And the héart in hím | that héars it léaps and wónders,
With triúmphant hópe | astónished, ór with féar.
In other examples it has an iambic or spondaic rhythm at the beginning and end, with an anapaestic part in the middle, as in The Seaboard (ib., p. 3) by the same poet:
The séa is at ébb, | and the sóund of her útmost wórd,
Is sóft as the léast wave’s lápse | in a stíll small réach.
From báy into báy, | on quést of a góal deférred,
From héadland éver to héadland | and bréach to bréach,
Where éarth gives éar | to the méssage that áll days préach.
In A Century of Roundels, p. 1, &c., Swinburne uses this metre, which also occurs in Tennyson’s Maud, with feminine and masculine endings alternately.
§ 194. The four-foot iambic-anapaestic verse is essentially identical with the four-stressed verse treated of above (§ [72]), except that it has assumed a still more regular, even-beat rhythm in modern times; generally it begins with an iambus and anapaests follow, as in the stanza quoted from Burns (§ [190]). Occasionally this metre has an almost entirely anapaestic structure; as e.g. in Moore, In the Morning of Life: