Alle þat beoþ of huerte trewe,
a stounde herkneþ to my song
of duel, þat deþ haþ diht vs newe
(þat makeþ me syke ant sorewe among!)
of a knyht, þat wes so strong,
of wham god haþ don ys wille;
me þuncheþ þat deþ haþ don vs wrong,
þat he so sone shal ligge stille.
The comparatively great regularity of the measures in this second stanza is due to the fact that it was under the syllable-counting influence of the French, being in fact a translation of a French original.
[5] Leigh Hunt said that "Coleridge saw the mistake which had been made with regard to this measure, and restored it to the beautiful freedom of which it was capable, by calling to mind the liberties allowed its old musical professors the minstrels, and dividing it by time instead of syllables." (See the entire passage on Christabel, in the Introduction, on "What is Poetry?", to Imagination and Fancy. For a criticism of the metrical structure of Christabel, see Robert Bridges's Milton's Prosody (ed. 1901, pp. 73-75).)
II. THE FOOT AND THE VERSE
English verse is commonly measured by feet, a determinate number of which go to form a verse or line. The foot is determined by the distance from one accented syllable to another in the regular scheme of the metre. The usual metrical feet are either dissyllabic or trisyllabic. The dissyllabic foot is commonly called an iambus (or iamb) if the unaccented syllable precedes the accented, and a trochee if the accented precedes the unaccented. The trisyllabic foot is commonly called an anapest if the two unaccented syllables precede the accented syllable, and a dactyl if they follow the accented syllable.[6] It will be observed that the fundamental rhythm of both iambic and trochaic verse is the same, as is also that of both anapestic and dactylic verse; the distinction belonging only to the metre as measured into regular lines. Iambic and anapestic verse (in which the light syllables commonly open the verse) are sometimes called "ascending rhythm"; trochaic and dactylic verse (in which the accented syllables commonly open the verse) "descending rhythm." Ascending rhythm is very greatly in predominance in English poetry.
The normal verse of any poem is therefore described by indicating the name of the foot and the number of feet in the verse. The number of feet is always indicated by the number of stresses or principal accents in the normal verse. As the light or unaccented syllables may vary from the typical number, it may also be necessary to indicate that the line is longer than its name would imply, by reason of Feminine Ending (a light syllable added at the end) or Anacrusis (a light syllable prefixed); or that it is shorter than its name would indicate by reason of Catalexis or Truncation (the light syllable at the end—or less frequently at the beginning—being omitted).
In like manner, any particular verse or line is fully described by indicating: (1) the typical foot; (2) the number of feet; (3) the place of the cesura; (4) the presence or absence of a final pause ("end-stopped" or "run-on"); (5) the presence of such irregularities as
(a) Anacrusis or feminine ending,
(b) Catalexis (or truncation),
(c) Substitution of exceptional feet for the typical foot,
(d) Pauses other than the cesural.