Andersen. — Classification of Verse. 503 



Th-is result must follow if there is not sufficient vocal pause between the 

 two syllables bearing the rhythmic stress ; and through this result the first 

 stress is converted into a syntactic accent only. It may be held that in 

 Shelley's lines there are also choriambs : that (53) a should read, — 

 (o3r/.) a. Like young/ lovers/ whom youth/ and love/ make dear/ 



But, as a five-stressed or heroic verse results, this clearly cannot be right. 

 It will be found that if Shelley's lines be repeated to beaten time, by tapping 

 with the foot or otherwise, making the stresses fall with the beats, the 

 syllables of (53) a falling with the beats will be " lo " of " lovers," " vouth," 

 " love," and " dear " ; of (53) h. " roof," " worms," " eve " of " evening,'' 

 and " dew " ; and, as the intervals of time separating the beats are equal, 

 it follows that the units between the stresses that fall with the beats must 

 be temporally equal also, whatever they may be syllabically — that is, " the 

 glow-worms " occupies no more time than " ning dew." It follows, too, 

 that " glow " does not bear a stress, though it bears an accent almost equal 

 to a stress. 



19. Were it desired to expand Shelley's lines into five-stressed verses, 

 then it could not be done by means of choriambs. Kead aloud, however, 

 the following pairs, being combinations of verses from " Epipsychidion " 

 and " The Sensitive Plant " :— 



(54.) a. And therefore I went forth, with hope and fear (Ep., 1. 246.) 



Like young lovers whom youth and love make dear 



h. And as a cloud charioted by the wind (Ej)., 1. 290.) 



Brought pleasure there and left passion behind. 



c. And through the cavern without wings they flew, (Ep. 1. 305.) 

 To roof the glow-worm.s from the evening dew. 



The lines from " The Sensitive Plant " have acquired an entirely new 

 character. In (54) a the second verse would be read in one of the follow- 

 ing ways : — 



(54f/.) a. Like yoimg/ lovers/ whom youth/ and love/ make dear/ 

 or 



Like yoimg/ lov/ers whom youth/ and love/ make dear/ 



and similarly (54) h as,- — 



(546.) b. Brought pl^a/sure there/ and 16ft/ passion/ behind/ 

 or 



Brought plea/sure there/ and left/ pa/ssion behind/ 



and I think the latter .reading in each case would be more favoured. Com- 

 pare this reading with Milton's verse — 



(55.) Brought plea/sure there/ and 16ft/ pa/ssion behind/ 

 Illii/min, what/ is low/ raise/ and support/ 



— and we have evidence favouring the contention that a choriamb consists 

 of two units, the first containing a pause and a stressed syllable ; the second 

 three syllables, the last being stressed. 



20. A construction which appears to be reverse of that under consider- 

 ation is seen in the verse, — 



(56.) A .shout that tore Hell's concave, and beyond 

 Frigh/ted the reign/ of Cha/os and/ old Night/. 



(P.L., i, 1. 543.) 



In the previous case two syllables, one accented and one stressed, preceded 

 two syllables without either accent or stress ; here the unaccented syllables 



