In the mórning of lífe, | when its cáres are unknówn,
And its pléasures in áll | their new lústre begín,
When we líve in a bríght-beaming | wórld of our ówn,
And the líght that surróunds us | is áll from withín.
In other examples the rhythm is chiefly iambic, intermingled with occasional anapaests; as e.g. in Moore’s You Remember Ellen:
You remémber Éllen, | our hámlet’s príde
When the stránger Wílliam, | had máde her his bríde,
Verses like these, which in their structure recall the earlier four-stressed verses, frequently occur (see §§ [72], [132]) mixed with four-foot verses of a somewhat freer build in the narrative poems of Coleridge, Scott, and Byron.
§ 195. The three-foot iambic-anapaestic verse took its origin by analogy to the corresponding four-foot line, or perhaps to the two-foot line derived from it by inserted rhymes; it occurs as early as Tusser, Five Hundred Points of Good Husbandry (cf. Guest, ii, p. 251):