Andersen. — Tlie Yerfie-innt. 



651 



Variation 2, Subvariation (a) : — 



(19.) He/ that loves/ a ro/sy cheek/, or/ a co/ral lip/ admires/, 



Or/ from star-/liko eyes/ doth seek/ I'u/el to/ maintain/ its fires/ ; 



(Careiv, " He that loves . . .") 



Variation 3, Subvariation («) : — 



(20.) God/ be with/ thee, glad/ some 0/cean! How glad/ly greet/ I thee/ 

 once more !/ 

 ShijDs/ and waves/ and cease/less mo/tion, and men/ rejoi/cing on/ 

 thy shore/. 



{Coleridge, " On revisiting the Sea-shore," stanza 1.) 



Division II, Group B, Variation 1, Subvariation (a) : — 



(21.) An/nan Wa/ter's wa/ding deep/, and my/ love An/nic'.s won/droua 

 bon/ny / 

 1/ will keep/ my tryst/ to-night/, and win/ the heart/ o' love/ly An/nie. 



(" Annan Water," stanza 1.) 



The key to the division, then, is in the first unit : if the imit be ordinary 

 (duple, triple, or quadruple), the verse belongs to Division I ; if abrupt, to 

 Division II. The key to the groups is in the last miits, and to the varia- 

 tions in the fourth and fifth luiits, as particularized in paragraph 5. 



10. Ballad, Nibelungen, and Alexandrine metres vary in the same way, 

 though not to the same extent, owing to the fact that the two latter are the 

 results of a mid-variation of the Ballad. It may be noted that should a 

 Romance verse drop its last syllable (stressed), it is no longer Romance, but 

 Feminine Ballad ; should it drop the last syllable (stressed) of the first 

 half-verse, it becomes that peculiar and uncommon verse foimd as the swell 

 of Nibelmigen stanzas, which is regarded as Nibelmigen reverting to type 

 (see remarks in example No. (16) g in paragraph 10). Should a Ballad 

 verse drop the last syllable (stressed) of the first half-verse, it becomes 

 Nibelmigen ; and should a Nibelungen verse drop the last syllable 

 (unstressed) of its first half- verse, or should a Ballad verse drop the last 

 unit of its first half-verse, an Alexandrine results. Should a Ballad verse 

 drop its last unit, it becomes an unpaused Alexandrine ; and this latter verse 

 can drop nothing from its last miit without also dropping itself out of the 

 category of metrical verses, unless, indeed, it may be said to result in a 

 Heroic verse of five stresses. 



The full tables of the Lyric metres are therefore as follows : — 



Division I. 

 Gboxtp a. 



Variation 1. 



Subvariation- 



(«.) 

 ib.) 



1. Romance Metre. 



id.) 

 (e.) 

 (/.) 



(g-) 

 (h.) 



(t.) 

 (?■•) 

 (k.) 

 (I.) 



(m.) 

 in.) 



../ 



■■/ 



■■/ 



../. 



../. 



../. 



••/ 



••/ 



../. 



••/. 

 ../. 

 ../. 

 •■/■ 

 ../. 



■/ 



•/ 



•/ 



•/. 



•/• 



•/. 



•/ 



•/ 



•/• 



•/. 



■/. 



■/. 



./. 



•/. 



••/ 

 .../ 

 .../ 

 .../ 

 .../ 

 .../ 

 .../ 

 .../ 



•••/ 

 .../ 

 .../ 

 ■••/ 

 ••■/ 

 .../ 



../ 



••/ 



••/ 



••/■ 



../. 



../. 



•■/ 



•■/ 



../. 



../. 



../. 



../. 



../. 



../. 



••/ 



■•/ 



••/ 



../. 



../. 



../. 



••/ 



■•/ 



../. 



../. 



../. 



../. 



../. 



../. 



■•/ 

 .../ 

 .../ 

 .../. 

 .../. 

 .../. 

 .../ 

 .../ 

 .../. 

 .../. 

 .../. 

 .../. 

 .../. 

 .../. 



./ 



•/ 



•/ 



../ 



■•/ 



■•/ 



•/ 



./ 



./ 



./ 



■■/ 



■/ 



./ 



./ 



22* 



