CHAPTER II.

VERSES CONSISTING OF A SINGLE SECTION.

one accent.

In certain staves, we meet with lines containing only These in the 13th and 14th centuries seldoin contained more than one or, at most, two syllables; and seem to have been known by the expressive name of bobs, that is pendants. They will be noticed in the last book; for in no point of view can they be considered as verses. The same may be said of the lines containing one accent and three syllables, which some of our modern poets have patronized;

Hearts beating
At meeting,
Tears starting
At parting.

It would be absurd to call these lines verses. Two of them, if joined together, would form the section 6 7. with the double rhime-a rhiming section, which, for ages has been familiar to our poetry. They ought to have been written accordingly.

VERSE OF TWO ACCENTS.

The section 1. of two accents is rarely met with as an independent verse. The cause was evidently its shortness. Shakespeare, however, has adopted it into that peculiar rhythm, in which are expressed the wants and wishes of his fairy-land. This rhythm consists of abrupt verses of two, three, or four accents; it belongs to the common measure, and abounds in the sectional pause.

Under Shakespeare's sanction, it has become classical, and must now be considered as the fairy dialect of English literature.

On the ground|
Sleep sound,

I'll apply

To your eye,

Gentle lover, remedy.

When thou wak'st,

Thou tak'st

True | delight

In the sight

Of thy former lady's eye.

M. N. D. 3. 2.

The section 17. was common in those short rhythms, which abounded in the 16th century under the patronage of Skelton, Drayton, and others their contemporaries. Campion actually wrote a madrigal in this measure, which he called the Anacreontic;

Sections 2. 2 l. are not uncommon;

The steel we touch,

Forc'd ne'er so much,

Yet still removes
To that it loves,
Till there it stays;
So to your praise],

I turn ever;

And though never

From you moving

Happy so loving.

Drayton.

But the Section 5. was, as might have been expected,

the chief staple of these short rhythms ;

VERSE OF THREE ACCENTS.

The Sections 1. and 17. with three accents are freThere is one kind of metre in which

quently met with.

these verses occur alternately. It has been revived by Moore;

Fill the bumper fair,
Ev'ry drop we sprinkle,

O'er the brow of Care,

Smooths away a wrinkle, &c.

The Section 2. is not unfrequently mixed up with the other Sections of three accents;

The Sections 5. and 57. have been alternated; they form

a very pleasing metre ;

1.

Ere God had built | the mountains,

Or rais'd the fruitful hills,

Before he fill'd | the fountains,
That feed the running rills,
In me from everlasting
The wonderful | I AM

Found pleasures never wasting,

And Wisdom is my name.

2.

When, like a tent | to dwell | in,
He spread the skies | abroad,
And swath'd | about | the swelling
Of ocean's mighty flood,

He wrought by weight | and measure,
And I was with | him then,
Myself | the Father's pleasure,

And mine the sons | of men.

Cowper. Prov. 8.

The Section 51. was much favoured during the 16th century. We have songs, some of good length, entirely composed of it, though, generally speaking, it occurred at intervals.

Section 9. is of constant occurrence in our old ballads and popular songs;

Over Otter cap hill they cam in,

And so dowyn | by Rod clyffe crage,

Upon Grene Leyton they lighted down,

Styrande many a stage.

Battle of Otterburn.

Burns often used it, as in his humourous song on John

Barleycorn;

They've ta'en a weapon long and sharp,

An' cut him by the knee,

Then tied him fast upon a cart

Like a rogue for forgerie

"T will make a man forget his woe,

'T will heighten all his joy,

'T will make the widow's heart to sing
Tho' the tear | be in | her eye.

This verse has very little to recommend it.