Shall we not sing an ode?"
The accent here plainly falls on the initial "shall," giving force to the interrogation. Shakspeare's "Under the green-wood tree" is similarly accented.
The seven-syllabled measure is one in which many exquisite poems have been composed by English writers. Raleigh used it, as did likewise Shakspeare many incidental passages in his plays, and afterwards Cowley, Waller, and other bards of note. But it was by Milton that the seven-syllabled verse was developed, perhaps, to the greatest perfection, in his immortal "L'Allegro" and "Il Penseroso." In its systematic shape, this species of verse consists of a long and short syllable in alternation, the long beginning and closing each line, and therefore giving four accents. The measure is graceful and easy exceedingly, though apt to become monotonous in enunciation. To obviate this effect, Milton, who, either from natural fineness of ear, or from observation and experience, had acquired a consummate mastery of rhythm, roughened his lines purposely, sometimes by introducing eight syllables, and sometimes by varying the seat of the accent. This will partly be seen in the following brief extracts, which will also show how admirably he could make the measure the vehicle either of the gay or the grave:—
"Haste thee, nymph, and bring with thee
Jest and youthful Jollity,
Quips, and cranks, and wanton wiles,
Nods, and becks, and wreathed smiles,
Such as hang on Hebe's cheek,
And love to live in dimple sleek;
Sport that wrinkled care derides,