(b) Goldsmith (regularised sing-song):
Turn An|geli|na, ev|er dear,
My charm|er, turn | to see
Thy own, | thy long-|lost Ed|win here
Restored | to love | and thee!
(c) Southey (quite sound in principle, and not bad in effect; but a little more poetic powder wanted):
They laid | her where | these four | roads meet
Here in | this ver|y place—
The earth | upon | her corpse | was pressed,
This post | was driv|en into | her breast,
And a stone | is on | her face.
(d) Coleridge (the real thing in simpler and more complex form):
It is | an an|cient ma|riner,
And he stop|peth one | of three—
"By thy long | grey beard | and glit|tering eye,
Now where|fore stop'st | thou me?"
. . . . . . .
Her lips | were red, | her looks | were free,
Her locks | were yel|low as gold;
Her skin | was as white | as lep|rosy—
The night|mare Life-|in-Death | was she,
Who thicks | man's blood | with cold.
. . . . . . .
We list|ened and | looked side|ways up!
Fear at | my heart, | as at | a cup,
My life-|blood seemed | to sip!
The stars | were dim | and thick | the night,
The steers|man's face | by his lamp | gleamed white;
From the sails | the dew | did drip—
Till clomb | above | the east|ern bar
The horn|èd moon, | with one | bright star
Within | the neth|er tip.
(The presence and absence of anapæstic substitution here, with its effect in each case, should be carefully studied.)
XXXVIII
Specimens of Christabel, with note on the application of the system to later lyric. (Some have said that in Christabel "the consideration of feet is dropped altogether," and others, that it "cannot be analysed," or can only be so by the rough process of counting accents. Let us go and do it.)
'Tĭs thĕ mīd|dlĕ ŏf nīght | by̆ thĕ cās|tlĕ clōck,
Ănd thĕ ōwls | hăve ăwā|kĕned thĕ crōw|ing cōck,
Tŭ̄—whīt—tŭ̄ whŏ̄o!
Ănd hārk, | ăgāin! | thĕ crōw|īng cō=ck,
Hŏ̄w drōw|sĭlȳ | ĭt crēw.|