Sweet after showers, ambrosial air,
That rollest from the gorgeous gloom
Of evening over brake and bloom
And meadow, slowly breathing bare
The round of space, and rapt below
Thro' all the dewy-tasselled wood,
And shadowing down the horned flood
In ripples, fan my brows and blow
The fever from my cheek, and sigh
The full new life that feeds thy breath
Throughout my frame, till Doubt and Death,
Ill brethren, let the fancy fly
From belt to belt of crimson seas
On leagues of odor streaming far,
To where in yonder orient star
A hundred spirits whisper "Peace."
(Tennyson: ibid., lxxxiv.)
This stanza (abba in four-stress iambics) is commonly known as the "In Memoriam stanza," from its familiar use by Tennyson. Tennyson is indeed said to have invented it for his own use, not knowing of its earlier appearance in the works of Jonson and Rossetti. Professor Corson has an interesting passage on the poetic quality of the stanza: "By the rhyme-scheme of the quatrain, the terminal rhyme-emphasis of the stanza is reduced, the second and third verses being most closely braced by the rhyme. The stanza is thus admirably adapted to that sweet continuity of flow, free from abrupt checks, demanded by the spiritualized sorrow which it bears along. Alternate rhyme would have wrought an entire change in the tone of the poem. To be assured of this, one should read, aloud of course, all the stanzas whose first and second, or third and fourth, verses admit of being transposed without affecting the sense. By such transposition, the rhymes are made alternate, and the concluding rhymes more emphatic." Compare the stanza quoted above from section xxvii. with the transposed form:
"I feel it when I sorrow most;
I hold it true, whate'er befall;
'Tis better to have loved and lost
Than never to have loved at all."
On the passage quoted from section lxxxiv. Professor Corson also observes: "The four stanzas of which it is composed constitute but one period, the sense being suspended till the close. The rhyme-emphasis is so distributed that any one, hearing the poem read, would hardly be sensible of any of the slightest checks in the continuous and even movement of the verse.... There is no other section of In Memoriam in which the artistic motive of the stanza is so evident." (Primer of English Verse, pp. 70-77.)
aaba
Doubt you to whom my Muse these notes entendeth,
Which now my breast, surcharg'd, to music lendeth!
To you, to you, all song of praise is due,
Only in you my song begins and endeth.