(g) Morris (Love is Enough):
Such words shall my ghost see the chronicler writing
In the days that shall be—ah!—what would'st more, my fosterling?
Knowest thou not how words fail us awaking,
That we seemed to hear plain amid sleep and its sweetness.
(Intentionally irregular "accentual" lines, but with an anapæstic or amphibrachic "under-hum." There is a good deal of alliteration elsewhere, and some here.)
(h) Morris (Sigurd metre, but the actual example from The House of the Wolfings):
Thou sayest it, I am outcast: || for a God that lacketh mirth
Hath no more place in God-home || and never a place on earth.
A man grieves, and he gladdens, || or he dies and his grief is gone;
But what of the grief of the Gods? and || the sorrow never undone?
Yea, verily, I am the outcast. || When first in thine arms I lay,
On the blossoms of the woodland || my godhead passed away;
Thenceforth unto thee I was looking || for the light and the glory of life,
And the Gods' doors shut behind me || till the day of the uttermost strife.
And now thou hast taken my soul, thou || wilt cast it into the night,
And cover thine head with the darkness || and cover thine eyes from the light.
Thou would'st go to the empty country || where never a seed is sown,
And never a deed is fashioned || and the place where each is alone;
But I thy thrall shall follow, || I shall come where thou seem'st to lie,
I shall sit on the howe that hides thee, || and thou so dear and nigh!
A few bones white in their war-gear, || that have no help or thought,
Shall be Thiodolf the Mighty, || so nigh, so dear—and nought!
(A splendid construction from older and newer examples. Strongly stressed, strictly middle-paused, but perfectly regular anapæstic sixes, with substitution and a hypercatalectic syllable or half foot at the pause.)
(i) Mr. Swinburne (Hesperia and Evening on the Broads).
The first line of Hesperia is practically a Kingsleyan hexameter (v. inf.) of the very best kind—
Out | of the gold|en remote | wild west | where the sea | without shore | is;