accent (stress), how distributed

among the syllables of a single
word; denoted by symbols,
I; English tendency to throw
back the accent, 2; regular
recurrence of, constitutes Eng-
lish verse, 1; illustrated from
Bacon and Scott, 2; may be
changed by emphasis, 2; rising
and falling, 4; see inversion,
omission, doubling
Aeschylus, refrain in, 135
aesthetic quality of metres, 87-
93; use of metrical variation,
94-123
alcaics, 82

alexandrine, 11, 26-29

alliteration in Latin, 124, 125;
in old English verse, 127, 128;
in modern English, 101-104,
106-119

amphibrach, or anapaest, 20, 21,
51, 52

anacrusis, 20, 36, 38, 39; inter-
nal, 72

anapaest, 5; for iamb, 13-15
anapaestic metres, 44-57; rhyme-

less, 53; with double rhymes,
54, 55; substitution, iamb for
anapaest, 44 f., cretic for ana-
paest, 74, 75, monosyllable
for anapaest, 44 f.

anti-jacobin burlesques, 83, 99
Arnold, M., quoted, 40, 53, 57,
61, 91

Ascham, Roger, on rhyme, 129
asclepiad imitated by Swinburne,
83
assonance, 96, 138

ballads, roughness of the old, 85,
86

Baring-Gould, 33, 38, 84
Beaumont, Sir J., 130

blank verse introduced by Surrey,
128, see rhyme
Bowen, Lord, 80

Bridges, R., quoted, 78
Browning quoted, 6, 14, 27, 51,
64, 81, 142, 145
Burns, 32, 137

Byron, 30, 56, 132, 142

caesura, feminine, 20-22; in
hexameter, 79, 80

Campbell, 73 f. (Ode to Nelson),

140, 144
Campion quoted, 138
Catullus, 135
Chapman, 29

Chaucer, 15; quoted, 22; on
rhyme and metre, 127; his
irregular rhymes, 134
Cicero on Ennius, 125
classical metres, 79-84
Clough, 80, 81, 139, 144
Coleridge, 30, 44, 79; quoted,
5, 14, 19, 25, 46, 52, 66, 80,
153; uses internal rhyme, 139;
odes, 151

consonants classified, 96
Courthope, Hist. of Eng. Poetry,
127, 130

Cowper quoted, 5, 24, 46, 117,
118, 154

cretic for anapaest, 74, 75

Dabney quoted, 87, 88, 92

dactyl, 5; for iamb, 16; for
trochee, 36 f., 70, 71
dactylic metres, 44, 45, 49, 58-
62; substitution, trochee for
dactyl, 57 f., monosyllable
for dactyl, 58 f.
Darley, 18, 19, 61
Denham quoted, 133
doubling of stress, see spondee
Drayton, 27, 33, 63

Dryden quoted, 23, 28, 56;
on rhyme, 130, 131

elegiacs, 80; irregular 81
Eliot, G., 138
elision, 16, 17

emendation, exercises on, 154 f..
emphasis, how it affects stress, 3
ending, weak, 9; see feminine
enjambement in Shakespeare, 9,

98; in Shelley, 99; line ending
in the middle of a word, 99;
aesthetic use of, 100
Ennius, rhyme in, 125
exercises on ch. I, to deter-

mine the metres, 5; on II, to
point out irregularities in heroic
verse, 23; III, to scan other
specimens of iambic verse, 34;
IV, to scan specimens of tro-
chaic, 42; V, to scan speci-
mens of anapaestic, 56; VI,
to scan specimens of dactylic,
63; VII, on mixed and doubt-
ful metres, 78; VIII, on
classical metres, 84; X, to
point out the connexion of
sound and sense in certain
select passages, 122; XI, Final
Exercises, 152-157

feminine ending, 18; use by

Fletcher and Shakespeare, 18,
19; in Hamlet, 94-98; with
two or more extra syllables,
19; within the line, 20, 76,
77; in anapaestic verse, 44-
46, 48, 50, 52-55
Fitzgerald, 144

iamb, 4; for trochee, 37, 39;
for anapaest, 44, 46 f.
iambic metres, five-foot iambic,
7-25; six-foot, see Alexan-
drine; seven-foot, 29; four-foot,
30-32; three-foot, 33; two-foot,
32; one-foot, 33; substitution,
trochee for iamb, 10,
pyrrhic for iamb, 12, spondee
for iamb, 12, 13, anapaest for
iamb, 13-15, dactyl or tribrach
for iamb, 16, long syllable for
iamb, see truncation; sequence,
iamb-trochee, 10; double tro-
chee, II, 12

II,

imitation of sense by sound, see
onomatopoeia

inversion of stress, trochee for
iamb, 10-12; iamb for trochee,
37-39

Jonson, Ben, quoted, 6, 45, 99;
his Pindaric ode, 150

Mapes' drinking song, 126
Marlowe quoted, 12, 16, 19,
22, 23, 30, 128
Meredith, G., 60, 61, 155
metre determined by rhythm

and by the number of the feet,
4; mixed, 65-78; changed, in
Maud, 67; Vision of Sin, 68;
Lotos-Eaters, 68; Wellington,
69; Revenge, 71-73; Shelley,
70; Lamb, 70, 71; classical,
79-84; development of, from
1066 to 1561, 127 f.; doubt-
ful, 48, 50-53, 62, 70-77;
aesthetic qualities of different
metres, 87-93

Milton quoted, 7-11, 13, 14,

16-18, 20, 27, 31, 32, 35,
36, 42, 65, 99, 122, 123,
129, 131; (metrical analysis),

100-110

monosyllabic foot, 45, 49, 119;
see truncation

'moon's' or 'moones' in M.N.D.,
66

Moore, T., 34

Morris, W., quoted, II
Murray, G., difficult metres, 75

-77

notation, I., 9 n., 26 n.

ode, regular and irregular, 148;
of Collins, 148; Wordsworth,
148 f.; Gray, 149 f.; Ben

Jonson, 150; Campbell, 73-
75, 140; Dryden, 150 f.;
Coleridge, 151

omission of stress, see pyrrhic
and tribrach
onomatopoeia, 102-119; exces-
sive, 120, 121

Ovid uses rhyme, 125

pause, in the middle or at the
end of a foot, 8; final or in-
ternal in the line, 8, 9;
aesthetic use of, 100, 118
pentameter, see elegiacs
Percy's Reliques, 45
Piers Plowman, 128

Pope, quotations from, 5, 8, 9,
10, 12, 13, 15, 18, 24, 28,
117, 132, 133

prose, how distinguished from

verse, I

pyrrhic for iamb, 12

Raleigh, 30

refrain, history of, 135; varieties
of, 136

rhyme, monosyllabic, 124; 'per-
fect' illegitimate in English,
but practised by some poets,
134 f.; Latin rhyming verse,
ancient, 124, 125; mediaeval,
125 f.; ousted alliteration,
127; depreciated by Mar-
lowe, Ascham, B. Jonson,
Milton, 128, 129; became
fashionable again in the 17th
and 18th centuries, 130; di-
syllabic and polysyllabic, 131,
132; loose, 132 f.; witnesses
to change of pronunciation,
132; Shelley's negligent, 135,
137 f.; leonine or internal,
138 f.; rhyming couplet, 141,
142; triplet, 142 f.; quartette,
143 f.; multiplex rhyme, 144,

145
rhythm, rising and falling, 4

sapphics, 83

Scott quoted, 4, 5, 30, 34, 45,
46, 49, 58, 59, 63, 89, 139
Shakespeare, change of metre,
66; uses old English genitive,
99; unstopped lines, 9, 98;
inversion of stress, 10,
spondee, 12, 13; anapaest,
13-15, 21; marks of elision,
17; feminine ending, 19, 94
-97; feminine caesura, 20-22;
truncation initial and internal,

22,

II;

23; Alexandrine, 29;
quoted, 42, 45, 66, 78, 122,
136

Shelley quoted, 10-16, 19, 21,

30, 31, 32, 35, 37-39, 46,
133, 134, 137, 138, 140, 143
slurring distinguished from eli-
sion, 17; in Milton, 17; in
Fletcher, 19; in Scott, 49; in
ballads, 86; in Meredith, 61
sonnet, Petrarchian, 145; of
Milton, 146; of Shakespeare,
146 f.; of Wordsworth, 147
sound, qualities of, 96
Southey, 52, 53, 63
Spenser, 11, 27, 28, 33, 56,

66 n., 134, 135
spondee for iamb, 12, 13
stanza, 141 f.

Steevens, 66 n.
Suckling, 43

Surrey, 11, 13, 29, 66 n.
Swinburne quoted, 15, 41, 44,
53-55, 83, 121, 140, 144,
155
syllable defective, see truncation;

superfluous at the beginning
of the line, see anacrusis; at
the end, see feminine ending;
within the line, see slurring,
feminine caesura, anacrusis in-
ternal

Tennyson, 5, 8, 11, 12, 14, 15,
16, 19, 21, 33, 34, 35, 37, 38,

40-43, 47-51, 56, 59, 60, 62
(Boadicea), 63, 67 (Maud), 68
(Vision of Sin), 69 (Welling-
ton), 71 f. (Revenge), 77, 82,
123, 136, 142

Terza Rima, 142
Thomson quoted, 153 f.
tribrach for iamb, 16
trochaic metres, 36-43; substi-
tution of iamb for trochee,
39; of dactyl for trochee, 39
-42; see anacrusis, truncation
trochee for iamb, 10-12; for
dactyl, 58; for spondee, 79
truncation, 20; initial in five-
foot iambic, 22; in four-foot,
30, 31; three-foot, 32; in
anapaestic, 44, 46-50, 53,
55; internal, 23, 32, 33, 34,
42, 45, 49, 50; final in tro-
chaic metres, 34-42; in dac-
tylic, 58-62