xiv. 34. ⋀ Lóve ... oh, Lóve!—and wíth fond Lóve, farewéll.
Dy., G., W., "Farewell, oh Love" for first two feet. But why should Margaret repeat a verb which she has used twice already in this speech? As for Greene, he was not writing a primer of prosody for school recitations. Margaret has said farewell to world, friends, father, and dainty robes, then with a sigh or sob, for which Greene allows by the lacuna, she bids adieu to the dearest—"⋀ Lóve ... oh Lóve." The pause before Love heightens the explosion. A similar effect is produced by the suppression at the beginning of
| xiv. 20. | ⋀ Pride, | flàttèr iè ànd | incónstant thoúghts | |
| or perhaps | ⋀ Príde | ⋀ flát terie ánd. |
Dy. says this line is mutilated, and G. inserts 'vanitie' after 'Pride.' But the line is all right. See also C, 2 b, below.
ix. 171. ⋀ Grátious ás the mórning stárre of heáven.
I prefer this to Ward's emendation (approved by Wagner) 'Gratious as is,' because the Q is less sibilant and, owing to the pause, more deliberate and forcible. Greene may have written 'As gracious'; for compare Looking-Glasse, l. 14, 'As glorious,' etc.
ix. 257. ⋀ Pérsia, dówne her Vòlga bý canóws.
The rhetorical emphasis on 'her' compensates (with the hovering accent) for the aposiopesis before 'Persia.' Greene's metrical effects don't always count upon the fingers, but they are often rhythmically delightful.
(b) For a lacking thesis in the second foot, a similar rhetorical pause, sometimes also an anapæstic third foot, may compensate, as in
i. 11. And nów ⋀ chángde to a mélanchólie dúmpe.