More often this Septenary metre occurs in short lines (and therefore with fixed masculine caesura). In this form it appears as early as the seventeenth century in a poem by the Earl of Dorset, To Chloris : Ah! Chloris, 'tis time to disárm your bright eyes, We live in an áge that's more civil and wise, Poets, vii. 513. Another specimen of the same rhythm, very artistically handled (cf. Metrik, i, § 226) is Charles Wolfe's well-known poem The Burial of Sir John Moore. occurs with masculine rhymes. The same metre also § 192. The six-foot iambic-anapaestic verse sometimes occurs in Modern English poets, as Tennyson, The Grandmother, Maud, &c., Robert Browning, Abt Vogler, Mrs. Browning, Confessions, Swinburne, Hymn to Proserpine, &c. We quote the following verses from Tennyson's Maud to illustrate this metre, which, however, in consequence of the fluctuating proportion of iambic and anapaestic measures occurring in it is handled very differently by different poets (cf. Metrik, ii, § 227): Did he fling himself down? who knows? | for a vást speculátion had fáil'd, And ever he mutter'd and mádden'd, | and éver wánn'd with despair, And but he walk'd when the wind | like a broken worldling wáil'd, And the flying gold of the ruin'd woodlands | drove thro' the áir. The caesura is sometimes masculine after the third foot (as in lines 1 and 3), sometimes feminine in the fourth (line 2) or the fifth (line 4); so that its position is quite indeterminate. The rhymes are mostly masculine, but feminine rhymes are also met with, as e. g. in Mrs. Browning's Confessions. Swinburne's verses are printed in long lines, it is true, but they are broken into short lines by inserted masculine and feminine rhymes. § 193. The five-foot iambic-anapaestic verse likewise does not occur till recent times, and is chiefly used by the poets just mentioned. Rhymed in couplets it occurs in Mrs. Browning's The Daughters of Pandarus, Version II (vol. iv, p. 200): So the storms bore the daughters of Pándarus | out into thráll The gods slew their parents; | the orphans were left in the háll. And there cáme, to feed their young lives, Aphrodite divíne, With the incense, the sweet-tasting honey, the sweet-smelling wine. The rhythm is here almost entirely anapaestic; the caesura occurs in the most diverse places and may be either masculine or feminine. The ending of the line is masculine throughout, as well as in Robert Browning's Saul (iii. 146-96), but with many run-on lines. In Swinburne's A Word from the Psalmist (A Mids. Holiday, p. 176) we have another treatment of this metre. As a rule the line begins with an anapaest, and continues in pure iambic rhythm: But a louder than the Church's écho | thunders In the ears of men | who máy not choose but hear; And the heart in him that hears it leaps and wonders, With triumphant hope | astonished, or with fear. In other examples it has an iambic or spondaic rhythm at the beginning and end, with an anapaestic part in the middle, as in The Seaboard (ib., p. 3) by the same poet: The sea is at ebb, | and the sound of her útmost word, In A Century of Roundels, p. 1, &c., Swinburne uses this metre, which also occurs in Tennyson's Maud, with feminine and masculine endings alternately. § 194. The four-foot iambic-anapaestic verse is essentially identical with the four-stressed verse treated of above (§ 72), except that it has assumed a still more regular, even-beat rhythm in modern times; generally it begins with an iambus and anapaests follow, as in the stanza quoted from Burns (§ 190). Occasionally this metre has an almost entirely anapaestic structure; as e. g. in Moore, In the Morning of Life: In the morning of life, when its cáres are unknówn, In other examples the rhythm is chiefly iambic, intermingled with occasional anapaests; as e. g. in Moore's You Remember Ellen: You remember Éllen, | our hámlet's príde How meekly she blessed her humble lót, When the stranger William, | had made her his bride, Verses like these, which in their structure recall the earlier four-stressed verses, frequently occur (see §§ 72, 132) mixed with four-foot verses of a somewhat freer build in the narrative poems of Coleridge, Scott, and Byron. § 195. The three-foot iambic-anapaestic verse took its origin by analogy to the corresponding four-foot line, or perhaps to the two-foot line derived from it by inserted rhymes; it occurs as early as Tusser, Five Hundred Points of Good Husbandry (cf. Guest, ii, p. 251): What lookest thou herein to have? We have the same metre (two anapaests following the first iambic measure) in Rowe, Shenstone, Moore, and others, sometimes with alternate masculine and feminine rhymes. $196. The two-foot iambic-anapaestic verse sprang from the breaking-up of the corresponding four-foot (or fourstressed) line by inserted or leonine rhyme, as we find it even in the Middle English bob-wheel stanzas; in Modern English we have it in Tusser for the first time: Ill husbandry brággeth This metre is used by Gay, Goldsmith, Scott, Moore, Longfellow, Robert Browning, and others; it is also found with an anapaest following the first iambic measure, and either with masculine and feminine rhymes alternately, as in the example quoted above, or (as is most usual) with these rhymes in indiscriminate succession. §197. The one-foot iambic-anapaestic verse occasionally occurs in the Middle English bob-wheel stanzas. In Modern English we find it only as an element in anisometrical stanzas, as e. g. in the following half-stanza of Shelley's Autumn (iii. 65): The chill rain is falling, the nipt worm is crawling, The blithe swallows are flown, and the lizards each góne In Shakespeare's Midsummer Night's Dream, III. ii. 448–63 (apart from the four-foot trochaic end-lines of the half-stanzas), we also have such verses apparently; the iambic-anapaestic character being clearly shown by a couplet like the following: When thou wákest, Thou tákest.1 II. Trochaic-dactylic Metres. $198. These are much rarer than the iambic-anapaestic metres. Specimens of all of them are quoted, but some are only theoretical examples invented by, and repeated from, English or American metrists. Theoretically the acatalectic dactylic verse in its rhymed form ought always to have trisyllabic or at least feminine caesura and ending. As a fact, however, these metres have just as frequently or perhaps more frequently masculine caesuras and rhymes. The eight-foot trochaic-dactylic verse, alternating occasionally with iambic-anapaestic lines, occurs in Longfellow's The Golden Legend, iv: 2 1 Cf. Metrik, ii, § 232. 2 Prince Henry and Elsie, pp. 249-51. Elsie. Ónward and onward the highway rúns || to the distant city, | impatiently béaring Tidings of human jóy and disáster, || of love and of háte, | of doing and dáring! Prince Henry. This life of ours | is a wild aeólian hárp | of mány a jóyous stráin, But under them áll there rúns | a loud perpétual wáil, | as of souls in páin. Elsie. Faith alone can intérpret life, || and the heart that áches and bleeds with the stigma Of páin, | alóne bears the likeness of Christ, || and cán comprehend its dark enigma. There are, as appears from this specimen, a great many licences in these verses; the caesura, mostly in the fourth foot, is masculine in lines 1, 5, 6, feminine in 2; so that the second half of the line has an iambic-anapaestic rhythm. Besides this most of the lines have secondary caesuras in different places of the verse; iambic-anapaestic verses (like 3, 4, 6) are decidedly in the minority. The rhymes are both feminine and masculine, but there is no regular alternation between them, as might be supposed from the above short specimen. $199. The form of the seven-foot trochaic-dactylic verse may be illustrated by the following theoretical specimen, quoted from The Grammar of English Grammars (p. 880), by Goold Brown: Out of the kingdom of Christ shall be gathered, | by ángels o'er Sátan victorious, All that offendeth, that lieth, that faileth | to honour his náme ever glórious. Verses of this form with masculine endings printed in short lines occur in a song by Burns (p. 217): Where are the joys I have met in the morning, that dánc'd to the lark's early sáng? Where is the peace that awaited my wándring | at evening the wild woods amáng? § 200. The six-foot trochaic-dactylic verse may be illus |