They fer-ry o-ver this Le-the-an sound
.29 .36 .15 .24 .13 .26 .23 .23 .23 .62 (.18)
Both to and fro, their sor-row to aug-ment,
.41 .27 .2 .63 (.36).26 .4 .16 .24 .32 .43 (.6)
And wish and strug-gle, as they pass, to reach
.2 .47 .25 .33 .25 (.13) .21 .21 .57 (.4) .24 .35
The tempt-ing stream, with one small drop to lose
.14 .32 .3 .69 (.44) .24 .37 .53 .47 (.09) .21 .47
In sweet for-get-ful-ness all pain and woe,
.2 .37 .19 .28 .17 .25 (.1) .39 .53 .17 .52 (.59)
All in one mo-ment and so near the brink;
.42 .2 .21 .34 .3 (.47) .27 .28 .37 .11 .57 (.49)
But Fate with-stands, and, to op-pose the attempt
.23 .39 .28 .66 (.49).22 .18 .11 .48 .23 .52 (.33)
Me-du-sa with Gor-go-nian ter-ror guards
.15 .33 .15 .21 .3 .3 .23 .28 .21 .51
The ford, and of it-self the wa-ter flies
.14 .6 (.3) .27 .2 .2 .48 .13 .25 .22 .64
All taste of liv-ing wight, as once it fled
.26 .48 .16 .19 .18 .43 (.5) .29 .39 .16 .43
The lip of Tan-ta-lus.
.1 .32 .14 .33 .15 .3
-----------------
I bring fresh showers for the thirst-ing flowers,
.25 .35 .15 .8 (.15) .15 .15 .3 .2 .6 (.2)
From the seas and the streams;
.2 .18 .42 .15 .15 .62 (.75)
I bear light shade for the leaves when laid
.2 .35 .3 .5 .18 .18 .34 .4 .45
In their noon-day dreams.
.18 .2 .22 .2 .7 (.6)
From my wings are shak-en the dews that wak-en
.25 .35 .44 .22 .3 .2 .1 .6 .2 .25 .25
The sweet buds ev-ery one,
.1 .35 .53 (.15) .2 .21 .5 (.55)
When rocked to rest on their moth-er's breast,
.18 .47 .2 .4 (.2) .18 .2 .22 .18 .47 (.4)
As she danc-es a-bout the sun.
.2 .2 .45 .2 .1 .25 .2 .5 (.85)
I wield the flail of the lash-ing hail,
.22 .22 .1 .5 .15 .15 .25 .15 .45 (.3)
And whit-en the green plains un-der,
.2 .22 .18 .1 .32 .5 .2 .2 (.5)
And then a-gain I dis-solve in rain,
.22 .38 .1 .55 .15 .2 .7 .15 .55 (.07)
And laugh as I pass in thun-der.
.2 .4 (.2) .15 .18 .39 .18 .22 .25
Two facts emerge from these statistics at once: (1) that in about 90 per cent of the feet the ◡ or unstressed element is shorter than the _̷ or stressed element, or, in other words, stress and syllabic length nearly always coincide; and (2) that while there is very great variation in the absolute lengths of short syllables and long syllables, the proportion of average lengths is about 2:4.[28] One need not suppose that the conscious mind always hears or thinks it hears the syllables pronounced with these quantitative proportions. Though we deceive ourselves very readily in the matter of time, it is not true that we have no sense of duration whatever. Quite the contrary. Our cerebral metronome is set when we read verse for about .6 seconds for a foot (.2 seconds for the unstressed element;.4 seconds for the stressed element). If we read faster or more slowly the proportions remain the same. When, however, in Paradise Lost, II, 607,
◡ _̷ ◡ _̷
with one small drop
.24 .37 .53 .47
the normal proportions are so patently departed from that the theoretically unstressed syllable small is actually longer than the theoretically stressed syllable drop, and the foot small drop takes 1. second, or 2/5 longer than the average foot beside it (with one, .61 seconds)—when divergences so great as this are both possible and pleasurable, the conclusion should be, not that the ear makes no recognition of the time, but that it is capable, by syncopation and substitution, of adjusting itself to a very great possibility of variation without losing hold of the rhythmic pattern. Looked at from one point of view, the extreme variations would appear to be irregularities and warrant the judgment that no element of duration exists as a principle of English verse; but from the right point of view these variations mean only that the metrical time unit is extraordinarily elastic while still remaining a unit; that the ear is willing and able to pay very high for the variety in uniformity which it requires.
Pause. The time element of English verse is affected also by different kinds of pauses. Three kinds may be distinguished, two of which belong properly to prose rhythm as well. (1) The logical pause is that cessation of sound which separates the logical components of speech. It helps hold together the members of a unit and separates the units from each other, and never occurs unless a break in the meaning is possible. It is usually indicated in printed language by punctuation. (2) The rhythmical pause separates the breath groups of a sentence and therefore concerns language chiefly as a series of sounds independent for the most part of logical content or symbolism. Though its origin is primarily physiological, it soon induces a psychological state and results in an overuse or overdevelopment of the cerebral metronome. Both readers and writers get into a certain 'swing' which turns to monotony and sing-song in reading and to excessive uniformity of sentence length and structure in writing—what is called a jog-trot style. This pause as it affects the reading of verse is only slightly dependent upon the logical content of words, for it takes its pace, especially in rimed verse, from the normal line length, and tends to make every line sound like every other, regardless of the meaning. (3) Metrical pause is primarily independent of the other two, but most frequently falls in with them. It belongs to the formal metrical pattern, and serves usually to mark off the line units. There is thus theoretically a pause at the end of every line, and a greater pause at the end of every stanza. When verses are 'run on,' i. e., when there is no logical pause at the end, many readers omit the metrical pause or reduce it to a minimum. Others, whose rhythmic sense is very keen, preserve it, making it very slight but still perceptible. The metrical pause is greatly emphasized by rime.
There are two other time elements in English verse, related in different ways to each of these three pauses, one which is nearly equivalent to the musical rest; the other which is nearly equivalent to the musical hold. The latter is common to both verse and prose, and is emotional or elocutionary in origin; "If....," "Well——?" "'These roses?' she drawled." In verse it often coincides with and supports a metrical pause, especially on rime words. Many readers in fact combine the hold and the metrical pause or use them interchangeably. The former, the rest, is a pause used to take the place of an unstressed element. As such, however, it does not altogether compensate the break in the normal time-space, but fills in the omission sufficiently to preserve the rhythm of the verse.
These various pauses are all well illustrated in Tennyson's lyric, Break, Break, Break.