The Crown of Wild Olive / also Munera Pulveris; Pre-Raphaelitism; Aratra Pentelici; The Ethics of the Dust; Fiction, Fair and Foul; The Elements of Drawing - John Ruskin

La meilleur partie esleut-elle
Et la plus saine et la plus belle,
Qui jà ne luy sera ostée
Car par vérité se fut celle
Qui fut tousjours fresche et nouvelle,
D'aymer Dieu et d'en estre aymée;
Car jusqu'au cueur fut entamée,
Et si ardamment enflammée.
Que tous-jours ardoit l'estincelle;
Par quoi elle fut visitée
Et de Dieu premier comfortée;
Car charité est trop ysnelle.'

The only law of metre, observed in this song, is that each line shall be octosyllabic:

But the reader must note that words which were two-syllabled in Latin mostly remain yet so in the French.

La vi | -e de | Marthe | sa mie,

although mie, which is pet language, loving abbreviation of amica through amie, remains monosyllabic. But vie elides its e before a vowel:

and custom endures many exceptions. Thus Marie may be three-syllabled as above, or answer to mie as a dissyllable; but vierge is always, I think, dissyllabic, vier-ge, with even stronger accent on the -ge, for the Latin -go.

Then, secondly, of quantity, there is scarcely any fixed law. The metres may be timed as the minstrel chooses—fast or slow—and the iambic current checked in reverted eddy, as the words chance to come.

But, thirdly, there is to be rich ryming and chiming, no matter how simply got, so only that the words jingle and tingle together with due art of interlacing and answering in different parts of the stanza, correspondent to the involutions of tracery and illumination. The whole twelve-line stanza is thus constructed with two rymes only, six of each, thus arranged: