Among the finest free-verse in English are the Evening Voluntaries of Henley.[75] In these poems clearly metrical lines (sometimes only parts of lines) alternate with simple prose. The line length is now based on phrasal rhythm, and at other times on no discoverable principle except that of beginning a new line with some emphatic word.
White fleets of cloud,
Argosies heavy with fruitfulness,
Sail the blue peacefully. Green flame the hedgerows.
Blackbirds are bugling, and white in wet winds
Sway the tall poplars.
Pageants of colour and fragrance,
Pass the sweet meadows, and viewless
Walks the mild spirit of May,
Visibly blessing the world.
Henley, Pastoral.
Have the gods then left us in our need
Like base and common men?
Were even the sweet grey eyes
Of Artemis a lie,
The speech of Hermes but a trick,
The glory of Apollonian hair deceit?
Desolate we move across a desolate land,
The high gates closed,
No answer to our prayer;
Naught left save our integrity,
No murmur against Fate
Save that we are juster than the unjust gods,
More pitiful than they.
Richard Aldington, Disdain.
Modern free-verse, or free-verse par excellence, which is mere prose with the spatial rhythm of verse, has been skilfully written by various contemporaries. Let a single example suffice. Such a bare but moving situation as that of Miss Lowell's Fool's Money Bags could no doubt be adequately presented in traditional metre, but perhaps not so directly as in her 'curved' prose—
Outside the long window,
With his head on the stone sill,
The dog is lying,
Gazing at his Beloved.
His eyes are wet and urgent,
And his body is taut and shaking.
It is cold on the terrace;
A pale wind licks along the stone slabs,
But the dog gazes through the glass
And is content.
The Beloved is writing a letter.
Occasionally she speaks to the dog,
But she is thinking of her writing.
Does she, too, give her devotion to one
Not worthy?[76]
A good example of combined metre and confessed prose (not to be confused with the mingling of verse and prose illustrated on the previous page) with easy transitions from one form to the other may be seen in a poem called Spring by Mr. Clement Wood. The rapid change from verse to prose is, of course, familiar in Shakespeare and his fellow dramatists, sometimes even in a single speech.