English Versification for the Use of Students

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated.1891 Excerpt: ... PART II.--FORMS. CHAPTER XI. THE MORE USUAL FORMS OF ENGLISH VERSE. 1. Having now seen the great variety, both in rhythm and metre, of which English verse is capable, we are led to inquire whether there is any law in this variety, and whether there are any forms which are especially suited to the genius of the people. To answer the first of these questions, it is necessary to take a brief glance at the history of English metre. Three periods have been distinguished in its development. 2. First, the Anglo-Saxon period. Its distinguishing features are the predominance of the accented syllable and the use of couplets. All else is unimportant. In each half of the couplet are two strong accents, made more prominent still by alliteration; while the unaccented syllables, few or many in number, run on like prose, hastily uttered. In the poem of "Beowulf" the accents come "short, sharp-sounding, each like a sword-blow." In other than war songs, there might be six or seven accents to a couplet. 3. Then comes a transition period. The Norman influence begins to be felt, modifying the intense energy of the Saxon. The contras between the accented and unaccented syllables is not strong. The unaccented syllables assume some importance in the verse, and their number becomes more limited and regular. Alliteration falls gradually into disuse, and endrhyme takes its place. At the same time, the number of accents begins to vary. This arises from two sources, the French influence and the Latin. Two forms come in from the French; one, the "riming couplet," of four accents and eight or nine syllables to the line; and the other, the Alexandrine, --of six accents and twelve syllables to the line. From the Latin came a form, from the hymns used in the churches, called the Septenary, w...