(Burns: The Chevalier's Lament. 1788.)
The Assyrian came down like the wolf on the fold,
And his cohorts were gleaming in purple and gold;
And the sheen of their spears was like stars on the sea,
When the blue wave rolls nightly on deep Galilee.
(Byron: The Destruction of Sennacherib. 1815.)
(With three-stress:)
Believe me, if all those endearing young charms,
Which I gaze on so fondly to-day,
Were to change by to-morrow, and fleet in my arms,
Like fairy-gifts fading away,
Thou wouldst still be ador'd, as this moment thou art,
Let thy loveliness fade as it will,
And around the dear ruin each wish of my heart
Would entwine itself verdantly still.
(Thomas Moore: Believe me, if all those endearing young charms. ab. 1825.)
Four-stress dactylic.
After the pangs of a desperate lover,
When day and night I have sighed all in vain;
Ah, what a pleasure it is to discover
In her eyes pity, who causes my pain!
(Dryden: Song in An Evening's Love. 1668.)
Of this song Mr. Saintsbury says that it is "one of the rare examples of a real dactylic metre in English, where the dactyls are not, as usual, equally to be scanned as anapests." (Life of Dryden, Men of Letters Series, p. 62.) Here, as almost always in English, the measure is catalectic, a final dactyl being instinctively avoided, except in short two-stress lines.