646 TrniiKactiui-Di. 



perfect. Then, following No. (5) should come the quadruple verse with 

 triple opening : — 



(5c.) .../..../..../..../..../..../..../..../ 



This verse, again, may vary at the mid-pause by having two, three, or four 

 syllables, making other three variations. This metre is more frequently 

 met with than (3a), yet is comparatively rare, at least in the better class of 

 British poetry. The variations in the quadruple verse may be tabulated : — 



(3a.) ../..../..../..../ ../..../..../..../ (2, 4, 4, 4 ; 2, 4, 4, 4) 



(36.) ../..../..../..../ .../..../..../..../ (2,4,4,4; 3,4,4,4) 



(3c.) ../..../..../..../..../..../..../..../ (2,4,4.4; 4,4,4,4) 



(5a.) .../..../..../..../ ../..../..../..../ (3, 4, 4, i ; 2, 4, 4, 4) 



(56.) .../..../..../..../ .../..../..../..../ (3,4,4,4; 3,4,4,4) 



(5c.) .../..../..-./••••/••••/..••/..../••••/ (3.. 4, 4, 4; 4,4,4,4) 



An example of (3c) has been given ; the following illustrate other of the 



variations : — 



(3(/. ) And how/ the happy Earth/, growing young/ again in mirth/, has 

 prank't/ herself in jew/els to do ho/nour to the day/ — 

 Of gold/ and purjilc bright/, of a/znre and of white/ ; her di/adem 

 and brace/lets, the mea/dow -flowers of Maj'/. 



(C. Maclcay, " 'Tis Merry in the Mead," part of stauza 2.) 



This has a triple and a duple unit in the first verse besides the duple unit 

 at the opening, whilst in the second verse it has a triple and two duple units 

 besides the duple unit at the opening. As noted in (3c), the type is seldom 

 perfect. 



(56.) Every mo/tion of the ves/sel, every dip/ of mast or spar/, is a dance/ 

 and a rejoi/cing, and a pro/mise from afar/ ; 

 And we love/ the light above/ iis, as it tips/ the waves around/, all the 

 moi'e/ because, ere co/niing, it has beain'd/ on English ground/. 



(C. Maclean, " Boiling Home," part of stanza 3.) 



(5c.) And the bush/ hath friends to meet/ him, and their kind/ly voices 

 greet/ him in the mur/mur of the bree/zes and the ri/ver on 

 its bars/. 

 And he sees/ the vision splen/did of the sun/lit plains exten/ded, 

 and at night/ the wondrous glo/ry of the e/verlasting stars/. 



(A. B. Pnterson, " Clancy of the Overflow," stanza 4.) 



There's a cry/ from out the Lone/liness — Oh lis/ten, Honey, lis/ten ! 



Do you hear/ it, do you fear/ it, you're a-hol/ding of me so '!/ 

 You're a sob/bing in 3'our sleep/, dear, and your la/shes, how they 



gli/sten — do j^ou hear/ the Little Voi/ces all a beg/ging me to go ?/ 



{R. W. Service.) 



There may be a further variation of the quadruple verse : it may open with 

 a quadruple unit. No example of this has been noted, however. Should 

 it be found, its place will fall naturally after (5e). 



4. The verses exampled in the foregoing paragraph may vary in yet 

 two more ways at the mid -pause- — that is to say, in the fifth unit. This 

 unit may contain either one syllable only, or it may contain one syllable 

 more than the normal number contained by the units of the verse. In the 

 former instance the second half -verse opens abruptly ; in the latter instance 

 the first half-verse has a feminine ending. 



(G.) ../../../••/ ./../../../ (2, 2, 2, 2; 1,2, 2, 2) 



(7.) ../.../.../.../ ./.../.../.../ (2, 3, 3, 3 ; 1, 3, 3, 3) 



(8.) .../.../.../.../ ./.../.../.../ (3, 3, 3, 3 ; 1, 3, 3, 3) 



. (9.) ../../../../.../../../../ (2, 2, 2, 2 ; 3, 2, 2, 2) 



(10.) ../..■./.../.../..../.../•••/•••/ (2, 3, 3, 3 ; 4, 3, 3, 3) 



(11.) .../.../.../.../..../.../.../.../ (3. 3, 3. 3; 4, 3, 3, 3) 



