Andersen.- -7'A^' Verse-unit. 655 



(b.) ../.../•■•/ / 



/.../.../ / (333-133 

 /..../..../ / (344-144 

 /..../..../ / (444-144 



Variation 2. 



Subvariation — 



(a.) ../ ../ ../ / ./ ../ ../ / (222-122 



./.../.../ / (233-133 

 ./..../..../ / (244-144 

 id.) .../•■•/••■/ / 

 (e.) .../..../•■•■/ / 



(/.) ..../■•■■/••••/ / 

 Group B and 

 Group C. 



Again the remark concerning these groups in Romance, Ballad, and Nibe- 

 lungen apply. 



Division II. 



As in Romance, Ballad, and Nibelungen, the verses in this division begin 

 abruptly. 



Division III. 



In this division may be classed the " unpaused " Alexandrine : — 



../../../../••/••/ // (2 22222--) 

 This can vary only at opening and close, with ordinary duple, triple, or quad- 

 ruple, or abrupt, at the former, and feminine or double-feminine at the latter. 



In the foregoing groups will be included all poems whose stanzas are regular ; 

 stanzas, that is, composed of a definite number of full verses. To each 

 group will be appended one or more subgroups where an exceptional con- 

 struction is met with, as in the following : — 



Winds are loud and you are dumb. 

 Take my love, for love will come. 



Love will come but once a life. 

 Winds are loud and winds will pass ! 

 Spring is here with leaf and grass : 



Take my love and be my wife. 

 After loves of maids and men 

 Are but dainties drest again : 

 Love me now, you'll love me then : 



Love can love but once a life. 



(Tennyson, " No Answer " from " The Window.") 



When, dearest, I but think of thee, 



Methinks all things that lovely be 

 Are present, and my soul delighted : 



For beauties that from worth arise 



Are like the grace of deities. 

 Still present with us, though unsighted. 



(Sir John Suckling, " A Song.") 



The construction of these is similar to the construction of the Dowsabel 

 stanza, but the effect is entirely different. The whose difference lies in 

 the third and sixth lines, which in the two above examples contain four 

 stresses, against three in the Dowsabel. The former will therefore more 

 naturally fall into Division I of the Romance metre, under variation 1 

 of Group A ; the latter into the parallel division of Ballad metre. A fuller 

 discussion concerning exceptional forms will be more in place in the chapter 

 on the stanza. 



