while the second—
Full of the sunset and sad ¦ if at ¦ all with the fulness of joy,
is a pentameter of similar mould, with the centre gap cunningly filled in by the two short stitches "if at," capable, as you see below in
Thee I beheld as bird ¦ borne ¦ in with the wind from the west,
of being duly equivalenced with one long stitch, like "borne." Yet the second line is capable also of being scanned exactly as the first—anacrusis and five anapæests—but without the final redundance or hypercatalexis; and in other long lines you will find that the principle of equivalence is preserved throughout—that two shorts, as in
Ăs ă wind | blows in | from the au|tumn that blows | from the re|gion of stories,
defeat the hexametrical movement, and pull off the mask at the beginning, though it returns at the end. The metre is really anapæstic throughout. And in Evening on the Broads the poet has carried this further still, providing in some cases regular apparent elegiacs:
O|ver the ¦ sha|dowless ¦ wa|ters a¦drift | as a ¦ pin|nace ¦ in per|il,
Hangs | as in ¦ hea|vy sus¦pense || charged | with ir¦re|solute ¦ light.
(j) Mr. Swinburne (Choriambics):
Lōve, whăt | āiled thĕe tŏ lēave | līfe thăt wăs māde | lōvely̆ wĕ thōught | wĭth lōve?—