A History of English Versification

by J. Schipper

[112] Prof. Luick, in his longer treatise on the subject (Anglia, xi. 404), distinguishes between two forms of this type with anacrusis (×–́××–́) and without (–́××–́), which he calls A₁ and A₂, a distinction he has rightly now abandoned (Paul’s Grundriss, ed. 2, II. ii. p. 165).

[113] Also printed in Ritson’s Ancient Songs, i, p. 12; Wright’s Pol. Songs, p. 69; Mätzner’s Altenglische Sprachproben, i, p. 152; Böddeker’s Altenglische Dichtungen, Pol. Lieder, no. i.

[114] Paul’s Grundriss, ed. 2, II. ii, p. 158.

[115] Cf. Metrik, ii. 146; and Luick, Anglia, xii. 450, 451.

[116] See G. Gascoigne, Certayne Notes of Instruction concerning the making of verse or ryme in English, 1575, in Arber’s Reprints, together with The Steele Glas, &c., London, 1868, 8vo, p. 34.

[117] Bürger’s version Der Kaiser und der Abt introduces a regular alternation of masculine and feminine couplets not observed in the original metre which he is copying.

[118] Cf. the chapter on the four-foot iambic verse.

[119] Recognized by Bishop Percy (1765) as rhythmically equivalent to

In a sómer séason, | when sóft was the sónne

I shópe me into shróudes, | as I a shépe wére