As to the principal kinds of the caesura after the second and third foot there is no material difference between Surrey’s blank verse and the heroic verse of the same period (cf. §§ [154], [157]).
The Epic caesura occurs occasionally after the second foot, e.g.:
Líke to the ádder | with vénomous hérbes féd. p. 131;
but apparently not after the third, although it does not seem to have been avoided on principle, as we often find lyric caesuras in this place, and even after the fourth foot:
His tále with ús | did púrchase crédit; || sóme
Trápt by decéit; | some fórced bý his téars. p. 120.
The run-on line (or enjambement) is already pretty frequently used by Surrey (35 times in the first 250 lines), and this is one of the chief distinctions between blank verse and heroic verse. In most instances the use of run-on lines is deliberately adopted with a view to artistic effect. The same may be said of the frequent inversion of rhythm. On the other hand, it seldom happens that the flow of the metre is interrupted by level stress, missing thesis, or the use of a disyllabic thesis at the beginning or in the interior of the verse.[155] As to the peculiarities of the word-stress and the metrical treatment of syllables in Surrey, the respective sections of the introductory remarks should be consulted. Apart then from the metrical licences, of which it admits in common with heroic verse, the most important peculiarities of Surrey’s blank verse are the masculine endings, which are almost exclusively used, and the frequent use of run-on lines.
Cf. the opening lines of the fourth book of his Aeneid:
But nów the wóunded Quéen, | with héavy care,