Andeksen.- The Verfe-i/.jiit. 64^ 



The blending is best heard by the ear when the words are given ; it is best 

 seen by the eye when the syllables are represented by dots, as follows : — 



(la.) 



.../../.../../ 3, 2, 3, 2 syllables. 



.../.../ ../ ../ 3,3,2, 2 



.../.../ ../ ../ 3,3,2,2 



./.../.../ ../ 1,3,3, 2 



These irregularities are too uncertain to be taken as any index to varieties. 

 The alteration of duple and triple units follows no perceptible rule, but is 

 altogether dependent upon the individual inclination of the writer. The 

 regular variations occur at the opening of the verse and at the two chief 

 " pause-divisions." They occur with most perceptible and definite fre- 

 quency in the rhythmic breath-pause following the verse-end, and with 

 less frequency and less definiteness at the mid-verse, or line-end. Variation 

 at these two points is also dependent upon the inclination of the writer, in 

 so far as he is at liberty to employ them or not as he pleases ; but should 

 his first verse show a certain end-variation, the metrical balance almost 

 demands that the same variation shall be present in the following verse, 

 and is more satisfied if the variation is repeated in every verse in the stanza. 

 For instance, when Byron wrote — 



(2.) The serpent of the field, by art 



And spells is won from harming ; 

 But that which coils around the heart. 



Oh ! who hath power of charming ? 



It will not list to wisdom's lore, 



Nor music's voice can lure it ; 



But there it stings for evermore 



The soul that must endure it. 



(" All is Vanity, saith the Preacher," stanza 3.) 



— he introduced a variation in the first verse by adding to it a syllable, 

 such syllable falling within the breath-pause, and constituting a " feminine " 

 ending. Having done this, he was obliged to employ the same variation 

 in the second verse ; and, whilst metre did not demand it, his rhythmic 

 sense led him to employ it in the third and fourth verses also. The same 

 verses are repeated without the repetition of the variation in succeeding 

 verses : — 



(2a.) The serpent of the field, by art and spells is won from harming ; 



But that which coils around the heart, oh ! who hath power to charm ? 

 It will not list to wisdom's lore, nor music's voice can lure it ; 

 But there it stings for evermore the soul that must endure. 



The break is at once perceived, and the ear demands the restoration of full 

 harmony by the repetition of the variation. The variation at the mid-verse, 

 or line-end, is seen in Landor's 



(3.) Graceful Acacia ! slender, brittle, 

 I think I know the like of thee ; 

 But thou art tall and she is little — 



What God shall call her his own tree ? 

 Some God must be the last to change her ; 



From him alone she will not flee ; 

 may he fix to earth the ranger, 

 And may he lend her shade to me ! 



(Xo. vi of " Th» I.a^t Kniit ntt iin Okl Trr,-.") 



