimes commingled. But the propriety of acknowledging an order of "Amphibrachic verse," as does Humphrey, is more than doubtful; because, by so doing, we not only recognize the amphibrach as one of the principal feet, but make a vast number of lines ambiguous in their scansion. For our Amphibrachic order will be made up of lines that are commonly scanned as anapestics—such anapestics as are diversified by an iambus at the beginning, and sometimes also by a surplus short syllable at the end; as in the following verses, better divided as in the sixth example above:—

MEASURE II.—ANAPESTIC OF THREE FEET, OR TRIMETER.

Example I.—"Alexander Selkirk."—First Two Stanzas.

I.

II.

Example II.—"Catharina."—Two Stanzas from Seven.

IV.

V.

Example III.—"A Pastoral Ballad."—Two Stanzas from Twenty-seven.

(8.)

(9)

Anapestic lines of four feet and of three are sometimes alternated in a stanza, as in the following instance:—

Example IV.—"The Rose."

MEASURE III.—ANAPESTIC OF TWO FEET, OR DIMETER.

Example I.—Lines with Hypermeter and Double Rhyme.

"CORONACH," OR FUNERAL SONG.

Example II.—Exact Lines of Two Anapests.

Example III—An Ode, from the French of Malherbe.

"Cette Anne si belle, Qu'on vante si fort, Pourquoi ne vient elle? Vraiment, elle a tort! Son Louis soupire, Après ses appas; Que veut elle dire, Qu'elle ne vient pas? S'il ne la posséde, Il s'en va mourir; Donnons y reméde, Allons la quérir." WILLIAM KING, LL. D.: Johnson's British Poets, Vol. iii, p. 590.

Example IV.—'Tis the Last Rose of Summer.

Example V.—Nemesis Calling up the Dead Astarte.

Example VI.—Anapestic Dimeter with Trimeter.

FIRST VOICE.

SECOND VOICE.

Example VII.—Anapestic Dimeter with Tetrameter.

AIR.

MEASURE IV.—ANAPESTIC OF ONE FOOT, OR MONOMETER.

This measure is rarely if ever used except in connexion with longer lines. The following example has six anapestics of two feet, and two of one; but the latter, being verses of double rhyme, have each a surplus short syllable; and four of the former commence with the iambus:—

Example I.—A Song in a Drama.

"Now, mor |-tal, prepare, For thy fate | is at hand; Now, mor |-tal, prepare, ~And s~urr=en |-d~er.

For Love | shall arise, Whom no pow'r | can withstand, Who rules | from the skies T~o th~e c=en |-tr~e." GRANVILLE, VISCOUNT LANSDOWNE: Joh. Brit. Poets, Vol. v, p. 49.

The following extract, (which is most properly to be scanned as anapestic, though considerably diversified,) has two lines, each of which is pretty evidently composed of a single anapest:—

Example II.—A Chorus in the Same.

OBSERVATIONS.

OBS. 1.—That a single anapest, a single foot of any kind, or even a single long syllable, may be, and sometimes is, in certain rather uncommon instances, set as a line, is not to be denied. "Dr. Caustic," or T. G. Fessenden, in his satirical "Directions for Doing Poetry," uses in this manner the monosyllables, "Whew," "Say," and "Dress" and also the iambs, "The gay" and, "All such," rhyming them with something less isolated.

OBS. 2.—Many of our grammarians give anonymous examples of what they conceive to be "Anapestic Monometer," or "the line of one anapest," while others—(as Allen, Bullions, Churchill, and Hiley—) will have the length of two anapests to be the shortest measure of this order. Prof. Hart says, "The shortest anapæstic verse is a single anapæst; as,

'~In =a sw=eet R~es~on=ance,

~All th~eir f=eet ~In th=e d=ance

~All th=e n=ight T~inkl~ed l=ight.'

This measure," it is added, "is, however, ambiguous; for by laying an accent on the first, as well as the third syllable, we may generally make it a trochaic."—Hart's English Gram., p. 188. The same six versicles are used as an example by Prof. Fowler, who, without admitting any ambiguity in the measure, introduces them, rather solecistically, thus: "Each of the following lines consist of a single Anapest."—Fowler's E. Gram., 8vo, 1850, §694.

OBS. 3.—Verses of three syllables, with the second short, the last long, and the first common, or variable, are, it would seem, doubly doubtful in scansion; for, while the first syllable, if made short, gives us an anapest, to make it long, gives either an amphimac or what is virtually two trochees. For reasons of choice in the latter case, see Observation 1st on Trochaic Dimeter. For the fixing of variable quantities, since the case admits no other rule, regard should be had to the analogy of the verse, and also to the common principles of accentuation. It is doubtless possible to read the six short lines above, into the measure of so many anapests; but, since the two monosyllables "In" and "All" are as easily made long as short, whoever considers the common pronunciation of the longer words, "Resonance" and "Tinkled," may well doubt whether the learned professors have, in this instance, hit upon the right mode of scansion. The example may quite as well be regarded either as Trochaic Dimeter, cataletic, or as Amphimacric Monometer, acatalectic. But the word resonance, being accented usually on the first syllable only, is naturally a dactyl; and, since the other five little verses end severally with a monosyllable, which can be varied in quantity, it is possible to read them all as being dactylics; and so the whole may be regarded as trebly doubtful with respect to the measure.

OBS. 4.—L. Murray says, "The shortest anapæstic verse must be a single anapæst; as,

B~ut ~in v=ain They complain."

And then he adds, "This measure is, however, ambiguous; for, by laying the stress of the voice on the first and third syllables, we might make a trochaic. And therefore the first and simplest form of our genuine Anapæstic verse, is made up of two anapæsts."—Murray's Gram., 8vo, p. 257; 12mo, p. 207. This conclusion is utterly absurd, as well as completely contradictory to his first assertion. The genuineness of this small metre depends not at all on what may be made of the same words by other pronunciation; nor can it be a very natural reading of this passage, that gives to "But" and "They" such emphasis as will make them long.

OBS. 5.—Yet Chandler, in his improved grammar of 1847, has not failed to repeat the substance of all this absurdity and self-contradiction, carefully dressing it up in other language, thus: "Verses composed of single Anapæsts are frequently found in stanzas of songs; and the same is true of several of the other kinds of feet; but we may consider the first [i.e., shortest] form of anapæstic verse as consisting of two Anapæsts."—Chandler's Common School Gram., p. 196.

OBS. 6.—Everett, speaking of anapestic lines, says, "The first and shortest of these is composed of a single Anapest following an Iambus."—English Versification, p. 99. This not only denies the existence of Anapestic Monometer, but improperly takes for the Anapestic verse what is, by the statement itself, half Iambic, and therefore of the Composite Order. But the false assertion is plainly refuted even by the author himself and on the same page. For, at the bottom of the page, he has this contradictory note: "It has been remarked (§15) that though the Iambus with an additional short syllable is the shortest line that is known to Iambic verse, there are isolated instances of a single Iambus, and even of a single long syllable. There are examples of lines made up of a single Anapest, as the following example will show:—

'Jove in his chair, Of the sky lord mayor, With his nods Men and gods Keeps in awe; When he winks, Heaven shrinks; * * * *

Cock of the school, He bears despotic rule; His word, Though absurd, Must be law. Even Fate, Though so great, Must not prate;

His bald pate Jove would cuff, He's so bluff, For a straw. Cowed deities, Like mice in cheese, To stir must cease Or gnaw.'

O'HARA:—Midas, Act i, Sc. 1."—Everett's Versification, p. 99

ORDER IV.—DACTYLIC VERSE.

In pure Dactylic verse, the stress is laid on the first syllable of each successive three; that is, on the first, the fourth, the seventh, and the tenth syllable of each line of four feet. Full dactylic generally forms triple rhyme. When one of the final short syllables is omitted, the rhyme is double; when both, single. These omissions are here essential to the formation of such rhymes. Dactylic with double rhyme, ends virtually with a trochee; dactylic with single rhyme, commonly ends with a cæsura; that is, with a long syllable taken for a foot. Dactylic with single rhyme is the same as anapestic would be without its initial short syllables. Dactylic verse is rather uncommon; and, when employed, is seldom perfectly pure and regular.

MEASURE I.—DACTYLIC OF EIGHT FEET, OR OCTOMETER.

Example.—Nimrod.

MEASURE II.—DACTYLIC OF SEVEN FEET, OR HEPTAMETER.

Example.—Christ's Kingdom.

MEASURE III.—DACTYLIC OF SIX FEET, OR HEXAMETER.

Example I.—Time in Motion.

Example II.—Where, is Grand-Pré?

MEASURE IV.—DACTYLIC OF FIVE FEET, OR PENTAMETER.

Example.—Salutation to America.

MEASURE V.—DACTYLIC OF FOUR FEET, OR TETRAMETER.

Example 1—The Soldier's Wife.

Example II.—Boys.—A Dactylic Stanza.

Example III—"Labour."—The First of Five Stanzas.

Example IV.—"Boat Song."—First Stanza of Four.

MEASURE VI.—DACTYLIC OF THREE FEET, OR TRIMETER.

Example.—To the Katydid.

MEASURE VII.—DACTYLIC OF TWO FEET, OR DIMETER.

Example I.—The Bachelor.—Four Lines from Many.

"Free from sa | -tiety, Care, and anx | -iety, Charms in va | -riety, Fall to his | share."—ANON.: Newspaper.

Example II.—The Pibroch.—Sixteen Lines from Forty.

Example III.—"My Boy."

'There is even a happiness that makes the heart afraid.'—HOOD.

1. "One more new | claimant for Human fra | -ternity, Swelling the | flood that sweeps On to e | -ternity;

I who have | filled the cup, Tremble to | think of it; For, be it | what it may, I must yet | drink of it.

MEASURE VIII.—DACTYLIC OF ONE FOOT, OR MONOMETER.

"Fearfully, Tearfully."

OBSERVATIONS.

OBS. 1.—A single dactyl, set as a line, can scarcely be used otherwise than as part of a stanza, and in connexion with longer verses. The initial accent and triple rhyme make it necessary to have something else with it. Hence this short measure is much less common than the others, which are accented differently. Besides, the line of three syllables, as was noticed in the observations on Anapestic Monometer, is often peculiarly uncertain in regard to the measure which it should make. A little difference in the laying of emphasis or accent may, in many instances, change it from one species of verse to an other. Even what seems to be dactylic of two feet, if the last syllable be sufficiently lengthened to admit of single rhyme with the full metre, becomes somewhat doubtful in its scansion; because, in such case, the last foot maybe reckoned an amphimac, or amphimacer. Of this, the following stanzas from Barton's lines "to the Gallic Eagle," (or to Bonaparte on St. Helena,) though different from all the rest of the piece, may serve as a specimen:—

"Far from the | battle's shock, Fate hath fast | bound thee; Chain'd to the | rugged rock, Waves warring | round thee.

[Now, for] the | trumpet's sound, Sea-birds are | shrieking; Hoarse on thy | rampart's bound, Billows are | breaking."

OBS. 2.—This may be regarded as verse of the Composite Order; and, perhaps, more properly so, than as Dactylic with mere incidental variations. Lines like those in which the questionable foot is here Italicized, may be united with longer dactylics, and thus produce a stanza of great beauty and harmony. The following is a specimen. It is a song, written by I know not whom, but set to music by Dempster. The twelfth line is varied to a different measure.

"ADDRESS TO THE SKYLARK."

OBS. 3.—It is observed by Churchill, (New Gram., p. 387,) that, "Shakspeare has used the dactyl, as appropriate to mournful occasions." The chief example which he cites, is the following:—

OBS. 4.—These six lines of Dactylic (or Composite) Dimeter are subjoined by the poet to four of Trochaic Tetrameter. There does not appear to me to be any particular adaptation of either measure to mournful subjects, more than to others; but later instances of this metre may be cited, in which such is the character of the topic treated. The following long example consists of lines of two feet, most of them dactylic only; but, of the seventy-six, there are twelve which may be otherwise divided, and as many more which must be, because they commence with a short syllable.

"THE BRIDGE OF SIGHS."—BY THOMAS HOOD.

Alas, for the rarity Of Christian charity Under the | sun! O, it was | pitiful! Near a whole | city full, Home she had | none.

Where the lamps | quiver So far in the river, With many a light, From window and casement, From garret to basement, She stood, with amazement, Houseless, by | night.

OBS. 5.—As each of our principal feet,—the Iambus, the Trochee, the Anapest, and the Dactyl,—has always one, and only one long syllable; it should follow, that, in each of our principal orders of verse,—the Iambic, the Trochaic, the Anapestic, and the Dactylic,—any line, not diversified by a secondary foot, must be reckoned to contain just as many feet as long syllables. So, too, of the Amphibrach, and any line reckoned Amphibrachic. But it happens, that the common error by which single-rhymed Trochaics have so often been counted a foot shorter than they are, is also extended by some writers to single-rhymed Dactylics—the rhyming syllable, if long, being esteemed supernumerary! For example, three dactylic stanzas, in each of which a pentameter couplet is followed by a hexameter line, and this again by a heptameter, are introduced by Prof. Hart thus: "The Dactylic Tetrameter, Pentameter, and Hexameter, with the additional or hypermeter syllable, are all found combined in the following extraordinary specimen of versification. * * * This is the only specimen of Dactylic hexameter or even pentameter verse that the author recollects to have seen."

LAMENT OF ADAM.

OBS. 6.—Of Dactylic verse, our prosodists and grammarians in general have taken but very little notice; a majority of them appearing by their silence, to have been utterly ignorant of the whole species. By many, the dactyl is expressly set down as an inferior foot, which they imagine is used only for the occasional diversification of an iambic, trochaic, or anapestic line. Thus Everett: "It is never used except as a secondary foot, and then in the first place of the line."—English Versification, p. 122. On this order of verse, Lindley Murray bestowed only the following words: "The DACTYLIC measure being very uncommon, we shall give only one example of one species of it:—