XXII. Examples of the Development of Blank Verse
(a) Surrey (translation of Aeneid):
It was | the night; | the sound | and qui|et sleep
Had through | the earth | the wear|y bod|ies caught,
The woods, | the ra|ging seas, | were fallen |to rest,
When that | the stars | had half | their course | declined.
The fields | whist: beasts | and fowls | of di|vers hue,
And what | so that | in the | broad lakes | remained,
Or yet | among | the bush|y thicks | of briar,
Laid down | to sleep | by sil|ence of | the night,
'Gan swage | their cares, | mindless | of tra|vails past.
Not so | the spirit | of this | Phenic|ian.
Unhap|py she | that on | no sleep | could chance,
Nor yet | night's rest | enter | in eye | or breast.
Her cares | redoub|le: love | doth rise | and rage | again,
And ov|erflows | with swell|ing storms | of wrath.
(The interest of the new mode here is manifold. The lines are almost wholly "single-moulded," the author's anxiety to keep himself right without rhyme necessitating this. The cæsura at the fourth syllable is almost always kept, according to the tradition of the French line. Once (in the penultimate line) he has to overflow; but into an Alexandrine, not into the next line. Whether by intention or not—"sprite" being possible—he once discovers the enormous advantage of the trisyllabic foot.[39] Once he makes with "rest" and "breast" the oversight of a "Leonine" rhyme. But, on the whole, the success is remarkable for a beginning; and there are indications of what has to be done to secure the end.)
(b) First dramatic attempts—Gorboduc onwards:
Sackville and Norton.
Your won|ted true | regard | of faith|ful hearts
Makes me, | O king, | the bold|er to | resume,
To speak | what I | conceive | within | my breast:
Although | the same | do not | agree | at all
With that | which o|ther here | my lords | have said,
Nor which | yourself | have seem|èd best | to like.
(Gorboduc.)
Hughes and others.