The rhymes are arranged in the following order: ab ab bc bcc. It will be observed that the two quatrains are bound together by the first two b rhymes, and the Alexandrine, which rhymes with the eighth line, draws out the harmony with a peculiar lingering effect. In scanning and reading it is necessary to observe the laws of accentuation and pronunciation prevailing in Spenser's day; e.g. in learned (I, [i]), undeserved (I, [ii]), and woundes (V, [xvii]) the final syllable is sounded, patience (X, [xxix]) is trisyllabic, devotion (X, [xlvi]) is four syllables, and entertainment (X, [xxxvii]) is accented on the second and fourth syllables. Frequently there is in the line a cæsural pause, which may occur anywhere; e.g.—
"And quite dismembred hath; | the thirsty land
Dronke up his life; | his corse left on the strand." (III, [xx].)
The rhythm of the meter is also varied by the alternating of end-stopped and run-on lines, as in the last quotation. An end-stopped line has a pause at the end, usually indicated by some mark of punctuation. A run-on line should be read closely with the following line with only a slight pause to indicate the line-unit. Monotony is prevented by the occasional use of a light or feminine ending—a syllable on which the voice does not or cannot rest; e.g.—
"Then choosing out few words most horrible." (I, [xxxvii].)
"That for his love refused deity." (III, [xxi].)
"His ship far come from watrie wilderness." (III, [xxxii].)
The use of alliteration, i.e. having several words in a line beginning with the same letter, is another device frequently employed by Spenser for musical effect; e.g.—
"In which that wicked wight his dayes doth weare." (I, [xxxi].)
"Sweet slombring deaw, the which to sleep them biddes." (I, [xxxvi].)