ANALYSIS

I. INTRODUCTORY-PURPOSE AND METHOD.

A. Introduction.

B. Statement of purpose.

C. Definition of terms (Modern, English, metrical).

D. Method.

1. Use of categories.

2. Arrangement of chapters.

E. The time limits.

F. Reasons for limitation to one meter.

G. Theoretical basis.

1. Statement of theory.

2. Notation.

H. Subjective element in metrics.

II. INTRODUCTORY-BALLAD METER BEFORE 1700.

A. General statement of metrical tendency from 1100 to 1700.

B. History of ballad meter before 1700.

1. Origins.

2. Poema Morale.

3. Miscellaneous medieval specimens.

4. Ballad meter and the alliterative poems.

5. The ballads.

6. Lack of literary ballad meter in the Middle Ages.

7. Elizabethan ballad meter.

8. Ballad meter in the seventeenth century.

9. The periodic style.

10. Ballad meter at the end of the seventeenth century.

11. Significance of condition of ballad meter technique at end of seventeenth century.

C. Correspondence between development of ballad meter before 1700 and of other English meters.

D. Determination of 1700 as date for beginning of study.

III. THE REGULAR FORM.

A. Introduction.

1. Definition and variations of typography.

2. Variations of rhyme.

3. "Trochaic substitution."
4. Apostrophization.

B. History.

1. The periodic style in the 18th century.
2. The long line.

C. Technique.

1. Characteristics of the periodic style.

2. Later usage.

IV. TRISYLLABIC VERSE.

A. Definition.

B. History.

C. Technique.

1. Relation to dissyllabic verse.

2. Omission of unstressed syllables after pause.

3. Rhyme.

4. Variation in type of foot.

D. Usage.

1. Lack of specific esthetic effect.
2. Relation to structure of language.

E. Conclusion.

V. TRISYLLABIC SUBSTITUTION.

A. Definition.

B. History.

1. Before 1700.

2. In the eighteenth century.

a. Scottish song writers-Burns.

b. The ballad revival.

(1) Imitation.

(2) Restoration-Percy.

(3) Forgery-Hardyknute, the Rowley Poems.

c. Blake.

d. Conclusions.

3. 1796-1805.

a. Experiment and technical development.
(1) The Southey-Coleridge group.

(2) The Lewis-Scott group.

b. Popularization.

(1) The Lay of the Last Minstrel.
(2) The meter of Christabel.

4. Later usage.

C. Technique.

1. Method of study-division into groups.
2. Group I. (0-10%)

a. Examples and general characteristics.
b. Position of substitutions.

c. Nature of syllables used in substitutions.
(1) Usage illustrated by Coleridge.
(2) Other usage.

8. Group II (20%-35%)

a. Examples and general characteristics.
b. Distribution of substitutions.
(1) Examples.

(2) General principles.

c. Position of substitutions.

d. Nature of syllables used in substitutions. 4. Group III (40%-70%)

a. Examples and general characteristics.

b. Nature of syllables used in substitutions.
c. Rhyme.

5. Poems with more than 70% trisyllabic feet.

D. Usage.

1. Absence of definite esthetic value.

2. Functions of trisyllabic substitution.

a. Harmony of metrical and linguistic values. b. Metrical variety.

E. Conclusion.

VI. METRICAL PAUSE.

A. Introduction.

1. Definition.

2. Relation of verse and music.

3. Metrical pause by omission of unstressed syllable.

a. Within foot (Monosyllabic foot.)

b. At anacrusis (Trochaic verse.)

B. History.

1. In popular poetry.

2. Beginnings in literary poetry.

3. Lockhart's Spanish Ballads.

4. Popularization-Macaulay's Lays of Ancient Roma.

5. Later usage.

C. Technique.

1. Omission of stressed syllable not at caesura.

2. Omission of stressed syllable at caesura.

a. Types of line so formed.

b. Proportion of types.

c. Arrangement of type lines.

3. The meter of Morris's Sigurd.

D. Usage.

1. Variety of half-lines.

2. Binding together of the full line.

E. Conclusion,

VII. THE MONOSYLLABIC FOOT.

A. Introduction.

1. Definition.

2. Ambiguous cases.

3. Relation to other variations.

a. General considerations.

b. Lack of connection with structure of language.