(Every extension taken. Monosyllabic feet either at the first "blow" and "winds," or the last, and "rage," perhaps at both (an Alexandrine). Trisyllabic at "-phŭrŏus ānd," "rĭĕrs tō," and "ĭty̆ ō̆'." Redundance at "-ing thun⋮der." Pause fully played upon as above: enjambment at "spout"; parenthetic enjambment at "fires.")
(5) Perfection in quiet:
Our rev|els now | are end|ed. These | our actors,
As I | foretold | you, were | all spir|its, and
Are melt|ed in|to air, | into | thin air:
And, like | the base|less fab|ric of | this vision,
The cloud-|capped towers, | the gor|geous pal|aces,
The sol|emn tem|ples, the | great globe | itself,
Yea, all | which it | inher|it, shall | dissolve
And, like | this in|substan|tial pa|geant faded,
Leave not | a rack | behind. | We are | such stuff
As dreams | are made | of, and | our lit|tle life
Is round|ed with | a sleep.
(The Tempest.)
(Not much trisyllabic—the dreaminess not requiring it. A good deal of redundance, and enjambment pushed nearly to the furthest by taking place at "and."[40])
(f) Redundance encroaching.
Beaumont and Fletcher:
"Oh | thou conqu[e]ror,
Thou glo|ry of | the world | once, now | the pity:
Thou awe | of na|tions, where|fore didst | thou fail us?
What poor | fate fol|lowed thee, | and plucked | thee on
To trust | thy sa|cred life | to an | Egyptian?
The life | and light | of Rome | to a | blind stranger,
That hon|oura|ble war | ne'er taught | a no|bleness
Nor wor|thy cir|cumstance | show'd what | a man was?
That ne|ver heard | thy name | sung but | in banquets
And loose | lasciv|ious pleas|ures? to | a boy
That had | no faith | to com|prehend | thy greatness,
No stud|y of | thy life | to know | thy goodness?...
Egyp|tians, dare | you think | your high | pyra|mides
Built to | out-dure | the sun, | as you | suppose,
Where your | unworth|y kings | lie rak'd | in ashes,
Are mon|uments fit | for him! | No, brood | of Nilus,
Nothing | can cov|er his | high fame | but heaven;
No pyr|amid | set off | his mem|ories,
But the | eter|nal sub|stance of | his greatness,
To which I leave him."
(The False One.)
(Here it will be seen there are two actual Alexandrines (three if we allow the full value to "con|queror|") and twelve redundant lines to four non-redundant! The fire of the poetry fuses this, but cannot always be counted on, as in the next.)