Fŏr ăt ē|vĕntĭde līst|ĕnĭng ēarn|ĕstlȳ̆.
Even so early in the present book this should need little comment; but it may be the better for some. It is an instance of substitution carried out boldly, but unerringly; so that, iamb and anapæst being the coin of interchange and equivalence, the rhythm is now iambic, now anapæstic chiefly, the two being not muddled, but fluctuant—a prosodic part-song. And the foot system brings this out straightforwardly and on its general principles, with no beggings or assumptions whatever for the particular instance. Moreover, the structure of the piece may be paralleled freely from the songs in Shakespeare's plays.[23]
Such application possible always and everywhere.
It is indeed sometimes said that such methods of scansion as these may apply very well to nineteenth-century poets, but that they are out of place in regard to older ones. This is demonstrably false. The method applies alike, and in like measure obviates all difficulties, in examples of the thirteenth, fourteenth, fifteenth, sixteenth, seventeenth, and eighteenth centuries. It is as applicable to the early and mostly anonymous romancers and song-writers as to Tennyson, it accommodates Shakespeare as well as Browning. To Milton as to Shelley, to Dryden and Pope as to the most celebrated of our modern experimenters, say to Miss Christina Rossetti or Mr. Swinburne, it "fits like a glove." The rules in [the next chapter], and the subjoined examples fully scanned in [Chapter VI.], will show its application as a beginning; the whole contents of this volume must give the fuller illustration and confirmation.[24]
FOOTNOTES:
[15] The most recent, perhaps, and the most unfortunate competitor is "stress-unit"—for there are most certainly feet (i.e. constitutive divisions of lines) which include no stress at all.
[16] A full account of these would occupy a book bigger than the larger History. Among the latest and most curious attempts on the subject is one to mark off certain metrical rhythms as "accentual," certain others as "quantitative." This (which partly results from the superfluous anxiety to discover and isolate the sources of length and shortness) makes something very like a chimera or a hotch-potch of English verse.
[17] In metrical quantity, not in vowel sound.
[18] Of Anglo-Saxon and very early Middle English poetry. See Scanned Conspectus and [Book II].
[19] Except, to speak paradoxically, when it is nothing at all. The pause-foot or half-foot, the "equivalent of silence," is by no means an impossible or unknown thing in English poetry, as, for instance, in Lady Macbeth's line, I. v. 41—