in being less "pure."
The syllabic-plus-accentual view passes it; but with certain reservations. "Twinkled" is an "aberration," a "licence" perhaps (in some views certainly), a more or even less venial sin, while "-āble" with a in a stressed or accented place is a case for more head-shaking still. The line is saved; yet so as by fire.
So is it under the looser stress-accentual system, but by a fire more devouring still. According to this latter, all rhythmical similarity with its companion five-stress lines is lost on the one hand, and on the other a jumble, with difficulty readable and absolutely heterogeneous, is created in the line itself. Your first rhythmical mouthful is "twink-," then you gabble over "led the innū-" till you rest on this last; then you repeat the process (as soon as you have breath enough) with "-merable ear," and finally you reach "and tail." But you never find your fifth stress, and instead of continuous blank verse you make the context a sort of clumsy Pindaric.[21]
Even if this last description be regarded as exaggerated, it will remain a sober fact that, in all these handlings, either the beauty of the line is obscured altogether, or it is smuggled off as a "licence," or it is converted into something individual, separated from its neighbours, and possessing no kinship to them.
Yet the line, though not "a wonder and a wild desire," is a good one; and (therein differing from their eighteenth-century ancestors) the syllabists and accentualists would mostly nowadays allow this, though their principles have to submit it to privilegia and allowances to make it out.
The foot arrangement makes no difficulty, needs no privilegium, and necessarily applies none. The line is at once recognised by the ear as a good line and correspondent to its neighbours, which, as a body, and also at once when a few have been read, informed that ear that they were five-foot lines of iambic basis. Therefore it will lend itself to foot-arrangement on that norm. The five feet may be iambs, trochees, anapæsts, spondees, tribrachs, and perhaps (this is a question of ear) dactyls and pyrrhics. These may be substituted for each other as the ear shall dictate, provided that the general iambic base is not overthrown or unduly obscured.
Further, these feet are composed of long and short syllables, the length and shortness of which is determined to some extent by ordinary pronunciation, but subject to various modifying influences of position and juxtaposition. Under those laws to which all its companions are equally and inevitably subject, mutatis mutandis, it makes itself out as above:
Twīnklĕd | thĕ ĭnnū|mĕrā|blĕ ēar | ănd tāil—
trochee, anapæst, iamb, iamb, iamb. The justification of ā in "āble" has already been partly given; it may be added that in the actual pronunciation of the word by good speakers there is a "secondary accent" (as they call it) on the syllable.
Here there is no straining, no "private bill" legislation, no separating of the line from its fellows, only a reasonable Reign of Law with reasonable easements.