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
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|
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
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