To the kind of reader of our sober clime
This way of writing will appear exotic;
Pulci was sire of the half-serious rhyme,
Who sang when chivalry was more Quixotic,
And revell'd in the fancies of the time,
True knights, chaste dames, huge giants, kings despotic,
But all these, save the last, being obsolete,
I chose a modern subject as more meet.
Byron, Don Juan, IV, vi.
A lovely Lady garmented in light
From her own beauty: deep her eyes as are
Two openings of unfathomable night
Seen through a temple's cloven roof; her hair
Dark; the dim brain whirls dizzy with delight,
Picturing her form. Her soft smiles shone afar;
And her low voice was heard like love, and drew
All living things towards this wonder new.
Shelley, The Witch of Atlas.
Nine-Line Stanza
By far the most important of 9-line stanzas, and one of the finest of all stanzas in English poetry, is the ababbcbc5c6 invented by Spenser—a double quatrain of 5-stress lines plus an alexandrine. This particular octave had been used by Chaucer in the Canterbury Tales, and is sometimes referred to as the Monk's Tale stanza: the stroke of metrical genius lay in adding the 'supplementary harmony' of the alexandrine, by which the whole stanza climbs to a majestic close or ebbs in a delightful decrescendo as the poet wills.[59] The long swing of nine verses on three rimes, with the combined effect of the interwoven rimes (abab and bcbc) united by the couplet in the middle, culminating in the unequal couplet at the close, the extraordinary opportunity of balancing and contrasting the rime sounds, and of almost infinitely varying the pauses—all these render the Spenserian stanza incomparable for nearly every sort of poetic expression.
After the Faerie Queene, the chief poems in this metre are: Shenstone's The Schoolmistress (1742), Thomson's The Castle of Indolence (1748), Burns's The Cotter's Saturday Night (1786), Scott's Don Roderick (1811), Byron's Childe Harold's Pilgrimage (1818 et seq.), Shelley's Laon and Cythna (The Revolt of Islam) (1817, 1818), and Adonais (1821), Keats's Eve of St. Agnes (1820), and the opening of Tennyson's Lotos Eaters (1833).
From the following examples only a limited conception can be gained of the stanza's varied capabilities. Long passages should be read together—and read, for this purpose, with more attention to the sound than to the meaning—in order that the peculiarities of handling of the different poets may be felt.
A gentle Knight was pricking on the plaine,
Ycladd in mightie armes and silver shielde,
Wherein old dints of deepe woundes did remaine,
The cruell marks of many a bloody fielde;
Yet armes till that time did he never wield.
His angry steede did chide his foming bitt,
As much disdayning to the curbe to yield:
Full jolly knight he seemd, and faire did sitt,
As one for knightly giusts and fierce encounters fitt.
Faerie Queen, I, i, 1.
With loftie eyes, halfe loth to looke so lowe,
She thancked them in her disdainefull wise;
Ne other grace vouchsafed them to showe
Of Princesse worthy; scarse them bad arise.
Her Lordes and Ladies all this while devise
Themselves to setten forth to straungers sight:
Some frounce their curled heare in courtly guise;
Some prancke their ruffes; and others trimly dight
Their gay attyre; each others greater pride does spight.
Ibid., I, iv, 14.
The whiles some one did chaunt this lovely lay:
Ah! see, whoso fayre thing doest faine to see,
In springing flowre the image of thy day.
Ah! see the Virgin Rose, how sweetly shee
Doth first peepe foorth with bashfull modestee,
That fairer seemes the lesse ye see her may.
Lo! see soone after how more bold and free
Her bared bosome she doth broad display;
Lo! see soone after how she fades and falls away.
Faerie Queen, II, xii, 74.
Or like the hell-borne Hydra, which they faine
That great Alcides whilome overthrew,
After that he had labourd long in vaine
To crop his thousand heads, the which still new
Forth budded, and in greater number grew.
Such was the fury of this hellish Beast,
Whitest Calidore him under him downe threw;
Who nathemore his heavy load releast,
But aye, the more he rag'd, the more his powre increast.
Ibid., VI, xii, 32.