Why art | thou yet | so fair? | shall I | believe
That un|substan|tial death | is am|orous,
And that | the lean | abhor|rèd mon|ster keeps
Thee here | in dark | to be | his par|amour?
For fear | of that, | I still | will stay | with thee:
And ne|ver from | this pal|ace of | dim night
Depart | again: | here, here | will I | remain
With worms | that are | thy cham|ber-maids; | O, here
Will I | set up | my ev|erlast|ing rest.
And shake | the yoke | of in|auspic|ious stars
From this | world-wear|ied flesh.
(Romeo and Juliet.)
(No trisyllabic feet yet, and no redundance: but, by shift of pause and completer juncture of lines, the paragraph effect solidly founded.)
(3) Further process in the same direction:
Nay, || but this dotage of our general's
O'erflows the measure: || those his goodly eyes,
That o'er the files | and musters of the war
Have glowed like plated Mars, || now bend, | now turn,
The office and devotion of their view
Upon a tawny front: || his captain's heart,
Which | in the scuffles of great fights | hath burst
The buckles on his breast, || rene[a]ges all temper,
And is become | the bellows and the fan
To cool a gipsy's lust.
(Antony and Cleopatra.)
(Here the double division marks indicate stronger, and the single lighter, pauses—not, as usually in the latter case, feet. The variation of the pause for paragraph effect is here consummate; but the verse, as its conditions require, is of the severer type.)
(4) Perfection in passion:
Blow winds, | and crack | your cheeks! | rage! | blow!
You cat|aracts | and hur|rica|noes, spout
Till you | have drench'd | our stee|ples, drown'd | the cocks!
You sul|phurous and | thought-ex|ecut|ing fires,
Vaunt-cour|iers to | oak-cleav|ing thun|derbolts,
Singe my | white head! | And thou, | all-shak|ing thunder,
Smite flat | the thick | rotund|ity o' | the world!
Crack na|ture's moulds, | all ger|mens spill | at once,
That make | ingrate|ful man!
(King Lear.)