"Up springs hexameter, with might, as a fountain arising,
Lightly the fountain falls, lightly the pentameter."
Lift up your heads, ye gates; and ye everlasting portals,
Be ye lift up! Behold, the Worthies are there to receive him,—
They who, in later days or in elder ages, ennobled
Britain's dear name. Bede I beheld, who, humble and holy,
Shone like a single star, serene in a night of darkness.
Bacon also was there, the marvellous Friar; and he who
Struck the spark from which the Bohemian kindled his taper;
Thence the flame, long and hardly preserved, was to Luther transmitted,—
Mighty soul; and he lifted his torch, and enlightened the nations.
(Southey: A Vision of Judgment, ix. 1821.)
Southey followed the example of William Taylor in attempting to construct hexameters "which would be perfectly consistent with the character of our language, and capable of great richness, variety and strength," yet which should not profess to follow "rules which are inapplicable to our tongue." (Preface to Vision of Judgment, Southey's Works, ed. 1838, vol. x. p. 195.) [45] In the same Preface he briefly reviewed the history of earlier efforts to introduce the classical measures into English. It is to be feared that Southey's hexameters are to be counted among the worst of modern times.
Meanwhile apart, in the twilight gloom of a window's embrasure,
Sat the lovers and whispered together, beholding the moon rise
Over the pallid sea and the silvery mist of the meadows.
Silently one by one, in the infinite meadows of heaven,
Blossomed the lovely stars, the forget-me-nots of the angels.
Thus was the evening passed. Anon the bell from the belfry
Rang out the hour of nine, the village curfew, and straightway
Rose the guests and departed; and silence reigned in the household.
(Longfellow: Evangeline, Part. I. 1847.)
Evangeline is undoubtedly the most popular and widely read poem in English hexameters, and may be said to have revived the vogue of the measure in the middle of the nineteenth century. Yet its metrical qualities have not pleased most careful critics. Matthew Arnold said that the reception which the poem met with indicated that the dislike for the metre "is rather among professional critics than among the general public. Yet," he went on to say, "a version of Homer in hexameters of the Evangeline type would not satisfy the judicious, nor is the definite establishment of this type to be desired." (On Translating Homer, Macmillan ed., p. 284.) Mr. Arnold had previously suggested that the "lumbering effect" of such hexameters as Longfellow's is "caused by their being much too dactylic"; more spondees should be introduced.
The editor of the Riverside edition of Evangeline remarks interestingly: "The measure lends itself easily to the lingering melancholy which marks the greater part of the poem. The fall of the verse at the end of the line and the sharp recovery at the beginning of the next will be snares to the reader, who must beware of a jerking style of delivery.... A little practice will enable one to acquire that habit of reading the hexameter which we may liken, roughly, to the climbing of a hill, resting a moment on the summit, and then descending the other side."
Longfellow's hexameters were criticised most severely by his countryman, Edgar Poe. Poe denied the possibility of any adequate representation of the classical hexameter in English, largely because of the impossibility of using English spondees. The only genuine hexameters he knew, he declared, were some he had himself made, running: