The temporal uniformity is, of course, clearest in such verses as: Of hand, of foot, of lip, of eye, of brow (Shakespeare, Sonnets 106, 6), And swims, or sinks, or wades, or creeps, or flies (Milton, Par. Lost 2, 950), ... All joy, all glory, all sorrow, all strength, all mirth . . All lutes, all harps, all viols, all flutes, all lyres (Swinburne, Poet. Works 5, 298), which closely follow the rhythmical scheme and may be shown by the formula xa xbx cx dxe (§ 187). But if such verses, in which there is a grammatical pause at the end of each foot, were to occur in great numbers, they would become very monotonous. Therefore even in classical poetry the coincidence of a foot of a verse with the beginning of a word was as far as possible avoided, e.g.; Arma virumque ca no Troiae qui primus ab | oris, But since in English most words begin with an accented syllable, and iambic verse, which is the most common, begins with an unaccented syllable, the too frequent coincidence of the foot with the beginning of a word is avoided; ep. Tennyson's With rosy slen der fingers back ward drew, the scheme of which is x ax bx c x dx e. In trochaic rhythm this coincidence is of course very frequent, e.g. England mother | born of | seamen | daughter | fostered] of the sea (Swinburne), and this is perhaps the reason why trochaic rhythm is rare in English and makes a monotonous impression; cp. Alden, Engl. Verse, p. 408. In the case of iambic rhythm in NE., however, it must also be borne in mind that many monosyllabic proclitics such as prepositions, articles, adjectival pronouns compose a grammatical unity with the following noun, so too an adjective with a noun and a verb with its object, so that even in verses, which contain many monosyllables, the coincidence of foot and word or word-group is very limited, if one groups the words in 'speechbars'; cp. e.g.: The-curfew tolls-the-knell | of-par ting-day, The-lowing-herd | winds-slow ly o'er-the-lea, Since the grammatical grouping of the words of the verse continually changes in a continous poem, it is precisely in the verse of five feet that we find a great variety of types, which can all be united in one common verse scheme, which they never fully suppress (§ 187). But Skeat (Chaucer's Works VI, LXXXIII ff.) and Bridges (Milton's Prosody, Oxford 1901, p. 88 ff.) are wrong in making the verse consist only and solely of these grammatical word-groups (monopressures or stressunits), of various length and stress, and thereby neglecting the uniform verse scheme, which forms the foundation. It is by a combination of both, by the conflict between the uniform rhythmical scheme and the continually changing word-groups that the variety of the NE. verse arises. In measuring the temporal uniformity of the individual feet the cæsura pauses, whether they occur within or at the end of a foot, are of course not to be reckoned. The poet can of course omit a part of the rhythmical scheme, cp. e.g. Tennyson's On thy cold gray stones, o sea! And I would that my tongue could utter § 210. Rime and Alliteration. On rime of various kinds see §§ 136-150. Unrimed alliterative verse died out at the beginning of the sixteenth century; but many modern English poets use alliteration as an ornament to their verse. NOTE 1. The following works deal with alliteration from the time of Chaucer: Lindner, The Alliteration in Chaucer's Canterbury Tales, Rostock 1876. Mac Clumpha, The Alliteration of Chaucer, Leipzig 1888. Petzoldt, Über Alliteration in den Werken Chaucers mit Ausschluss der Canterbury Tales, Marburg 1890. — Höfer, Alliteration bei Gower, Leipzig 1890. Lithgow, English Alliteration from Chaucer to Milton (Transactions of the Royal Society of Literature, 2. Ser. 18, 2). in Spenser's Poetry, Zürich 1900. eration bei neuenglischen Dichtern, Halle 1880. Zur Alliteration im Neuenglischen, Itzehoe 1883. Opitz, Die stabreimenden Wortverbindungen in den Dichtungen W. Scotts, Breslau 1894. Steffen, Die Alliteration bei Spencer, Alliteration Seitz, Tennyson, Kiel 1905. fellow, Liegnitz 1897. Siemt, Der Stabreim bei Long NOTE 2. Most English metrists discuss tone-colour; cp. e.g. Parsons, Engl. Versification pp. 61-67; Lewis, Principles of English Verse, pp. 130-139; Alden, English Verse, pp. 135-147, especially p. 136 note, where further works are quoted. But the views on this subject are not clear enough to make it worth while to discuss the subject in detail. § 211. The Septenary. The septenary rimed couplet was still used in the sixteenth century, both in original poems, e.g., in Warner's Albion's England (1586) and in some dramas, and in translations of Latin and Greek hexameters, with which the septenary, or long alexandrine as it was also called, closely agrees in the number of syllables (14). In this metre are Golding's translation of Ovid and Chapman's translation of the Iliad. The latter begins: Achilles' baneful wrath resound, o Goddess that impos'd and many brave souls los'd From breasts heroic; sent them far to that invisible cave That no light comforts; and their limbs To all which Jove's will gave effect; to dogs and vul tures gave: from which first strife begun Betwix Atrides, king of men, and Thetis' godlike sun. Chap. XIV of Albion's England begins: Now, of the conquerour, this isle had Brutaine vnto name, And with his Troians Brute began manurage of the same. For rased Troy to reare a Troy fit place hee searched then, And viewes the mounting northerne partes: "These fit" (quoth he) "for men That trust asmuch to flight as fight; our bulwarks are our brests, The next arriuals heere, perchaunce, will gladlier build their nests: A Troian's courage is to him a fortres of defence." And leauing so wheare Scottes be now he south-ward maketh thence; Whereas the earth more plentie gaue, And nothing wanted that by wealth and ayre more temprature, or pleasure might allure; And more, the lady flood of floods, the ryuer Thamis, it Did seem to brute against the foe, and with himselfe to fit. Vpon whose fruitful bancks therefore, whose bounds are chiefly said, The want-les counties Essex, Kent, Surrie, and wealthie glayde Of Hartfordshire, for cities store participating ayde, Did Brute build vp his Troy-nouant, inclosing it with wall; Which Lud did after beautifie, and Luds-towne it did call That now is London: euermore to rightfull princes trewe, Yea prince and people still to it as to their storehouse drewe, For plentie and for populous the like we no wheare vewe. The unaccented initial syllable may no longer be omitted, the verse-ending is generally masculine; thus there are generally 14 syllables, and the |