The woods were long austere with snow: at last
Pink leaflets budded on the beech, and fast
Larches, scattered through pine-tree solitudes,
Brightened, 'as in the slumbrous heart o' the woods
Our buried year, a witch, grew young again
To placid incantations, and that stain
About were from her caldron, green smoke blent
With those black pines'—so Eglamor gave vent
To a chance fancy. When a just rebuke
From his companion; brother Naddo shook
The solemnest of brows; 'Beware,' he said,
'Of setting up conceits in nature's stead.'
(Browning: Sordello, ii. 1-12. 1840.)
Above the stem a gilded swallow shone,
Wrought with straight wings and eyes of glittering stone
As flying sunward oversea, to bear
Green summer with it through the singing air.
And on the deck between the rowers at dawn,
As the bright sail with brightening wind was drawn,
Sat with full face against the strengthening light
Iseult, more fair than foam or dawn was white.
Her gaze was glad past love's own singing of,
And her face lovely past desire of love.
Past thought and speech her maiden motions were,
And a more golden sunrise was her hair.
The very veil of her bright flesh was made
As of light woven and moonbeam-colored shade
More fine than moonbeams; white her eyelids shone
As snow sun-stricken that endures the sun,
And through their curled and colored clouds of deep
Luminous lashes, thick as dreams in sleep,
Shone as the sea's depth swallowing up the sky's
The springs of unimaginable eyes.
(Swinburne: Tristram of Lyonesse; the Sailing of the Swallow.)
The huge high presence, red as earth's first race,
Reared like a reed the might up of his mace,
And smote: but lightly Tristram swerved, and drove
Right in on him, whose void stroke only clove
Air, and fell wide, thundering athwart: and he
Sent forth a stormier cry than wind or sea
When midnight takes the tempest for her lord;
And all the glen's throat seemed as hell's that roared;
But high like heaven's light over hell shone Tristram's sword,
Falling, and bright as storm shows God's bare brand
Flashed, as it shore sheer off the huge right hand
Whose strength was as the shadow of death on all that land.
(Ibid.: The Last Pilgrimage.)
It will be noticed that in Swinburne's use of the couplet the single line is even less the unit of measure than in Keats and Shelley; the periods correspond closely to those in the blank verse of Milton and Tennyson. Compare the specimens of blank verse on pp. [230] and [245]. The second specimen shows the occasional use of the triplet and alexandrine.
So stood she murmuring, till a rippling sound
She heard, that grew until she turned her round
And saw her other sisters of the deep
Her song had called while Hylas yet did sleep,
Come swimming in a long line up the stream,
And their white dripping arms and shoulders gleam
Above the dark grey water as they went,
And still before them a great ripple sent.
But when they saw her, toward the bank they drew,
And landing, felt the grass and flowers blue
Against their unused feet; then in a ring
Stood gazing with wide eyes, and wondering
At all his beauty they desired so much.
And then with gentle hands began to touch
His hair, his hands, his closed eyes; and at last
Their eager naked arms about him cast,
And bore him, sleeping still, as by some spell,
Unto the depths where they were wont to dwell;
Then softly down the reedy bank they slid,
And with small noise the gurgling river hid
The flushed nymphs and the heedless sleeping man.
(William Morris: Life and Death of Jason, iv. 621-641. 1867.)