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^W0 *
l^^^l
r^
ts and Sc^lce o
English Versification I
•
ai
I
REESE LIBRARY
UNIVERSITY OF CALIFORNIA.
..'^hressimis No. 6f^f6''. ' Chns No. ^0 ^ . J
J — II--U— V — u m irmrytM-u — u — ir— i?
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I
1/
r
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ELEMENTS AND SCIENCE OF
ENGLISH VERSIFICATION.
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ELEMENTS AND SCIENCE
OF
ENGLISH VERSIFICATION
BY
WILLIAM C. JONES
^ OF THE
UNIVERSITY
BUFFALO:
THE PETER PAUL BOOK COMPANY.
1897.
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^
.,f
Copyright, 1897, by
The Pkter Paul Book Company.
PRINTED AND BOUND BY
THF PKTER PAUL BOOK COMPANY,
BUFFALO, N. V.
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INSCRIBED TO
Hcu, TOillmm (5, Willmms, L^I^, S.
WRIGHT PROFESSOR OF
(;reek language and lite rat i;re,
ohio wesllyan university,
delaware, ohio,
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PREFACE.
' T IS the desire of the author to create a greater love for
^^ poetry, I do not think it is possible to make great
poets any more than it is possible to create great
muiiicians, sculptors, artists, or orators. All must be
born with the spark of genius inherent within the souL 1
believe, however, that even those pos^e^ed of great genius
may profit by the research of others, and frequently are
induced to follow their art by suggestions and rules pointed
out to them. To such who possess real g^enius from a
poetic standpoint this work may be of benefit. Another
class to be benefitted are readers who love poetry and make
a study of it, and yet Ikil to receive the benefits or see the
beauties of true poetry simply because they fail to under-
stand the technique.
It is a pleasure to be able to scan critically that which we
read, If, however, we are unable to criticise for ourselves
the merits of a poem from Qvay standpoint, we necessarily
lose much of the real pleasure of the reading. To be nble
to tell the measure, the rhythm, and the number of feet a
vei-se contains is in every sense a satisfvction to the reader
of a poem ; yet, not one- third of those who read poetry
know anything whatever about measure, feet, or rhythm.
They realize there is a certain jingle to the stanza that
pleases them, and that is all they know about it. Few
readers ever stop to consider whether the poem is composed
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vi PREFACE.
of couplets, triplets, or quatrains. The mode of construct-
ing the five, six, seven, eight, nine, and ten line stanzas is a
matter that has given them no trouble and about which they
have never had a thought. The combinations of verses is
something that has escaped their attention entirely.
Vers de Sociiti — polite and polished by masters of the
art, can hardly be distinguished by some who feign a real
love of poetry from blank verse. Poetical licenses and
peculiarities are little known and less understood. The
same is true of figures of etymology, syntax, and rhetoric ;
and yet much of the pleasure of reading poetry is derived
from being able to criticise it properly from every technical
standpoint. A beautiful metaphor or simile is instantly
detected by the highly educated reader and is a delight to
his soul.
Poetry is not only a question of matter, but one of
manner. Our best poets understand versification thor-
oughly and are ever painstaking. The true poet is careful
in every detail. A diamond in the rough may be of value,
but not until it is polished does it become a sparkling gem.
The day is not distant when versification will be taught with
the same care that is now given to rhetoric. Why not?
Do not all derive pleasure from reading the works of the
masters of poetry ?
Mr. and Mrs. Lawrence TurnbuU, of Baltimore, Maryland,
became benefactors to the world when they established a
lectureship of poetry at the Johns Hopkins University in
memory of their son, Percy Graeme TurnbuU, and with an
avowed intention of teaching poetry and thereby creating a
knowledge of and a love for it. May their noble gift and
benefaction become more generally known and others
follow their example.
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PKEJ'ACE. Vii
The aim of the true poet is always high. He should not
only rely upon those resources with which nature has
equipped him, but he, too, should study appropriate
models, until he becomes a sufficient master of the art to be
able in turn to leave models for others who may follow after.
W. C. J,
Robinson^ Illinois,
\
I
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TABLE OF CONTENTS.
PART FIRST.
POETRY AS AN hK\\
ACCRNT AND glJANTITY,
OF VERSE, .
Hgmestich, .
DiSTJCH, .
TmsTicH,
TETRASTtCH, .
Forms df the (Jr,
OF METER, .
The Troche k.
The Iamrus, .
The Dactvl,
The Anapest,
OF RHYTHM.
I
10
ID
m
u
11
12
I
OF SCANSION, .
Poetic Pauses,
OF RHYME,
Alljtkration,
assonantal,
Consonantal.
Masculine and Feminine,
Triple, , . . .
33
36
40
4a
44
45
45
4^
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X TABLE OF CONTENTS.
PACK
Middle, 46
Sectional, 48
Inverse,. . . ....... 49
Task, or Odd, 50
Cento Verses 54
Acrostic, 56
SELECTION OF WORDS, 58
Foreign Words and Expressions, .... 60
THE CONSTRUCTION OF THE STANZA. ... 63
Rhythmic Combinations 65
The Five Line Stanza, 69
The Six Line Stanza, 75
The Seven Line Stanza, ....... 82
The Eight Line Stanza, 92
The Nine Line Stanza 98
The Ten Line Stanza 102
The Sonnet, 107 y
The Ballade, 116/
The Chant Royal, 118
The Rondeau 120
The Rondel, 123
The Roundel, • • ^- .... 124
The Sestina, .126
The Triolet, 129
The Virelay 130
The Pantoum, 131
• Blank Verse, 133
MEASURES EXEMPLIFIED, 136
Trochaic, 136
Monometer, . ; 137
Dimeter, . . « 138
Trimeter, 139
Tetrameter 140
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TABLE OF CONTENTS.
XI
Pentamett r^
Hexamett^r,
Heptameter^
Octometer,
lAMElC, .
Manometer,
Dimeter, .
Trimeter, ,
Tetrameter,
Pentameterj
Hexameter,
Hepta meter,
Odometer,
Dactylic,
Dimeter, .
Tetrameter,
Hexameter,
ANA^ESTIC, ,
Jfonometer,
Dimeter, .
Trimeter, .
Tetrameter,
Hexameter,
IMITATION OF CLASSICAL MEASURES,
POETICAL LICENSES,
FAUE
143
J44
146
147
149
150
151
'55
J 57
15S
159
i6o
i6y
T63
J 64
165
^65
166
167
i6S
t70
171
177
PART SECOND.
FIGURES OF SPEECH COMMON TO POETRY, . 1S7
Fkjures of Etymology, , , . . ► 187
Aplieresis, . . * , , , . JS7
Apocope, . . , , . , i38
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xn
TABLE OJ^ CONTENTS.
Epenthesis, iS8
Paragoge, ......... 189
Prosthesis, 190
Syncope, 190
Synaeresis, 190
Tmesis, 191
Figures of Syntax, 191
Ellipsis, 191
Enallage 193
Hyperbaton, 197
Pleonasm, 198
Syllepsis . . . . . . . 198
Figures of Rhetoric, 199
Allegory, 199
Apostrophe, 200
Anaphora, 201
Antithesis, 202
Epanalepsis, 203
Epigram, 203
Epizeuxis, 204
Erotesis, 205
Ecphonesis, . . 206
Euphemism, 207
Hearing 208
Hyperbole, 208
Irony, . '. 210
Litotes, 2X1
Metonymy, 212
Echo, 218
Onomatopoeia, 218
Paraleipsis, 220
Personification, 220
Refrain, 221
Simile 222
Synecdoche, 223
Trope, 223
Vision, , o c 226
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TABLE OF CONTENTS.
PART THIRD.
OF THE VARIOUS KINDS OF POETRY,
The Empire of Poetry,
Classification of Poetry,
Objective and Subjective Poetry,
The Lyric, .
Secular Songs,
Sacred Songs,
Other Meters,
The Ode,
The Sacred Ode,
The Moral Ode,
The Amatory Ode,
The Heroic Ode,
The Ballad, .
The Elegy, .
The Epitaph,
The Pastoral,
The Didactic,
Philosophical,
Meditative,
The Epic,
The Mock Epic,
Metrical Romance,
Metrical History,
v'The Drama, .
The Tragedy, .
The Comedy, .
The Divisions of the Drama,
The Farce,
The Travesty, .
The Melodrama
The Burletta, .
The Prologue, .
PAGB
229
236
237
238
248
250
«5
255
256
257
258
262
278
281
285
286
288
288
289
291
293
293
296
296
296
297
297
297
297
297
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xiv TABLE OF CONTENTS,
PAGK
The Epilogue, 298
The Envoy, 298
The Subjective Drama, 299
The Opera, 299
The Satire, 299
The Dialectic 303
German Dialect, 304
Irish Dialect, 306
Western Dialect, 3' 8
Chinese Dialect, 311
Southern Dialect, 311
Yankee Dialect, 315
Scotch Dialect, 318
Child Dialect, 3^9
Nonsense, 320
The Versicle, 323
CONCLUSION, 327
INDEX OF AUTHORS, 329
INDEX OF SUBJECTS, 337
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I
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THE ART OF POETRY.
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PART FIRST.
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CHAPTER I.
POETRY AS AN ART.
POETRY is an art. Like music, painting and sculpture,
it is a aivine art. The poetic principle bums within
those who are gifted by nature with the true and the ideal.
It is a part of their existence, a part of their being. There
are those who love music, and spend their best days in its
study and composition. It is their joy and their sorrow.
The world drinks in that which their souls pour out.
Music, to the master mind, is his heart's gratification. He
lives and breathes in its atmosphere. To him it is a greater
solace than the pleasures of fashion, pomp or power.
He who is master of the art of painting enjoys satisfaction
in consummating that art. He gives his life daily to the
task of bringing it into perfection. His art is his love, and
throughout life he admires her charms.
The sculptor spends days and years in modeling and
chiseling the rough marble into the perfect image. He,
too, finds true enjoyment in giving his days in bringing his
art to the highest degree of excellence.
The true poet finds delight in the rhythmical creation of
beauty. His word-pictures are paintings, his ideals are
modeled with the care of a sculptor. He sees beauty in the
tinting of the flowers, the waving of the grain, the cluster
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2- THE ART OF POETR Y.
of the trees, the babbling of the brooks, the ripple of the
rivers, the rifting of the clouds, the twinkling of the stars.
The birds sing for him, and the winds sigh unto him. The
calm, still ocean furnishes a picture of desolation, while its
deep surf and mighty waves thunder back its power and
destruction as they swell and surge the sands upon the
shore.
The moss upon the rock, the violet and the rose, the hum
of the bee, the heather and the hyacinth, all have for him
some charm.
He can picture the beauty of woman as well as he who
paints her upon the canvas. He can sing to her in song as
well as he who trills before the harp. He finds the gems
and true graces of womanhood. He idolizes the luster oi
her eye, the soft melody of her voice — the sigh, the laugh-
ter, the tear. He worships at the shrine of her faith, in the
strength of her purity, in the sweetness of her love.
All that is true and beautiful he sees with the eye of the
sculptor, feels with the touch of the painter, and hears with
the ear of the musician.
The mysteries of nature are unfolded unto him, and he
finds a pleasure in singing, in painting and in picturing her
charms and her grandeurs. It is only those who possess
the inherent power and a perfect art that can do this.
Nature presents to us strength in the rough stone. Art
brings to us beauty in the polished diamond.
True ease in writing comes from art, not chance.
This verse is from Pope, a master of the art of versifica-
tion. Bom an invalid and possessed of a fi-ail constitution
throughout life, he devoted his time to his art. Educated
and refined, with a vigor of mind possessed by few, he found
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POETIC Y AS jy ANT. 3
time to eclipse Drydeii* his chosen master and model. Mr.
Walsh, who was regarded by Dryden as the best critic in
all London, encouraged Pope to become the critical writer
he afterwards became. '*For/' said Mr. Walsh, *' there is
.one way of excelling. Although we have several great
poets, we have never had any one great poet that was
correct," How well Pope succeeded, Cowper tells us :
But he (his musical finesse was such),
So nice his ear, so delicate his touch,
Made poetry a mere mechanic art ;
And every warbler has his tune by heart
The act, art or practice of composing^ poetic verse is ver-
sification. The word ''verse," in our language, means a
line of poetry. A piece of poetry is often incorrectly
termed a verse.
This verse be thine.
Pope.
Virtue was taught iq verse.
Prior^
A verse may be defined as a succession of articulate
sounds, consisting of words arranged in measured hney,
constituting an order of accented and unaccented syllables,
disposed of according to the rules of the species of poetry
which the author intends to compose. Verse is merely the
dress which poetry assumes. All verse is not poetry, nor
h all poetry verse, as one can see by an examination of
Orisian's poems, and " Leaves of Grass" by Walt Whit-
man, A large portion of the Holy Scriptures is poetical.
Many p^arts are called songs, and the elevation of style
clearly indicates the poetical construction of others. We
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^ THE ART OF POE TR Y.
j^ive a quotation from the forty- fourth chapter ol Isaiah :
For I will pour water upon him that is thirsty,
And floods upon the dry ground ;
I will pour my Spirit upon thy seed,
And upon thine offspring my blessing profound.
Josephus affirms that the "Songs of Moses " were heroic
verse, while the songs of David were composed in trimeters
and pentameters.
Sing unto the Lord with the harp ; with the harp ;
And the voice of a psalm ;
With trumpets and sound of cornet make a joyful noise
Before the Lord, the Kinj;.
" Psalm xcvii."
Some souls in this world fancy they have no love for
poetry. They are mistaken. They love poetry, but they
do not understand it. Every one fancies the true and the
ideal. Who loves the natural world around and about us ?
Is it only the man of cultivation and leisure? All love
nature. Every beautiful landscape that is visible to our eye
is a poem. The everyday occurrences of life are poems.
Yet it is only when the master mind perceives and tells to
us their hitherto untold beauties, that we pause and listen.
It is related of Robert Burns that he knew *' The Cotter's
Saturday Night ' ' was a success, when told that the scenes
he had so faithfully depicted ** were common, very common;
such as might be witnessed in Scotland at all times in the
dwellings of the poor.**
Who would now remember " Sheridan's Ride," were it
not for a Thomas Buchanan Read? V/ho would ^now
remember John Howard Payne, were it not for **Home,
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POETRY AS AN ART,
Sweet Home"? Ages still preserve, and will, our best
poems. This world of ours, with its rivers and lakes, its
country and cities, its prairies and mountains, its almost
every little nook and dell, is being painted with word
accents by someone who sees a special beauty in the little
things about him. The polite literature of poetry is keeping
almost as many records of heroic events, and the heroes ;
of inventions, and the inventors ; of art, and the artists ; of
social, domestic, religious and political life, and the actors
— as her sister prose. Life's histories of love, adventure,
romance, grief, joy, adversity, hope and pleasure — ^all are
woven together and told with unerring skill by the master.
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CHAPTER II.
ACCENT AND QUANTITY.
ENGLISH poetry depends upon accent, and accent upon
time. Let us iUustrate : English poetry has four
principal or primary meters. These meters or measures
are known as iambic, trochaic, anapestic, and dactylic.
All English poetry is written in one of these measures.
Again, we have what is known as rhythm. The
rhythm of verse is its relation of quantities or time.
Take for example an iambic word, or a line of iambuses.
The word *' before" is an iambus. Why? Because the
accent falls on the second syllable, the first being unac-
cented. Hence, should we select an iambic verse, the
accent would fall on the second syllable of each foot or
measure of the line.
'Tw^s vain : th^ loud wSves lashed th^ shore,
Return 6r aid preventing : —
The waters wild w^nt o'er hfe child, —
And he w^s left lamenting.
Campdel/^*'Lord Ullin's Daughter."
Here we have word accent applied to poetry ; every
other word or syllable in the verse or line being accented.
A long syllable is termed an accented syllable. Now the
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ACCENT AND QUANTITY. .7
quantity of a syllable is the relative portion of time occu-
pied in uttering it. In English poetry every syllable must
be reckoned long or short, and a long syllable is usually
equal to two short or unaccented syllables.
All words that have not a fixed accent, or in other words,
all monosyllables are reckoned in the first instance as being
unaccented or short. While this is true, monosyllables
when used in English poetry may be used as accented or
long, or, as unacciented or short even in the same line,
when it becomes necessary in order to make the meter
and rhythm. Take the first line of the stanza just quoted :
'Twfc vain ; thS loud wavSs lashed thS shore.
Here we have a line of iambuses. Here we have a line
of four iambic feet. Here we have a line that ticks like a
clock :
Tick-tock, tkk-tock, ttck-tock, tick-tock.
Here we have a line in iambic rhythm. The rhythm
here being determined by the accent, viz : The accent
falling upon the second syllable of the foot, and the number
of syllables in the foot or measure being two. There are
four feet in this line. Each foot has two syllables, one
accented and one not accented.
Now, let us take another word, and another line. Take
the word ** lovely." Here the accent falls upon the first
syllable. In other words it would be termed long, while
the **ly*' would be unaccented or short syllable. Now,
this word is termed a trochee. It is one of the primary
feet in English poetry ; a foot where the accent falls upon
the first syllable Here is a stanza familiar to all, a stanza
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8 THE ART OF POETRY.^
by one of the greatest and most charming of poets,
Lives 6f great m6n all remind tls
We c^n make ottr lives stiblime,
And, departing leave behind tls,
Footprtnts on thS sands 6f time.
Longfellow — *' A Psalm of Life."
Here we have another stanza of word accents. The ac-
cents all fall on the first syllable or unemphatic word of
each foot or measure of the line or verse. The trochaic
and iambic mejKures are termed dissyllabic, for the reason
that two monosyllables, or two syllables or a word of two
syllables, compose a foot or measure.
Now, we have the same old clock ticking, but we will
elevate one side of it and put a chip under it. We now
have it ticking just the reverse of what it did before. It
ticks a little livelier. It now ticks —
T6ck-t!ck, t6ck-t!ck, tock-ttek, tock-tfck.
Its measure is trochaic, because composed of trochees.
Its rhythm is trochaic, because it thus signifies or denotes
the kind and character of the feet employed, and arranged
into measures. If the line then is composed of four tro-
chaic feet, viz : a trochaic tetrameter, the rhythm must
necessarily be trochaic.
What has been said of iambic meter, and trochaic meter,
is equally true of anapestic and dactylic meter. These are
termed trisyllablic feet. These measures or feet may be
also distinguished from the dissyllabic measures. The ana-
pestic foot having one accented and two unaccented syl-
lables, the first two being unaccented the last being accented,
hence, it necessarily follows, the time meter and rhythm
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ACCENT AND QUANTITY. 9
must be different. The clock would now tick, —
Ttck, tfck-tock, ttck, ttek-tock, tfck, ttek-tock.
On the other hand, dactylic measure being composed of
dactyls, words of three syllables, having the accent upon
the first syllable, the last two being unaccented, the clock
being elevated slightly again, would tick a litde &ster, thus
Took, tick-tfck, took, tlck-ttek, took, t!ck-t!ck.
The quantity of a syllable, whether long or short, in
other words, accented or unaccented, does not depend upon
the long or short sound of the vowel, or diphthong, but
upon the intensity with which the syllable is uttered,
whereby a greater or less portion of time is employed in
uttering it.
Rhythmus in the widest sense is a division of time into
short portions by regular succession of emotions, impulses,
and sounds producing agreeable effect. We speak of
the rhythmus of the dance, the rhythmus of music, the
rhythmus of the poem. The language of the true-born
poet is rhythmical, and \\& rhythmic nature distinguishes it
from ordinary speech. To the lover of true poetry and art
there is a peculiar charm and grateful satisfaction attaches to
and delights the ear when reading a beautiful poem of a
peculiar or particular rhythm. The rhythmic accent marks
off given periods of time, and the natural or trained ear is
thus enabled to say, as each measure passes in review before
it, whether the time value of that particular measure is
correct.
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CHAPTER III.
OF VERSE.
AVERSE being a metrical line of a length and rhythm
determined by rules which usage has sanctioned, it
will be therefore necessary to ascertain the divisions of verse.
F'irst, we have the Half Verse or Hemistich, it being a
half poetic line or verse not complete :
Anapkstic Tetrameter.
Heaven's fir^ tJaround th^e, t5 blast Snd t6 burn ;
R^urn t6 thy dwelling ! * * *
Campbell—'' Lochiel's Warning."
Second, we have the Couplet or Distich, two verses or a
pair of rhymes :
Dactylic Dimeter.
Alas ! f6r th^ rarity
Of Christi<1n charU>^.
Hoocf— ''The Bridge of Sighs."
Trochaic Tetrameter.
For th^ heart wh6se woes ar^ legi5n
'Tis ^ peaceful, soothing regi5n.
Poe— "Dreamland.''
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OF VERSE. II
Iambic Pentameter.
Wh6 hath n6t paused whtle Beauty's pensiv^ eye
Ask^d from his heart thS homSge of a sigh ?
Campbell—'' Pleasures of Hope. "
Third, the Triplet or Tristich, three verses rhyming to-
gether :
Iambic Pentameter.
A sentinel ang^l sitting high tn glory
Heard this shrill wail ring out fr6m Purgatory :
Hftve mercy, mighty ang^l, hear my story !
Hay — "A Woman's Love.'*
And what's a life? — S weary pilgrimage,
Wh6se glory in on6 day d6th fill the stage
Wfth childho6d, manho6d, and d6?repit age.
Quarles—'' What is Life. '*
Fourth, the Stanza or Tetrastich, a regular division of a
poem, consisting of two or more lines or verses. They are
formulated according to usage, and the taste of the writer,
and may be of every conceivable variety. Stanzas of the
same poem should be uniform, and constitute a regular divis-
ion of a poem. Stanzas are often incorrectly termed verses.
A verse is one line of a poem ; a stanza, two or more.
Stanzas are frequently known by the name of those using
them most ; as, the stanza of Spenser, the stanza of Burns,
the stanza of Chaucer.
The Couplet is the simplest form of the stanza ; as,
Where did y5u come frttm, baby dear ?
Otit of the everywhere Tnto the here.
George Macdonald—** The Baby.'*
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12 THE ART OF POETRY,
Alas ! fbr love, If thou ^rt all,
And naught beyond, Earth !
//^wf<i«j—" The Graves of a Household."
Any two lines of poetry that make complete sense when
taken together, whether they rhyme or do not rhyme may
be termed a couplet ; and this form of stanza is frequently
employed in poems of considerable length ; as, Whittier*s
'* Barbara Frietchie ; " Tennyson's ** Locksley Hall ; ''
Edwin Arnold's ** Secret of Death."
The couplet is also employed in combination to form
other stanzas.
The next form of stanza is the Triplet, which is three
lines rhyming together.
The following example is a trochaic tetrameter :
Bear thrttugh s6rr6w, wrong, ^nd ruth,
In thjr heart thS dew 6f youth,
On thj^ lips thS smile 6f truth.
And th^t smile, like sunshine, dart
int6 many S sunless heart.
For ^ smile 6f God th6u art.
Longfellow — " Maidenhood.
Like the couplet, the triplet is used in combination to
form other stanzas.
The next form is a four-line stanza called a Quatrain. The
quatrain is also used in combination to form other stanzas.
Quatrains are a very common form of stanzas, and we shall
give examples of many of them. Let us take the following
iambic :
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OF VERSE, 13
HKs was the troubled life,
The conflict and thfi pain,
The grief, the bitterness 6f strife,
The honttr withttut stain.
Longfellow — " Charles Sumner."
The first, second and fourth lines are iambic trimeter,
composed of three iambuses. An iambus consists of a
foot of two syllables, the first syllable is unaccented, the
second accented. The third line is iambic tetrameter, com-
posed of four iambic feet. In this stanza, the first and third
lines rhyme, the second and fourth.
From S. T. Coleridge we have the following :
She listened with a flitttng blush,
With downcast eyes ^nd modest grace ;
F6r well she knew, I could n6t choose
Bdt gaze tipon her face.
"Genevieve."
In this stanza, the second and fourth lines rhyme. The
first three lines are iambic tetrameter, the fourth, iambic
trimeter.
My days Sre in the yell6w leaf,
The flowers ^nd fruits 6f love are gone ;
The worm, the canker, and the grief,
Are mine ^lone.
Lord Byron — (Composed on his 36th birthday.)
The first three lines are iambic tetrameter, the fourth,
iambic dimeter.
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I^ THE ART OF POETRY.
IV.
A keepsake, mJlybe,
The gift 6f another, perhaps a brother,
Or lovfir, wh6 knows ? h!m her heart chose,
Or was h^r heart-free ?
N. G- Shepherd— ''OnXy the Clothes She Wore."
This stanza is iambic, the first and fourth lines rhyming.
The first and fourth lines dimeter, the second and third,
tetrameter. The second and third have line rhymes.
V.
Cle6n hath a million acr^, ne'er a one have I ;
Cle6n dwellfith in a palace, in a cottage I ;
•Cle6n hath a dozSn forttines, not a penny I ;
Yet the poorer of the twain !s Cle6n, and n6t L
Charles Mackay — "Cleon and I.'*
This stanza is thirteen syllabled, heptameter. trochaic
measure.
Ltke Dian's kiss, tin asked, tinsought,
L5ve gives Itself, btit is n6t bought ;
N6r voice, n6r sound betrays
Its deep, tmpassi6ned gaze.
Longfellow — ' * Endymion. * *
The first two lines are iambic tetrameter, the third and
fourth, trimeters.
VII.
Revile hXm not,— the Tempter hath
A snare fbr all ;
And pitying tears, n6t scorn and wrath,
Befit hfe fall !
^2V//^r— *'Ichabod."
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OF VERSE.
The first and third lines are iambic trimeters, the second
and fourth dimeters. The lines rhyme alternately.
VIII.
T6 show ^ heart gri^f-rent ;
T6 starve thy sin,
N6t bin,—
And that's t6 keep thy Lent.
Merrick-- " True Lent."
This is a quatrain of iambics.
IX.
What more ? w^ took otir last ^dieu,
And up, the snowy SplugSn drew,
Btit ere w^ reached thS highest summit
I pluck' d a daisy, I gave ft you.
Tennyson — "The Daisy."
This is a tetrameter stanza of iambuses.
X.
And the night shall be filled wfth music,
And the cares, that infest the day.
Shall fold their tents, like the Arabs,
And as silently steal away.
Longfellow — *'The Day is Done."
This is an anapest.
heard ye y6n pibr6ch s6und sad in the gale,
Where a band c6meth slowly with weeping and wail ?
'T is the chief 6f Gienara laments f5r his dear ;
And her sire, and the people, are called t6 her bier.
Gzw/^^//—" Gienara."
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l6 THE ART OF POETRY.
This is an excellent anapestic tetrameter quatrain.
XII.
Thfin shook th^ hills wKth thunder rivSn,
ThSn rushed thfi steeds t6 battle driven,
And louder than th6 bolts 6f heaven,
Far flashed thfi red artillery.
Giw^^(?//— "Hohenlinden. '*
This stanza is composed of a triplet and an odd line. It
is a tetrameter. The last syllables of the first three lines are
redundant.
Inhum^ln man ! Ctlrse on thf barbarotls art,
And blasted be thy murd^r-aimYng eye !
M^y nevSr pity soothe theS with S sigh,
N6r ev^r pleastire glad thy cruSl heart !
Burns— *' On Seeing a Wounded Hare."
The stanza is an iambic pentameter.
XIV.
As i lo6k up tnto yotir eyes, and wait
F6r some response t6 my f6nd gaze and touch,
It seems t6 me thfire is n6 sadder fate
Than to b€ doomed t6 lovKng overmuch.
£//a Wheeler Wilcox— '"Y\i^ Common Lot."
This is a ten-syllabled iambic pentameter, the first and
third, and the second and fourth lines rhyming.
Whither, midst falling dew.
While glow thfi heavens with thS last st^ps 6f day, *
Far, through th^ir rosy depths, dttst thou ptirsue
Thy solitary way.
Bryant—'' To a Waterfowl. ' '
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OF VERSE.
17
This stanza is iambic. The first and fourth lines are
trimeter, the second and third, hexameter.
• We have given many forms of the quatrain. We have
also given the measure of the stanzas selected. We have
endeavored to present different forms with a view to show
at a glance the numerous ways the quatrain may be formed.
It is a fine form of the stanza, and is more in use than any
other style of poetry. Employed with the couplet, and the
triplet, as well as the single line of verse, the quartrain is
capable of producing many other forms of beautiful stanzas.
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CHAPTER IV.
OF METER.
WHILE we may learn to distinguish measures by sound,
if we happen to have a good ear for music, or time,
still, until one acquaints himself with the art of versification
and understands the rules or laws governing the formation
of stanzas, he cannot tell or give the reasons why any
particular stanza is written in any particular meter. Meter
is derived from the Greek word metron, and denotes a
measure. Measure or meter is a succession of groups of
accented and unaccented syllables in which poetry is written.
In the classic languages, the measure depended upon the
way the long and short syllables were made to succeed one
another. Our modern verse depends, as we have seen, not
upon the distinction of long and short syllables, but upon
that of accented and unaccented syllables.
The accents should occur at regular intervals ; and the
groups of syllables thus formed, each constitute a measure. .
In the classic verse these groups of long and short sylla-
bles composing the measure, were called feet, each foot
having a distinctive name. Meter in poetry, being similar
to measures or musical bars in music, received the name of
feet because the measure was regulated by the foot of the
director of the Greek choirs.
Keeping time, time, time.
i8 P^7^—'* The Bells."
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OF METER.
19
The same names are applied to the modern that were
applied to the classic measures, from which they are all
taken. An accented syllable in modern verse being held
equivalent to a long syllable in classic verse. It is designated
by a ( — ) macron ; an unaccented syllable is equal to a
short syllable, and designated by a ( ^^^ ) breve.
'T is distance lends Enchantment to thE view;
And robes thS mountain in its aztire hue.
Campbell — ** Pleasures of Hope."
The first word is unaccented and is marked with a breve,
the second accented, and marked with a macron, denoting
the character of the measure, which is iambic pentameter.
Each measure contains one accented syllable, and either
one or two unaccented syllables.
In poetry monosyllables receive accent. Most monosyl-
lables in our language are variable in quantity, and can be
used as long or short, as strong or weak sounds suit the
sense or rhythm.
Every emphatic word, and every accented syllable, in
verse forms a long or accented syllable. Monosyllabic unem-
phatical words constitute short or unaccented syllables.
Words of greater length usually have fixed accents. Ac-
cented syllables are always long. Syllables immediately
before or after an accented syllable are usually short. To
determine the kind of verse, it is always safe to look, first, to
the words that have a fixed accent ; second, to words that
are emphatic that are unaccented.
The number of feet in a stanza must always be reckoned
by the number of accented syllables constituting each line or
verse.
A syllable is a whole word or each part of a word that is
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20 THE AR T OF POETR V,
Uttered by one impulse of the mouth. A word usually has
as many syllables as it has principal parts. A word of but
one principal part is termed a monosyllable ; as, God.
Such words are pronounced with but one impulse of the
voice.
A word of two syllables is termed a dissyllable ; as,
God-ly. Such words require two articulations. Words of
three syllables or principal parts are trisyllables, as God-li-
ness, Un-god-ly, and require as many articulations as they
have syllables.
Accent in poetry is defined as the uttering or pronouncing
of a word, noting the particular stress or force of the voice
upon certain words and syllables of words.
The acute accent is marked thus — or thus /
All words of more than one syllable are accented, as,
H6-15^, Ho-ll-n^ss, tJn-ho-lJ^.
Compound words may have two accents ; as,
ev-Sr-chang-lng, e-v^n-mind-^d.
Accent is the peculiar stress we lay upon some word or
syllable of a word, as,
F6r-give, Beau-tl-ftll,
Hold-ing, RS-ward-ing,
Res-6-nance, WTnd-Tng-sheet,
C6n-fu-slfon, Bo-n^-fi-d^,
Ftn-Sn-cier, R^-gard,
R6gue-hatint-^d, Hap-py,
Re-ward, Ab-s6n-tee,
Scarce-iy, . C6n-sXgn-ee,
These words have all fixed accents.
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OF METER, 21
We believe that accent is the sole principle that regulates
our English rhythm. It is therefore necessary to observe
certain principles that govern accent. In words of two
or more syllables, there is one syllable which receives a
stronger verbal accent than the others. That is called the
primary accent. When the word contains three or more
syllables, there is a secondary accent.
Poets have in all ages, where the primary accent fell
upon the first syllable, in words of three syllables, taken the
liberty of giving a secondary accent to the third syllable,
where the rhythm required it. Words of four syllables
. have a secondary accent, unless the primary accent falls on
one of the middle syllables, it is then governed by the
same as the trisyllable. Words of five syllables, if accented
on the first, seldom have less than three accented syllables
and never have less than two.
When a pause separates two syllables, each syllable may
receive the accent. In that case the pause fills the place of
a syllable.
When a verse, or a section of a verse, begins with an
accent, ' that accent should be a strong, not a weak one.
There is no word, however, so unimportant, that it may
not be accented if the rhythm requires it. The articfe may,
and does, receive accent. The rule, however, is that quali-
fying words, as adjectives, adverbs, and others of the same
ckss, receive a fainter accent than the words qualified.
In Will Carleton's *' The Burning of Chicago,*' we have a
fine illustration. Notice the fine effect of the compound
words and how nicely the accent falls. The measure is
anapestic. The first four lines of the stanza are ana-
pestic trimeter. The remaining ten lines are anapestic
hexameter. We give the third stanza as follows :
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22 THE ART OF POETR V.
'T was night tn tbS sin-bftrdSned city,
Th^ turbiil^nt, vice-iadt!'!! city.
The sin-c5mp^ssed, rogue-hiliMit^d city,
Though Queen 6f th^ North ftnd th^ West.
And I6\\j in tlu'ir cave^ 6f pOlliAion grejit beastsl 5f htimanitj^
growled; ' ' I '
And ovSr his monSy-str^wn table the gambler bent fiercely, .Ind
scowled ;
And men wtth n6 seeming 6f manho6d, wUh countenance flaming
and fell,
Drank deep fr6m the fire-laden fountains that spring fr6m the
rivers 5f hell ;
And men wUh n5 seeming 6f manho6d, wh6 dreaded the coming
6f day,
Pr6wled, cat-like, f6r blood-ptirchased plunder fr6m men wh5
were better than they;
And men with n5 seeming 5f manho6d, wh6se dearest-craved glory
was shame,
Wh6se joys were the sorrows 6f others, wh5se harvests were acres
6f flame,
Sltink whispering and low, in their corners, with bowie and pist6l
tigHt-pressed,
In rogue-haunted, sin-ctlrsed Chicago, though Queen hi the North
and the West.
The stanza is mixed by the introduction of an iambus in
the first foot of each verse.
The words selected and accented in the preceeding
chapter were selected for a two-fold purpose ; first, to show
their fixed accents ; second, to illustrate meter, or measure.
Every primary measure in English poetry contains one
syllable accented, and either one or two, that are unac-
cented. Accent may be on either the first, second or third
syllable of the group, hence there are four complete and
distinct primary meters in our modern poetic forms. In
chapter two they were mentioned as iambic, trochaic, ana-
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OF METER.
23
pestic and dactylic measures. Let us further illustrate and
define them.
THE TROCHEE.
Two are composed of dissyllables ; as an example, the
word ho-ly. Here we have the accent falling upon the first
syllable, the second being unaccented. This word in poetry
is called a trochee, and the verse composed in it would be
termed trochaic. It is a classic foot and simply means a
foot of two syllables, the first accented, the second un-
accented.
THE IAMBUS.
Let us next take the word rS-ward. Here we find the
accent is placed upon the second syllable, instead of the
first. In poetry this word i« termed an iambus, a classic
foot, signifying a foot of two syllables, the first unaccented,
the second accented. Verse written in this measure is
termed iambic.
The songs and satires of the ancient classics were written
in this measure. We have, then, two dissyllabic meters,
the trochaic and the iambic. The greater part of our
entire verse is written in one or the other of these measures.
The iambic measure is suited for grave and dignified
subjects. The poetry written in this measure cannot well
be enumerated. Three-fourths of our modern verse, we
feel safe in saying, is written in iambic meter. The trochaic
is an elegant foot. It has a faster movement than the
iambic. It moves lightly and with a brisk trip. It is not
encumbered by an extra syllable, as its sister foot, the
dactyl. The trochee and iambus are interchangeable.
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24
THE ART OF POETRY.
THE DACTYL.
Of trisyllabic feet we have two that are primary. The
first is the dactyl, the second the anapest. Both are classic
feet. Let us take the word beau-ti-ftil. Here the accent falls
upon the first syllable, the second and third being unaccented.
This is the dactyl. This meter or foot is called the dactylic,
and signifies a meter having the first foot accented, and the
other feet unaccented.
THE ANAPEST.
Let us next take the word f in-an-cier. Here we have a
word with the accent falling upon the final syllable. This
is termed in verse an anapest. Verse written in this meas-
ure is termed anapestic. It signifies in poetry a measure
having the first two syllables unaccented, the last accented.
The trisyllabic measures are often substituted one for
another and like the dissyllabic they are interchangeable.
They are also interchangeable with the spondee.
These four primary measures are those most in use. The
trisyllabic measures are more difticult to use than the dissyl-
labic, although the dactyl is termed the flowing measure of
poetry. It is capable of many results, and much beautiful
verse is written in the dactylic.
We have then four separate and distinct measures, which
are termed primary, as follows:
The Trochaic, — ^
The Iambic, ^ —
The Dactylic, -^ ^ ^
The Anapestic, ^ ^ —
The substitution of these feet denominated primary, where
one foot is substituted for another frequently, gives rise to
what is known and termed mixed measure.
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OF METER.
25
We shall now illustrate the four measures by a specimen
of verse written in each kind. The following is a trochaic.
The stanza is the eight and seven syllabled trochaic verse; a
twelve line stanza, the second, fourth, sixth and eighth lines
rhyming.
When th^ humid shad6ws hovSr
Ov^r all thS starry spheres,
And thS melancholy darkness
Gently weeps In rainy tears,
What a bliss t6 press th^ pill5w
Of S cottage-chamber bed,
And t5 listen to th^ patter
Of the soft r^in overhead !
Coates Kinney — ** Rain on the Roof"
Our next stanza is an iambic six line stanza.
YSs ! bear them to their rest ;
The rosy babe, tlfred with the glare 6f day.
The prattler, fallen ^leep e'en in hfe play ;
Cl^sp them t5 thy s6ft breast,
night !
Bless them !n dreams wtth a deep, hushed delight.
G. W. Bethune—'' Hymn to Night."
This stanza contains six lines, the first and fourth are
iambic trimeters ; the second, third, and sixth iambic lines
of ten syllables, or pentameters, and the fifth a fine speci-
men of the iambic monometer, a verse of two syllables.
The next stanza is composed of dactyls, and known as
dactylic measure :
Come t6 me, dearest, I'm lonely without thee,
Day-ttme Snd night-ttme, I'm thinking about thee ;
Night-time ^nd day-time, in dreams 1 behold thee ;
tJnwelc5me the waking which ceases t6 fold thee.
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26 THE ART OF POETR V.
Come t6 m^, darlifng, m^ s6rr5ws t5 lighten.
Come \n thj beauty t5 bless ^nd t6 brighten ;
Come in thy w6m^nho6d, meekly ^nd lowly,
Come \n thy lovtngnSss queenly ^nd holy.
Joseph Brennan — "Come to Me, Dearest."
This is a stanza of eight lines, dactylic tetrameter, with
the exception of the fourth verse, which is a pure line or
verse of amphibrachic tetrameter, a secondary foot substi-
tuted for the dactylic, with a truly pleasing effect.
Our next stanza is anapestic.
'T !s th^ voice 5f th^ sluggard ; I heard him c6mplain,
Yoti have wak'd mS to5 soon, I mtist slumber again.
As thS door 5n its hinges, s6 he 6n his bed,
Ttirns his sides, and his shoulders, and his h^avj^ head.
Dr. Isaac W^a/f/j— "The Sluggard."
A four line stanza of anapestic tetrameter.
In addition to the measures which we have termed pri-
mary, the ancients had other measures denominated secon-
dary measures. They are frequently introduced into verse
to relieve monotony, as well as allowing the writer freer
scope. They are also unconsciously introduced by writers
fervent with the passion of the subject or theme, and give
grace and style. They are three in number.
The Spondee, a foot of two accented syllables ; as, praise
God, vain world, poor man. A verse in this foot or meter
is termed spondaic.
An Amphibrach is a poetic foot consisting of three syl-
lables, the first and last syllables unaccented, the middle
accented ; as, c6nsidSr, transported.
A Cretic, or Amphimacer, a poetic foot, the first syllable
accented, the second unaccented, and the third, accented ;
as, win-d6w-sash, wind-ing-sheet, life-Ss-tate.
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OF METER. 27
The dissyllabic feet then, are three in number, as follows :
The Trochee — —
The Iambus ^-^ —
The Spondee
The trisyllabic are four in number, as follows :
The Anapest w w — The Amphibrach ^-^ — ^
The Dactyl — ^w The Cretic — _.—
Coleridge, in " A Lesson for a Boy," exemplified these
seven feet :
Troches trips fr6m long t6 short ;
Fr6m long t6 long in solemn sort
Slow Spondee stalks ; strong foot ! yfit ill-ablS
EvSr t6 come tip with DactJ^l trisyllabic.
Iambics march fr6m short t5 16ng : —
With a leap and a bound thC swift AnapSsts throng ;
OnS syllabic long, with 5ne short at Cach side,
Amphibrachys hastes with a stately stride ;
First and last being long, middle short, AmphlmacCr
Strikes his thundering hoofs, like a proud high-brCd rac6r.
Where a verse or line consists wholly of one kind of feet,
it is termed pure. If a verse consists of nothing but iam-
buses, it would be a pure iambic verse ; if no foot but the
trochee, a trochaic ; if no foot but the anapest, anapestic ; if
dactyls compose the entire line, the line is termed dactylic
rhythm.
The proper study of mankind Is man.
Pope.
This verse, as will be seen by scansion, is iambic penta-
meter ; viz, a ten syllabled line of iar
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28 THE ART OF POETRY.
BiessKngs on theS, llttlS man,
Barefo5t boy, wtth cheek 6f tan !
Whittier—'' The Barefoot Boy."
This poem is seven syllabled trochaic rhythm.
In "Why should the Spirit of Mortal be Proud," by
William Knox we have a poem written in pure anapestic
rhythm save the first foot, which is an iambus.
The hand 6f th^ king, that the sceptr^ h^th borne ;
The brow 6f th^ priest, that th^ mitr^ hSth worn ;
The eye 6f th6 sage, ftnd the heart 6f the brave, —
Are hidden and lost Kn the depths 6f the grave.
These two lines from the same poem are pure anapestic
tetrameter :
T5 the life we are clinging, they, als6, w6uld cling ;
Btit it speeds fbr tis all, like a bird 6n the wing.
The anapestic measure is a very capable one, smooth
flowing and strong. It is alike suitable for the more serious
thoughts of life, as well as, some that are exceedingly mirth-
ful. Brete Harte has adopted this meter in very many of
the quaint, mirth-provoking poems which he has written.
For an illustration of the dactylic, we have taken a
stanza from Tennyson's ** Charge of the Light Brigade : "
" Forward, the Light Brigade ! "
Was there a man dismayed ?
Not th5ugh the soldier knew
Some one had blundered :
Theirs n5t t5 make reply.
Theirs n6t t6 reas6n why.
Theirs btit t6 do and die :
Int6 the valley 6f Death,
Rode the six hundred.
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OF METER. 29
This is a fine specimen of dactylic dimeter, mixed with
trochees and anapests.
The more pure these several measures are preserved, the
more complete and perfect the chime of the verse, which
should in every instance be as pure and smooth flowing as
it is in the power of the writer to make it. Where, how-
ever, verse becomes monotonous, it is well to substitute some
other foot. Verse is truly beautiful where these substitutions
are made, as —
Know yfi thSjland whSre thS|cypr6ss an4 myrtlfi
Ar6 emdl^ms 5f deeds lh|lt are done' in their clime —
Wh^re tU ragd6fthS vulltire, the love W the turtle,
N6w melt int5 softnessl n6w maddenjto crime ?
Know yejthe land 6f jtwe cedarj^nd vine.
Where thfe flowers evferlbl6ss6mj the beams ever shine,
And the light Wings 6f zejjljyr, 6ppressea wKth perfume,
wax famt 6'fer. the gardeii^'ftf Gul !n\her bloom ?
Where the citr6n ^nd oltyej^re fairest? 6f fruit,
And the v6ic^i5f 'the nightKhgaie nevet Is mute?
Where the vii^tns ^re soft ^ the roses they twine,
And all\ s^ve the spimt 6f.mani !s dlviiie ?
'Tts th^land 5f the East+'^ri the clime Ibf the sun—
C^n he smile! on s^ich deehsl^s his children n&ve done ?
Oh, wild ^s tne ac<^ents 6f liters' farewell,,;
Are the hearts thati they bear, i^nd the tales that they tell,
i Byron—'' Bride of Abydos. "
Few prettier lines have ever been written* in trisyllabic
verse than these lines. Note how smoothly flowing the
rhythm ; how the measures mix and commingle together.
It will be seen that the first line is dactyhc ; second, anapestic,
first foot being iambic ; third, anapestic. The stanza is
anapestic rhythm, that being the prevailing primary foot.
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CHAPTER V.
OF RHYTHM.
POETRY being the polite literature of the world, much
of its beauty necessarily depends upon how it is
written. No matter how beautiful the thought, it must still
depend upon how that thought is arranged. To be able to
tell at a glance the measure and rhythm of poetry is worth
the effort of all classes, especially all readers who enjoy and
love that literature that springs from the cathedral of the
human heart. Musical notes properly arranged by the
hand of a master, give joy to the listener. There is music
that lulls to rest. There is music that curdles the blood.
There is music that is awe inspiring. There is music that
breathes of love. There is rhythm in music. There is
rhythm in poetry, the kindred art. How much poetry
depends upon rhythm let James Montgomery, a master
spirit tell us : ' * How much the power of poetry depends
upon the nice inflections of rhythm alone, may be proved
by taking the finest passages of Milton or Shakespeare, and
merely putting them into prose with the least possible varia-
tion of the words themselves. The attempt would be like
gfathering up dewdrops which appear jewels and pearls on
the grass, but run into water in the hands ; the essence and
the elements remain, but the grace, the sparkle and the
form are gone. ' ' 30
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OF RHYTHM.
31
Poetry originates in the enjoyment of equality and
fitness. Rhythm, meter, rhyme, stanza, alliteration, and
other analogous effects are employed in the moods of
verse. Many fail to make any distinction between meter and
rhythm. Meter is the arrangement of poetic feet, or of
accented and unaccented syllables into verse. Rhythm
signifies the character of the feet thus arranged, as,
Oh ! tt was pmftll !
Near a whttle city ftill,
Home she had none.
Hood—'' The Bridge of Sighs."
This is termed dactylic rhythm, a dactylic dimeter, it
being a line or measure consisting of two dactyls ; thus, a
line composed of iambuses, anapests, trochees, and dactyls,
being primary feet, would be termed iambic rhythm, ana-
pestic rhythm, trochaic rhythm, dactylic rhythm.
Every reader of poetry has observed that it seldom
happens that verse proceeds uniformly with a succession of
absolutely equal feet ; namely, with a regular succession of
trochees, iambuses, spondees, dactyls, amphibrachys, cretics
or anapests only. The most musical lines are often inter-
rupted in the succession and are varied by the introduction
of other feet. Trochees are substituted for iambuses ;
anapests, amphibrachys, dactyls; spondees and cretics are
substituted one for an other. These feet may be termed
equivalents, for the feet are of the same length, in other
words, where they are of the same number of accented and
unaccented syllables.
We find trochees at the beginning of a verse we term
iambic, where the iambus is the prevailing foot, denoting
that the rhythm is in its character iambic. We also
frequently find anapests in a line that is iambic rhythm;
Digitized by VjOOQIC
32
THE ART OF POETR Y.
trochees are interrupted by the dactyl ; dactyls are inter-
rupted or interspersed with the amphibrachys or some other
trisyllabic foot. It is allowable thus to vary the verse, if
the time and melody of the line be preserved. The time
and the melody of the verse are often rendered more
harmonious by the substitution of the trisyllabic foot for the
dissyllabic, or the dissyllabic foot for the trisyllabic ; or, in
other words, the substitution of one foot for another, where
there is still preserved harmony in the sound, or where the
substituted foot is equal to, or amounts to an equivalent.
Pure dactylic stanzas are rare. Anapestic stanzas are seldom
pure ; and even the trochaic and iambic rhythms, although
purer than other rhythms are interspersed with spondees,
anapests, dactyls, or some other foot.
The classics were pleased to term the substitution of the
trisyllabic for the dissyllabic foot, an irrational foot.
In the iambic measure we more frequently find a spondee
or an anapest substituted for the iambus ; in a trochaic foot
we more frequently find the dactyl as a substitute ; in the
dactylic foot, the trochee, the spondee, the amphibrach and
the cretic. In these substitutions equality should be main-
tained.
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CHAPTER VI.
OF SCANSION.
SCANNING or scansion of verse, is critically to examine
and resolve it into poetic feet. Should there be a
syllable wanting to complete the measure of a line, the foot
is imperfect, and the line is said to be catalectic.
Where there is a syllable over at the end of the line it is
said to be hypermeter, or redundant. When, however,
the line is found to be neither deficient nor redundant, it is
said to be acatalectic. We have seen that meter is a system
employed in the formation of verses. Meter depends not
only on the character of the feet employed, but likewise on
the number of feet employed in the formation of the line or
verse. We have, therefore, several varieties of meter or
measure, determined by the number of poetic feet the line
contains, as :
A monometer, or a line composed of one foot.
'TKs time !
A d. meter, a line of two feet.
The twillfght falls.
A trimeter, a line of three feet.
The evening shades appear
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34 THE ART OF POETRY.
A tetrameter, a line of four feet.
N5 little stars shine out t5-night
A pentameter, a line of five feet.
H5w glad ttt feel that joyotis night fe here.
A hexameter, a line of six feet.
C5me haste ! ^nd 'mid thS darkness flee liway, liway !
A heptameter, a line of seven feet.
Er6 soon again th^ light 6f still another tell-tale day.
An octometer, a line of eight feet.
1 hear th^ sound 6f hoof Sfar I Tft arms L ?T5 arms !
'Tiswar! 'TTswar! •
Lines in this measure, written in trochees or in iambuses
are usually too lengthy for the ordinary page, hence, are
frequently written in tetrameter.
It is more important in writing poetry to preserve the
same number of accents in lines of like measure than the
same number of syllables. An exception to this rule is in
our ballad measure, where feet of three syllables are some-
times intermingled with the ordinary feet of two syllables.
The redundant syllable in that case should be unaccented
and devoid of stress, and capable of being pronounced
rapidly. The time of the trisyllabic foot and the time of the
dissyllabic foot should be equal. Each syllable should be
pronounced distinctly, but with greater rapidity. Our best
writers prefer the use of words in their natural state, to
words used as follows : flowers to flovv'rs, silvery to silv'ry,
glistening to glist'ning, murmuring to murm'ring, th' for
the, i' for in, a' for an. We have here a stanza from
Whit tier.
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OF SCANSIOK.
35
And I J 6bfdt^.nt t6 Vhy will,
H^ve comi a simple wreath t6 lay,
Sttpeiffttotis, 6i\ c1 grave'that still
Is sweet wtth'all th^ flowers ftf May.
"Sumner."
From Longfellow:
Thou hast taught mS, Silent Riv^r !
Many a less6n, deep and long ;
Thou hast been a gener6us giv^r ;
I can give the^ but a song.
"To the River Charles.'*
From Willis :
Brtght fla^ at yoiid^r tapering mast !
Fling out y6ur field 6f azur^ blue ;
L^t star and stripe b^ westward cast,
And point as freed6m's eaglS flew !
Strain home ! 6h, lithe and quivering spars !
Potnt home, xt\^ countr5^'s flag 6f stars !
" Lines on Leaving Europe."
From Tennyson :
B^gins^ tli^ clash and clang that tells
Th^ joy t6 every wandering breeze ;
Th^ blind wall rocks, and on thS trees
Th^ dead l^af trembles to thS bells.
" In Memoriam.'*
In the first stanza, the words obedient, stiperfliiotis and
flowers are used by the writer making lines of nine
syllables, instead of syncopating the words ; in the
second stanza, many a, and generotis, not gen'rous ; in the
third, tapering and quivering are used and not syncopated ;
in the fourth stanza, every and wandering are used in their
full form instead of being contracted to the forms ev'ry and
wand' ring as is often the case in some poems. Elision and
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36 Tfi^ AR T OF FOE TR Y.
syncope, as a rule is no longer in use where it can be
avoided, nevertheless, it is true, in some cases it is a help to
the writer, and lends a charm to the rhythm.
Time is essentially the basis of all true rhythm, and
true rhythm is in fact frequently destroyed to the cultivated
ear by the syncopation of words that properly belong in the
line, and that only need to be spoken in quicker time,
which the ear is always ready to recognize. Not only is the
ear offended, but the eye, that other organ that enables us
to perceive the beauty of written verse.
POETIC PAUSES.
In addition to the regular pauses that occur in the verse
or line of poetry, there are other pauses, known as the
ce^U^al, and the final pause. The Cesural pause is a natu-
ral suspension of the voice, which occurs in the verse, and
is readily perceived when the verse is properly read. It is
found in long lines, and usually occurs about the middle of
the line. The art of the poet is shown in making these
pauses occur where the thought requires them. Iambic
pentameters usually have the cesural pause come after the
fourth or fifth syllables. In Alexandrine, or iambic hexa-
meter, the cesural pause usually occurs after the third foot.
Two or more cesurals may sometimes occur in the same
line. The cesura is indicated by two parallel lines ; thus, ||.
The final pause occurs at the end of every poetic line,
and should always be observed in reading, even when not
required by the grammatical construction.
We have selected the following lines from Pope, to illus-
trate the position of the cesura. Pope's ear was exceed-
ingly accurate in matters of euphony, and the cesural pause
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OF SCANSION. 2f7
usually occurs after the fourth or fifth syllable in his verse
or line. Observe their position in the following lines :
Btlt most by numbers || judge ^ port's song,
And smooth 6r rough, H with them, Is right or wrong ;
Th^se equal syllables || alone require,
Th6* 6ft th^ ear || thS op^n vowels tire ;
While expletives || thSir feeblS aid d6 join ;
And ten I6ng words || 6ft creep Kn one dtill line :
While they ring round || thS same tinvarifed chimes,
With sure r^tiirns || 5f still recurring rhymes ;
WhSre 'er y6u find || * th^ cooling western breeze, '
In the nSxt line || It ' whispers through th^ trees : '
If crystal streams || 'with pleasing murmtirs creep,'
Th^ reader's threat' n^d || — not In vain— with ' sleep.'
Th^n at th6 last || and only couplet, fraught
With some tinmeanlng thing || thSy call a thought,
A needless Alexandrine || ends the song.
That, like a wounded snake, || drags its sl5w length along.
Leave siich t6 tune || their own dtill rhymes, t6 know
What's roundlj^ smooth, || 6r langulshingly slow;
And praise the easy vig6r || of a line
Where Denham's strength || and Waller's sweetness join.
Trtie ease In writing || comes fr6m art, n6t chance,
As those m6ve easiest || who have learned t6 dance.
'T IS not enough || n6 harshness gives 6ffense,
The sound mtist seem an ech6 || to the sense.
* ' Essay on Criticism. ' '
Let us take next an iambic hexameter by William
Wordsworth.
The dew was falling fast, || the stars began t6 blink ;
1 heard a voice ; It said, || ** Drink, prettj^ creature, drink ! '
And, looking o'er the hedge, || before me I espied
A snow-white mountain lamb, || with a maiden at Its side.
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3«
THE ART OF POETRY.
It will be observed the pause occurs after the third foot.
It is difficult to lay down absolute rules for the use of the
cesura in English poetry. In a decasy liable line, it may
occur after any foot, and it is by shifting its place, that
verse is rendered less monotonous. In shorter poems, es-
pecially of the amatory or lyric nature, it generally falls
midway in the line or verse. The cesura should not divide
a word ; neither should it separate an adjective and its
noun ; nor an adverb and verb, when in either case, the
latter immediately follows the former. The cesura is also
counted a foot in poetry.
A single emphatic syllable is used frequently in variegated
forms of verse, and when thus taken by itself it is termed a
cesura. To illustrate, let us take a stanza in iambic rhythm
— iambic trimeter :
Break, break, break.
On thy cold grSy stones, sea !
And I would th^t my tongue cotild utt^r
Th^ thoughts that arise !n me.
7V««yj6>«— "Break, Break, Break."
We select the following stanza. It is trochaic rhythm,
one of the best of a fastidious poet's productions. Noth-
ing in its line has ever excelled it. We give the second
stanza :
Hear the mell6w wedding bells,
Golden bells !
What a world 5f happtness thetr harm6ny foretells !
Through the balmy air 5f night.
How they ring 5ut their delight !
From the molten golden notes.
And an In tune,
What a liquid ditty floats
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OF SCANSION.
39
To th^ turtle-dove th^t listens, while sh^ gloats
On the moon !
Oh, frftm out the sounding cells,
What a gush 6f euph6ny voluminously wells !
How It swells !
How It dwells
On the Futttre I how It tells
Of the rapttlre that Impels
To the swinging and the ringing
Of the bells, bells, bells.
Of the bells, bells, bells, bells,
Bells, bells, bells,—
To the rhyming and the chiming of the bells.
/l?^— "The Bells."
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^
CHAPTER VII.
OF RHYME.
S5me rhyme ^ neighb5r's name t6 lash ;
S5me rhyme [vSin thought ! ] f5r needfti' cash ;
S6me rhyme t6 court th^ country clash,
And make ^ pun ;
Fftr me, Sn aim I nev^r fash —
I rhyme fbr fun.
Bums— ''To James Smith."
RHYME in poetry is of ancient origin. It was brought
in by the Gothic conquerors during the middle ages.
Some Latin poetry rhymed as early as 500 A. D. It can
hardly be considered the invention of any race or age. It is
universal, like music, painting, and the sister arts. Since its
first use it has steadily gained favor, until it is now the popular
form of poetic expression. Alliteration was the common form
of the Anglo-Saxon poetry ; it had no other ornament. Al-
though no longer a regular constituent of English verse, allit-
eration is of frequent occurrence in modern poetry. In its
most usual sense, rhyme is a correspondence of sound in the
last syllables of two or more lines, succeeding each other
immediately, or at no great distance. It is used to mark the
ends of lines, or verses, of poetry. Rhyme depends upon the
sound, and not upon the spelling. To make a perfect rhyme
it is necessary that the syllables be both accented. It is
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OF RHYME, 41,
also necessary that the vowel sounds be the same ; that the
sounds following the vowel sounds be the same ; that the
sounds preceding the vowel sounds be different. Good and
stood, talk and walk, code and ode, dodge and lodge, plod .
and odd, toil and boil, all are perfect rhymes. We give a
stanza from the famous national hymn of France •
Y^ sons 6f France, Swake t6 glorj? !
HSrk ! Hark ! What myriads bid yoti rise !
Yottr children, wives, ^nd grandsires hoary,
Behold th^ir tears ^nd hear th^ir cries.
Rouget de Lisle — " The Marseilles Hymn."
Here the first and third lines have a redundant syllable.
Here the first and third lines have the common sound of
* * ory, ' * in the first line being preceded by the consonants
*'gl,*' in the third by the consonant '*h." The second
and fourth lines have the common sound " ise," the second
line being preceded by the consonant ''r/' and the fourth
by the consonants * * cr. " Rhyme is not always the corre-
spondence of sounds in the terminating or final syllables of
two hues or verses. The lines may end with words that are
spelled differently, and that may be entirely different in their
meaning, yet, they may have an exact correspondence of
sound ; as peak, pique, and peek ; also raze, raise, and rays.
These words would not form rhymes, there being a sameness
of the initial consonants. Should the initial consonants be
changed, we shall have words that make perfect rhymes, as
the following :
For th^ structure that wS raise,
Time te with materials filled ;
Our t6-days Snd yesterdays
Are the blocks wUh which w^ build.
Longfellow —' ' The Builders. "
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m 42
T//E ART OF POETRY,
The common sound **aise," **ays*' here have the initial
consonants *'r*' and **d*' different, and hence form a
perfect rhyme. It is an absolute rule that no syllable should
rhyme with itself. Rhyme always speaks to the ear and not
to the e/e. Perfect rhymes are pleasing to the ear and not
a mere ornament. All people who have adopted an
accented rhythm have adopted rhyme. Rhyme marks and
helps us find the accent, and strengthens and supports
rhythm.
We have in poetry various kinds of rhymes. They may
be denominated, alliteration, assonantal, consonantal, mas-
culine, feminine, triple, middle, sectional, inverse and task or
odd rhymes.
ALLITERATION.
As we have already seen, alliteration was an old form. of "^
Anglo-Saxon verse, which was simply rhyme at the begin-
ning of the word instead of at its ending. It was the dis-
tinctive characteristic of all the Gothic meters. Poems
continued to be written in English, the vers^ of which was
merely alliterative, down to the time of the sixteenth century.
The taste, however, that introduced rhyme rejected alliter-
ation to a very great extent, and its use began to decline.
Chaucer was the first English poet particularly to discard it
for rhyme, and hence, might be termed the father of
English rhyme. While the recurrence of the same sound
gave pleasure and satisfaction to the sense, slight, it is
true, still one that was perceptible enough ; yet, there can
be but little doubt, that the affectation displayed in crowding
every line with alliteration, by which inappropriate words
were often introduced, not unfrequently obscuring the
sense and offending the taste, led to its disuse. Alliteration
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OF RHYME, 43
is, however, still much used in modern verse. There is a
tendency in our nature to form recurring sounds ; hence
alliteration is frequently produced without any set design \
and it is frequently so sparingly and unobtrusively intro-
duced, that many readers of poetry are gratified by the
graceful use of alliteration, though not aware to what source
their gratification is owing.
We give the following from a poem of Thomas W.
Parsons :
September strews thS woodland o'er
WUh many a brilliant c6l6r ;
Th^ world te brighter than before, •
Why should otlr hearts bS duller ?
Sorrow and th6 scarlet leaf,
SSd thoughts ^nd sunnj weather.
Ah me ! Thts glory and thKs grief
Agree n6t well t5gethSr.
* 'A Song for September. ' '
This is an iambic tetrameter, the second, fourth, sixth
and eighth lines redundant.
We give the following, an iambic tetrameter :
W^rm broke th^ breeze Against th^ brow,
Dry sang th^ tackle, sang thS sail :
Th^ Lady's-head tipon thfi prow
Catight the shrKU salt, ^nd sheered th^ gale.
The broad s6as swelled t5 meet thS keel,
And swept behind : s6 quick th^ run,
W^ felt th^ good shKp shake ^nd reel,
we seemed t5 sail Into thg Sun !
Tennyson — '* The Voyage. ' *
We select this stanza from the Quaker poet. The first
and fourth Hues, iambic tetrameter, the third and fourth,
iambic dimeter, with a redundant syllable.
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44 THE ART OF POETRY.
She sat beneath th^ broad-armed elms
That skirt the m6w!ng-mead6w,
And watched the gentle west-wind weave
The grass wtth shine and shad6w.
W%//A>r—** Among the Hills.'*
Olaf, the King, 6ne summer mom,
Blew a blast on his bugle-horn.
Longfellow— ''ThQ Saga of King Olaf."
Songfttl, soulftll, s6rr6wftil Ireland !
Lanier — ' * Ireland. ' '
ASSONANTAL.
Assonantal rhyme is the correspondence of the vowels at
the end of two lines. Such rhymes are not very frequent in
our modern English verse. Rhyme by what is termed
similar sound, or allowable rhymes are considered intolerable
at the present time. In assonance, while the vowels of the
last accented syllable and in all subsequent syllables are the
same, the consonants must all be different. Formerly it
was allowable to rhyme heels with fields, town with round,
ask with blast, but such usage is no longer indulged in by
finished writers.
There may be found an occasional perfect assonantal
rhyme, as :
I in these flowery meads wotlld be,
These crystal streams shotild solace me ;<
T6 whose harmoniotis bubbling noise-
I, with my angle, would rejoice,
Stt here, and see the turtle-dove
C6urt his chaste mate t6 acts 6f love.
Izaak ^a//^«— "The Angler's Wish.''
The first two lines of this poem of true nature furnish us
a fine specimen of the perfect assonantal rhyme in the words
Digitized by VjOOQIC
OF RHYME.
45
*'be" and "me." The final vowel **e** being the same,
and the consonants ** b " and ** m " being different.
CONSONANTAL.
The last two lines of the above poem furnish us with a
specimen of another kind of rhyme, by far the most common
in English poetry. It is the consonantal rhyme, and is the
correspondence of the vowel and the final consonant or
consonants in the rhyming syllables. It will be seen that
the consonants *'d" and 'T' in the rhyming words *'dove*'
and **love** are different, while there is a perfect corre-
spondence in the vowels and consonants **ove.'' The
following stanza furnishes us with a fine example of
the consonantal :
F15w gently, swe^t A46n, among, thy greSn braes,
F15w g€ntly, sweSt rivfir, th^ theme 6f my lays ;
My Mary 's ^leep by thy murmtiring stream,
F15w gently, swe^t Aft5n, dfeturb n5t hSr dream.
Burns— ''hSXxm Water."
MASCULINE AND FEMININE.
Masculine rhymes are single rhymes, like "braes*' and
"lays;'* "stream" and "dream" in the last stanza. ■
They constitute one accented syllable. They are to be
distinguished from those rhymes that have an accented
syllable followed by an unaccented one, the last two sylla-
bles of the line rhyming with the last two of its mate.
Longfellow's " Hiawatha" is a good specimen of what is
described :
At thg^eet 6f LaughXng\Wat6r
Hiawatha laid hts burden.
Threw th^ red de^r from hfe shoulders ;
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46 THE ART OF POE TR 1 .
And thS|maid6n looked tij^ at him,
Looked tip from hSr mat 6f rushes,
Said wUh gentle look and accent,
'* You are welcome Hiawatha ! **
The above selection from Longfellow is trochaic rhythm,
tetrameter measure, with the feminine or double ending.
The principal rhyming syllables are usually long. Double
rhyme adds one short syllable. Triple rhyme, of which
we shall next speak, two. Such syllables in iambic and
anapestic verses are redundant ; in lines of any other kind
they are usually 4ncluded in the measure.
TRIPLE.
Triple rhymes have three corresponding syllables ; as,
care, mad \^ see 'a man sae happy,
E'^n drowned! himself kimang \hJ^ nhppy !
As bee^fleS li&me Wr 'lades 6^ tre^/tire,
Th^ min JtSs winged ih^ir wSy W!' ^leasOre ;
KTngs mSy bS blest, btit Tani was gl6*'rt-otis,
O'^r a'lthS cares'6''life'v!c-t6-rt-otis. •
^ BurfiE — ' ' Tarn O'Shanter. ' *
This is an iambic tetrameter. All the lines are redundant,
the fifth and sixth furnishing a fine example of triple rhyme.
MIDDLE.
Middle rhymes are a correspondence of sounds at the
middle and the close of a verse. It occurs at the natural
pause or suspension of the .voice in the line, and serves to
mark the two sections of the verse.
We give an example, an iambic tetrameter, the second
and third lines redundant :
Digitized by VjOOQIC
OF RHYME.
47
The splend6r falls 6n castl6 walls
And snowj^ summits old in story:
The long light shakes Across the lakes,
And the wild cataract leaps in glory.
Tennyson— ' ' The Princess. ' *
It was said that Burns was the poet of the many, while
Coleridge was the poet of the few. Coleridge was one of the
most tasteful of writers and used the middle rhyme with
pleasing effect in one of his finest poems — a poem written to
help pay the expenses of a trip he and Wordsworth were
taking together. He realized twenty-five dollars from its
sale. Wordsworth suggested largely for it, and wrote some
of its stanzas. We select three stanzas :
And through the drifts the snowy clifts
Did send ^ dismal sheen :
N5r shapes 6f men n6r beasts we ken —
The ice w&s all between.
The ice wSs here, the ice w^s there,
The ice was all Ground :
It cracked ^nd growled, ^nd roared Snd howled.
Like noises in ii swound !
At length did cross ^n Albatross:
Through the fog it came ;
As if it had been a Christian soul,
we hailed it in G6d's name.
Coleridge — '* The Rhyme of the Ancient Mariner.'*
Middle Rhyme in the hands of the skillful poet adds a
charm and lends music to the rhythm. In the hands of
those not skilled it is likely to be overdrawn.
Digitized by VjOOQIC
48 THE ART OF POE TR V.
SECTIONAL.
Sectional rhyme is akin to middle rhyme. It occurs in
the line and exists between syllables of the same section ; as,
Lightly and brightly breaks away
The morning from h^r mantle gray.
Byron — *' Siege of Corinth."
Th^y rushed and pushed, and bluide 6utgushed.
Bums—'' Sheriff Muir. "
But then t6 see h6w ye 're nfigleckit,
H6w huffed an' cuffed, an' disr^peckU !
Burns — ' ' Twa Dogs. ' '
S6 might, n6t right, did thrust ni6 to th6 crown.
Shakespeare — " Measure for Measure."
All this d6risi6n
Shall seem a dream and fruitl^s visi6n.
Shakespeare — " Midsummer Night's Dream. "
Th^n ye may tell, h5w pell and mell,
By red claymores, and muskets' knell,
Wl' dying yell, the torles fell.
Burns — " Sheriff Muir."
Wh6 careth n6r spar^th till spent h6 hath all,
6f bobbing, n5t robbing, b^ fearftil h^ shall.
Thomas Tusser.
N6t fearing n6r caring f6r hell n6r f6r heaven.
Thomas Tusser,
Rftcks, caves, lakes, fens, b6gs, dens and shades 5f death.
Milton—'' Paradise Lost."
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OF RHYME. 49
S5 many as love m^, Snd use mS bright,
With treasttre and pleastire I richly requite.
Thomas Tusser,
INVERSE.
Inverse rhyme occurs betweep the last accented syllable
before the cesura and the first accented syllable after the
cesural pause. We have fine examples in the following :
As Tammie glow'rfid, amazed and curtoGs,
The mirth and fun grSw fast and furiotis ;
Th^ pipfir ioud arid loudir blew ;
The dancers quick and quicker flew.
Bums—'' Tam O'Shanter. "
S6me, lucky, find a flowery spot,
F5r which thSy nev^r toiled 5r swat ;
Th^y drink the sweet and eat the fat.
Bums — " To James Smith.
Where with intenti6n I have erred,
N6 other plea 1 have,
Btit, Thou art good ; and goodness still
Deiighteth to f6rgive.
Bums—'*K Prayer."
Henderson, the man — the brother !
And art th5u gone, and gone f6rever ?
Burns — " Elegy on M. Henderson.'*
Let Prudence bless Enjoyment's cup,
Then rapttired sip, and sip \\ up.
Bums — Written in Friar's Carse Hermitage.
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50 THE ART OF POETRY.
Yotir beaut5^'s ^ flower, In thS morntng th^t blows,
And withers th^ faster thS faster U grows.
. Burns — "Hey for a Lass."
Oh happ)^ love ! wh^re love like this fe found !
Burns—'' Cotter's Saturday Night.'!
C5me ease 6r c6me travail, c6me pleastlre 5r pain,
Wj Wclrst word is: " Welcome ^nd welc6me ^gain !"
Burns—'' Contented Wi' Little."
TASK, OR ODD.
Under this head are some peculiar combinations of poetry
which we shall give, known as task poetry, word-matching
and curious lines of word accents. Task poetry is illus-
trated by a stanza of George Herbert's. The task is drop-
ping the first letter of the last two words of the second and
third lines of the triplet :
Inclose mS still, f6r fear 1 start,
BS to m^ rather sharp Snd tart,
Th^n let mS want th^^ hand ^nd art.
Stich sharpness shows th^ sweetest friend,
Stich cuttings rather heal than rend,
And such beginnings touch th^ir end.
The following curious distich is formed of three lines of
the fragments of words, so that the middle ones read with
either of the other two :
curs f— w — d— dis — and p —
A — ed iend — rough t — eath — ease — ain.
bless — fr — b — br- and ag —
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OF RHYME. 31
A cursed fiend wrought death, dtsease ^nd pain ;
A blessed friend br5ught breath ^nd ease ^ain.
Dr. Holmes has given us an example in an * * Ode for a
Social Meeting ; With Slight Alterations by a Teetotaler."
C6me ! fill ^ fr&h bumper, — f6r why shotild wS go
logwo6d
WhKle the noot&r still reddens 6ur cups as th^y flow ?
dSc6cti5n
P6ur out th^-rieb juioflo^ sttll bright wKth th^ sun,
dye-sttiff
Ttll o'er the brtmmed crystal thS rubiCo shall run
half-rtp^ned apples
The purplfi glftbod olwotfirD their life-dews have bled ;
taste sugar 6f lead
H5w sweet Ys the brooth 5f the fragrttnco thCy ohod I
rank pois6ns wines ! ! !
F6r summer's Ittot p6d6o Ite hid tn the winoo
stabie-b6ys smokKng 16ng-nines
That were garnered b^ mdideno whft Idughod throttgh the vinoo -
scowl howl scoff sneer
Then a«HfMl«; ^nd a glocBy and a tooot, and a oh e of ;
strychntne and whiskey, and ratsbane and beer
F6r all the go6d wino, ftnd w6\'o oomo 6f It horo ! ■
In cellar, Kn pantry, tn attKc, tn hall,
D5wn, down wtth the tyrant that masters tis all !
L5ng livo the gfty Qorvant thttt Idughe f5r tts all !
Word matching is still another kind of odd rhyme.
Then up wtth yotir cup ttll yoti stagger tn speech,
And match me this catch, though yoti swagger and screech.
Scott,
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52
THE ART OF POETRY,
Another odd rhyme in iambic rhythm written anony-
mously, is entitled :
Song of the Decanter.
Th^re was ^n old d^antSr,
and Kts mouth w^s gaping wide ;
the rosy wine h^d ebbed
^way and left Xts
crystal side ;
and the
wind
wfint
humming,
hummKng ; tip
and down
the sides
!t flew, and
through the
reed-like, h6115w
neck the
wildest notes
it blew. I placed
\\. in the wind5w, where
the blast was blowing free, and
fancied that its pale m5uth sang the
queerest strains t6 me. " They tell me
— pun5^ conquerors ! — the Plague has slain
his ten, and War his hundred-thousands 6f the
very best 5f men ; btit 1 ''—'twas thus the bottle
spoke — ** btit I have conquered more than all yotir
famotis conquerors, s6 feared and famed 6f yore.
Then come, ye youths and maidens, come drink
fr6m out m^ cup, the beverage that dulls the
brain and burns the spirit up ; that puts t6
shame the conquerors that slay their scores
below ; f5r this has deltiged millions with
the lava tide 5f woe. Though, in the
path 6f batde, darkest waves 6f blood
may roll; yet while 1 killed the
bodj^, I have damned the ver^
soul. The cholera, the sword,
stich ruin never wrought, as
1, in mirth 5r malice, on the inno-
cent have brought. And still 1 breathe
tipon them, and they shrink before my
breath ; and year bj year mj thousands
tread the fearftil road t5 death.
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OF RHYME.
53
In the couplet below every word of the line is answered
by another of the same measure and rhyme :
**She drove hfir flock 6'er tnount^ns,
' By grove, 6r rock, 6r fountains."
Another example is :
** Now, 6 now, 1 needs ratist part,
Parting though t absent mourn ;
Absence can n6 joy Impart,
Joy 5nce fled cJtn ne*er return.*'
The Alphabetic is still another odd rhyme :
"On going forth last night a friend t6 see,
I met a man by trade a s-n-6-b.
'^ Reeling along hS held his tipsy way.
* Ho ! Ho ! ' qu6th 1, * h6 's d-F-u-n-k. '
Th^n thus t5 him : * W^re It n5t better far
Yotl were a littlS s-6-6-e-r ?
'Tw^re happier for yotir family, I guess,
Than playing ofFstich rum r-i'-g-s.
Brides, all drunkards, when p51icem£n see *Sift,
Are takfin up at once by t-li-e-m.* '*
A truth is frequently impressed by means of another form
of odd rhyme — the Paradox. A first-class example is here
given :
Though w6 boast 6f modern progress as aloft w6 proudly soar,
Above tintut5red cannibals wh6se habits we deplore,
Yfit in 6ur daily papers any day y6u chance t6 look
Yotl may find this advertisement : " Wanted — A girl t6 cook. ' '
Ida Goldsmith Morris — ** A Paradox." In "Magazine of Poetry.'*
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54
THE ART OF POETRY.
Odd rhymes are frequently employed to aid memory.
Few persons understand the use of ** Shall" and ** Will."
The following stanza memorized will be of use to every one :
** In the first pers6n simply Shall fbretells ;
In Will a threat 6r else S promfee dwells ;
Shan in thS sec5nd or th^ third d6th threat
Wni simply then fbretells th^ futtire feat."
This quatrain is also useful to enable one to remember the
formation of Latin verbs :
** Fr6m &re formed am ^nd em ;
Fr5m I, r^m, rim, r6, se, ^nd sem.
tJ, us, and riis ^re formed fr5m um ;
All othSr parts fr6m Re d6 come."
Another quaint stanza enables us to remember the days
of the month :
''_ Thirty days hSth September,
Aprtl, June ^nd N6vembSr ;
All the rest have thirty-one,
save Febrtiary alone,
Whtch has btit twenty-eight tn fine
Ttll leap year gives \\. twenty-nine"
CENTO VERSES.
Still another curious form of poetry is denominated
** Cento Verses or Patch Work."
MY LOVE.
I only knew sh^ came and went Powell.
Like troutl^ts in a pool ; Hood.
She was a phantom of delight, Wordsworth.
And I was like a fool. Eastman.
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OF RHYME.
**One kiss, d^ar maid," I said Jtnd sighed.
Out of th6se lips tinshorn ;
Sh6 shook h^r ringlets round hSr head,
And laughed tn merry scorn.
55
Coleridge,
Longfellow,
Stoddard,
Tennyson.
Ring out, wtld bells, t6 the wild sky, Tennyson,
Yoii heard th^m, my heart ; Alice Carey,
'Tfe twelve St night by thfi castle clock, Coleridge.
** B^lovSd, we mtist part." Alice Carey.
** C6me back, c6me back ! " hS cried In grief, Campbell.
" My eyes ^re dim with tears, — Bayard Taylor,
H6w shall 1 live throtigh all thSse days ? Osgood,
All through a hundred years ? " T. S. Perry.
'TwSs in thS prime 6f summer time
Sh^ blessed m^ with h^r hand ;
W6 strayed t6geth^r, deeply blessed,
Into th^ dreaming land.
Hood.
Hoyt,
Edwards,
Cornwall.
Th^ laughing bridal ros^s blow, Patmore,
T6 dress h^r dark-br5wn hair ; Bayard Taylor.
My heart Is breaking with my woe, Tennyson.
M6st beautiful ! M6st rare ! Read,
I clasped It on hSr sweet, c61d hand, Browning.
The preciotis golden link ! Smith,
I calmed h^r fears, and she wSs calm, Coleridge,
** Drink, pretty creattire, drink." Wordsworth,
And so 1 won my Genevieve,
And walked In Paradise :
The fairest thing that evSr grew
Atween me and the skies.
Coleridge.
Hervey,
Wordsworth.
Osgood,
Anonymous.
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56 THE AR T OF FOE TR Y.
ACROSTIC.
The acrostic is a form of odd rhyme. Below we give one,
written by the Lady Frances Mamiers, daughter of the Earl
of Rutland, and wife of Henry, Lord Bergavenny. She
was the author of * * Precious Pearls of Perfect Godliness' '
and **The Monument of Matrons,** written in 1582, at the
end of which is this acrostic of her own name :
Fr5m sinftllness pr&erve m^, Lord,
RSnew my spirit in m^ hart ;
And let my tongue therewith Accord,
Uttering an goodness for hte part.
N5 thought l^t there ^rise Kn me
C6ntrairte to thy precepts ten ;
Ever l^t me m5st mindftll be
Sttll for t5 praise thy name. Amen.
As of my soul, s5 of my bodi^,
B6 thou my guid^r, O my God !
Unto theS only do I crie.
Remove fr6m me thy furiotis rod.
Gr^unt that my head mSy still devise
All things that pleasing be t5 thee.
Unto mine ears, ^nd to mine eies,
Ever 1st there ^ watch sSt bee.
N5ne ill th^t they mSy hear and see ; —
N6 wicked deede ISt my hand do,
Yn thy go5d paths ISt my feSt go.
POUNDS, SHILLINGS AND PENCE.
£ s. d.
Thfe world's a scene as dark as Styx,
Where hope ts scarce w5rth 2 6
Our joys are borne s5 fleeting hence
That they are dear at 18
And yet t5 stay hSre most are willing,
Although they may n5t have i
Willis Gay lord — ** Lines Written in an Album.'*
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OF RHYME.
57
Ah met
Am I thg swain,
That, late fr6m sorrow free,
Did all th^ cares 6n earth disdain?
And still tintouched,- ^ at sdme saf^r games
Played with th^ burning coals 6f love ilnd beauty's flames ?
W^s't I cotlld drive ^nd sound £ach passi6n's secret depth &t will,
And from th5se huge 6*erwhelmtngs rise by help 6f r^asdn still ?
And am I now, heavens ! fbr trying this In vain,
S6 sunk that I shall nev^r rise again ?
Then let despair set sorrow's string
F5r strains that dolefiil be,
And I will sing
Ah me!
Wither—'' Rhombic Measures."
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CHAPTER VIII.
Nevfir th^ verse Approve 5r hold ^ good,
Till many & day and many ^ blot has wrought
Th^ polfehed work, ^nd chastened every thought
By tenfbld labttr to perfection brought.
Horace.
SELECTION OF WORDS.
The beauty of the poem consists in the perfection of its
rhythm, and the aptness of the words selected which
constitutes the rhyme. ^
Perfect rhythm and rhyme make a perfect poem where
reason and sound sense are at the bottom of the theme.
The resources of our language are such that we are entitled
to receive from the poet the most rigid work of perfection.
Imperfect or what are termed allowable rhymes should no
longer be tolerated.
Rhyme is merely the dress with which our thoughts are
clothed in rhythmic verse. Rhyme without reason and
good sense is insufferable. Formerly many rhymes were
allowable that at the present time would not be endured.
Thtls Pegasus, a nearer way t5 take,
May boldly devTate from th^ comm5n track.
. Pope.
Here **take'* and ''track" are made to rhyme by one
of the most fastidious of all poets. Pegasus is here permitted
to deviate from the common track.
58
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SELECTION OF WORDS. 59
The same author we quote from again :
S6me haunt P^rnasstls but t6 please th^ir ear,
N5t mend thfiir minds ; &s some t5 church repair,
N6t for thS doctrine, but thS musYc there.
•'Ear,** '* repair,'* "there,** are here used as allowable
rhymes.
We quote still another couplet from Pope, in this con-
nection :
The vulgar thus b^ imitation err,
As oft the learned by being singular.
' * Err * * and * * singular ' * are imperfect rhymes. Speak-
ing of what are termed allowable rhymes, let us quote from
Pope once more :
The winged courser, like ^ generotis horse,
Sh5ws most trtie met^l when yoti check his course.
' ' Horse * * and * * course * * are not perfect rhymes.
His faithflil wife fbrever doomed t6 mourn,
F6r him, alas ! wh5 never shall return.
Falconer,
** Mourn " and ** return '* are imperfect rhymes.
S5 draw him home t6 those that mourn
In vain ; a favourable speed,
Ruffle th J mirr5wed mast, and lead
Throtigh prosperotis floods his holy urn.
Tennyson.
" Mourn'* and ''return** and ''mourn'* and "urn**
were, however, at one time perfect rhymes, but the style of
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6o THE AR T OF POE TR Y.
pronunciation is now obsolete. The fact that pronuncia-
tion of words is constantly changing accounts also for many
supposed imperfect rhymes.
FOREIGN WORDS AND EXPRESSIONS.
We believe it was Bryant who said he never looked for a
foreign word to use in writing a poem but that he found one
better in our own language. How true the assertion. Our
own language is filled with choice words, and one has little
difficulty in finding good English to express ideas and
thoughts. The employment of foreign words and express-
ions, however, is unobjectionable, where the person using
them is master of the language used, and where the selec-
tion is apt.
In fact, frequently there is a mirth and charm lent to a
poem by the use of some word or expression taken from
some other language than the mother tongue. A fine
example can be found in one of John G. Saxe's poems,
entitled :
THE PUZZLED CENSUS TAKER.
" G5t any boys ? " th^ Marshal said
T6 a lady fr5m ov^r th6 Rhine ;
And th^ lad J shook h€r flaxen head,
And civtily answered, ^^Ne'in! " *
•* G5t any girls ? '* thSMarshal said
T6 the lady fr6m ov^r th6 Rhine ;
And again th^ lady shook hSr head,
And civlU}^ answered, ''Neln! **
* ' Nein," German for 'no."
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SELECTION OF WORDS. 6 1
*' Btit some are dead ? " thS Marshal said
T5 the lady fr5m ov^r th6 Rhine ;
And again th^ lady shook h^r head,
And civUiy answered, *W<?i«/'*
" Husband, 5f course? ** thS Marshal said
T6 the lady fr6m ov^r thS Rhine ;
And again sh^ shook h^r flaxen head,
And civHiy answered, **A'etn ! "
" The devU yoti have ! *' the Marshal said
T6 the lady fr5ni over the Rhine ;
And again she shook her flaxen head,
And civflly answered, *W^i«/"
' * N6w what d5 yoti mean by shaking yotir head
And always answering, *Netn ' ? "
*lch kann nkht Engltsch ! '* civilly said
The lady fr5m over the Rhine.
Charles Durbin is the author of an excellent poem,
* * Nongtongpaw, ' ' the first two stanzas of which we give
below :
J5hn Bull f6r pastime took a prance,
S6me time ago t6 peep at France ;
T6 talk 5f sciences and arts.
And knowledge gained In foreign parts.
M5nsieur, 5bsequiotis, heard him speak,
And answered John In heathen Greek ;
T5 all he asked, 'b6ut all he saw,
*T was ** Monsietir, je votis n'entends pas."
J6hn to the Palais Royal come.
Its splend6r alm5st struck him dumb.
** 1 say, wh6se house Is that there here ? **
** H6use ! Je votis n'entends pas, M6nsieur."*
* " I do not understand you. Mister."
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62 • THE ART OF POETRY.
" What ! N6ngt5ngpaw ^gain ! *' cries John ;
"Thfe fell5w is s6me mighty Don,
N5 doubt h^'s plenty for thS maw,
I'll breakf^t with this N6ngt6ngpaw."
Mr. Field has written an excellent poem about the German
Zug:
Th^ Germans say that '*schnell " mfians fast, and "schnell^t"
fastest yet, —
In all mj life n6 grimmer bit 5f hum6r have 1 met !
Why, thirteen miles an hour's th^ great&t speed thSy evSr go,
Whfle on thS engine pist6n rods d5 moss and lichens grow.
And yet thfi average Teuton will pr^sumpttiousiy maintain
That one chn't know what swiftn&s is till h^'s tried thS schnellSst
train I
Eugene Field— ''The Schnellest Zug."
The use of a foreign word, however, merely for the sake
of rhyme, is entirely out of place and not to be indulged.
The beauty of rhyme is perfectness ; therefore, use such
rhymes only as are perfect to the ear when correctly pro-
nounced, — to the eye when seen.
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CHAPTER IX.
THE CONSTRUCTION OF THE STANZA.
THE manner or mode of constructing the stanza should be
closely observed by the writer of poetry. Form is essen-
tial to beauty, and form in all its details is looked after by the
master, (i) Verse which rhymes in alternate lines is always
indented. (2) Verse in couplets is never indented, but the
lines are all even. (3) Where the stanza is constructed with
four lines rhyming alternately and a couplet, the alternate
lines are indented and the couplet is usually even or flush
with the first and third lines of the stanza. (4) Where the
stanza is constructed with first a couplet, then a half-line or
bob-wheel, followed by another couplet, and that couplet
followed by another half line rhyming with the first half
line, the couplets are both even lines while the half lines are
indented. No matter whether the stanza is constructed of
four, six, eight, or any number of lines these rules hold '
good. Symmetry always renders the stanza more perfect,
and a little observation will soon enable one to imitate a
perfect stanza. (5) When a stanza consists of a triplet and
a line or half line not rhyming, the latter is always indented.
(6) Where the stanza is constructed of a line that is followed
by a shorter, or half line, followed by a line rhyming with
the first line, followed by the same line used similarly as a
second and fourth line, followed by a triplet and an eighth
line, similar to the second and fourth line, these similar lines
63
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64 THE AR T OF POE TR Y.
should be indented. More might be easily added, but
enough has been said to suggest the principle or art upon
which verse is constructed, and usually printed. As a further
illustration of what is intended, we give below an outiine or
skeleton of the stanzas above mentioned, written in the sign
of the various measures :
G6d grant that when 6ur heads ^re gray,
WhSn twilight blurs thS page,
Th6 musk of 6ur dawning day
May charm 6ur lonely age.
Burton IV. LocMart— ''The Retrospect."
— ^-^ — Though 1 move with leaden feet,
— --^ — Light itself is not s6 fleet ;
— ^-' — And before yoti know m^ gone
-' — ^-^ — Eternity and I are one.
miliam Dean Howells—'' Time.'*
3.
-^ — --^ — Trtie love n6t heed^th bolt n6r bar,
-- — --' — Btit sad *t is ever so ;
^ — Trtie love and fate d5 constant war,
^ — -^ — And ne'er tttgeth^r go ;
— — ^ — What little moments lovers smile
-^ — -^ — T5 the I5ng days between the while.
Isaac R. Baxley—'' The Ballad of Sir Raymond."
4.
-' — The mossy marbles rest
— ^^ — On the lips that he has prest
— ' j^ In their bloom ;
' — And the names he loved t5 hear
-^^^-^ — Have been carved fbr many a year
— On the tomb.
Oliver Wendell Holmes—'' The Last Leaf."
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THE CONSTRUCTION OF THE STANZA.
65
5.
— NevSr a heart ttims false 5r cold ;
— NevSr ^ face gr6ws gray 6r old ;
— NevSr ^ love w6 may n6t hold,
-^ — ^ • In the beautYfUl land 6f fancy.
Libbie C. Baer—** In the Land of Fancy."
^ — -^ Draw the lines SI little tighter,
Spirit mine !
" — ^ Make the life ^ little brighter,
Spirit mine !
^ For the truth's s^ke be ^ fighter,
" — ^ Show the world life may be whiter,
" — ^ Purer, stronger, dearer, lighter,
More divine !
JohnO. r^iV— "Upward."
RHYTHMIC COMBINATIONS.
Trochees and Dactyls.
Iambi and Anapests.
I
2
3
4
5
6.
7
8.
9
ID
II
12
13-
14,
15
16,
17.
18.
20.
21.
22.
23-
24-
25-
26.
27.
28.
29.
30.
31.
32.
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66
33
34-
35
36
37
38
39
4o
THE ART OF POETRY.
Anapests and Iambi.
41
42
43
44
45
46.
47
48
These groups of rhythmic feet, or word accents, are
capable of many combinations. We have forty-eight
groups. To combine them is not difficult. By combining
them we shall be enabled to write trochaic, dactylic, iambic,
and anapestic rhythms.
To illustrate :
21 : 38.
'* How dear to my heart are the scenes of my childhood."
Examine the rhythmic combinations :
We find we have a combination of 21 : 38, being'
anapestic tetrameter.
21 : 37.
" Mid pleasures and palaces though we may roam."
We have as a combination 21
meter.
I : 18.
*' I am dying, Egypt, djdng."
37, an anapestic tetra-
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THE CONSTRUCTION OF THE STANZA, 67
This combines group i with 18 and gives a trochaic
tetrameter.
I : 18
" When the humid shadows hover."
It will be seen the first line of the beautiful poem,
** Rain on the Roof," is the same combination, i 18 —
trochaic tetrameter.
James Whitcomb Riley has very recently written a dialect
poem entitled, * * The Green Grass av Owld Ireland, ' * from
which we select the fourth stanza. The first, third and fifth
lines being combinations of groups 18 : 11 — the lines
being iambic tetrameter ; while group 19, being an iambic
trimeter, forms lines two, four and six, the seventh line being
a mixed iambic and anapestic tetrameter formed of 18 : 22.
G5d bless y&, free Ameriky !
I love y^z, dock ind shore !^
I kem t5 yez !n poverty ""
That 's worsttn' me n6 m6re._.^__
Bttt most I'm lovtn* Erin yet,
W!d all hSr graves, d' y^ see,
By reas6n av thS gre^n grass ^v 5wld Ireland.
The following lines are by Elsa D' Esterre Keeling. The
first, second and third lines combine groups 17 : 19 —
iambic tetrameter ; and the fourth line, group 17, and is
iambic dimeter. We select the fourth stanza :
L^st, Winter comes ; fbr Eld h^s brought !ts snow,
And says, *' SKt qui^t, sheltered from th6 storm."
And I sit in my easy chair, ^nd O,
Th^ hearth h5w warm 1
8 : 6
"Come t6 mS, dearest, I'm lonely wtthout thefi."
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68 THE AR T OF POE TR Y.
A combination of group 8 : 6 — dactylic tetrameter.
We might add example after example, but enough has
been given to illustrate these rhythmic combinations.
The vertical bar is used to separate poetic feet. It is
placed between each accented foot. If the measure is dis-
syllabic the vertical bar distinguishes it, thus :
I : i8 : I : i8.
Once up I on a I midnight | dreary, | while I | pondered | weak
and I weary.
/l?^.— "TheRaven.'*
The trisyllabic measure is marked as follows :
Pause not to | dream of the | future be | fore us :
Pause not to | weep the wild | cares that come | o*er us :
Hark, how ere | ation's deep, | musical | chorus,
Uninter | mitting, goes | up into | Heaven !
Never the | ocean-wave | falters in | flowing ;
Never the | little seed | stops in its | growing ;
More and more | richly the | rose-heart keeps | glowing.
Till from its | nourishing j stem it is | riven.
Frances S. Osgood, — * ' Labor. * *
The vertical bar is sometimes used by authors of versifi-
cation to represent or denote accent, as follows :
Once I upon | a mid | night drear | y, while | I pon | dered weak |
and wear | y.
The macron — and the breve -^ are far preferable, as well
as the acute accent, marked thus : '
Once up I on a I midnight | dreary, | while I | pondered | weak
and I weary.
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THE CONSTRUCTION OF THE STANZA. 69
The scansion of verse becomes a pleasure when we
understand rhythmic combinations and the use of accentua-
tion marks.
THE FIVE LINE STANZA.
A pleasing form of our poetry is the stanza of five lines.
It is composed of the single line, the couplet, the triplet,
and quatrain. The combinations thus made are many and
elegant. We can devise no better method of studying the
art of composing this stanza, than that of giving examples
from our best authors. Then, by a close analysis of each
example given, we can tell the meter, rhythm and form. A
study of each example will soon familiarize the student with
this form of the stanza. From a poem by Sir Philip
Sidney, we take the following, an iambic pentameter :
My true-15ve hath my heart, ^nd I h^ve his,
By just Exchange 6ne to th^ othfir given :
I hold hts dear, and mine hS cann5t miss.
There nev^r was a better bargain driven :
My true-16ve hath my heart, and I h^ve his.
•* My True-Love Hath My Heart."
Another fine example of the effect of a repetition of the
subject of the poem, the same constituting the fifth line of
the stanza, is found in the following iambic pentameter
lines, entitled.
Linger n6t long ! Home te n5t home without the^ ;
Its dear^t tokens only make m^ mourn ;
Oh ! Let its mem6ry, like a chain about the^,
Gently cdmpel and hasten thy return.
Linger n5t long.
Anonymous — ' * Linger Not Long. * '
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THE ART OF POETRY.
John G. Saxe is the author of the following. It is
trochaic tetrameter, except the fourth line, which is a
trochaic dimeter. We give the first stanza :
Kiss m^ softly and speak t6 m^ low, —
Maltce h^ evSr ^ vigilant ear ;
What if MalYce w^re lurking near ?
Kiss me, dear !
Kiss m^ softly and speak t6 m6 low.
"Kiss Me Softly."
The little poem by Sir John Suckling furnishes a fine
example of a stanza in trochaic rhythm :
Why s6 pale Snd wan, fbnd lov^r ?
PrytheS, why s6 pale ?
Will, wh^n looking well c^n't move h^r.
Looking ill prevail?
Prythe^, why s6 pale ?
*' Why So Pale and Wan, Fond Lover."
One of the finest poems, written by Percy Bysshe Shelley,
is entitied, **To a Skylark.** It is a trochaic rhythm, the
first four lines are trochaic trimeter, the fifth trochaic hexa-
meter. We give the first stanza :
Hail t6 thee, blithe spirit !
Bird th6u nev^r wert,
That fr5m heaven 6r near it,
Pour&t thy ftill heart
In pr5fuse strains of tinpremMitatM art.
*' To a Skylark."
Charlotte Smith is the author of a bright poem. It is
iambic tetrameter, the first and third and fourth lines rhym-
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THE CONSTRUCTION OF THE STANZA. 71
ing, and the second and fifth, the third and fourth being a
couplet. We give the third stanza :
C6me, summer visitant, Attach
T6 my reSd-roof yotir nest 6f clay ;
And let my ear yotir musKc catch,
L6w twTttertng underneath th€ thatch,
At the grJly dawn 6f day.
"The Swallow."
We give an example from a poem of nature by Mary
BoUes Branch. It is iambic tetrameter. / The first, fourth
and fifth lines rhyme, and the second and third. The
second and third, and fourth and fifth lines are couplets.
We select the third stanza, describing the rock in the brook. V
How delicate and true the description :
The rock te rough itnd broken on fts edge
With juttYng comers, but thSre come ai way
ThS merry ripples with their tiny spray,
T5 press !t ere th^y flow 6n by the sedge.
They never fail the old r5ck's broken edge.
** My Little Brook."
Tennyson furnishes an excellent iambic pentameter stanza
in blank verse. We give the first stanza of 'the poem.
Tears, idle tears, I know nttt what they mean,
Tears from the depths 6f some dtvine despair
Rise in the heart, itnd gather to the eyes.
In looking on the happy Auttimn-fields,
And thinking of the days that are n5 more.
** Tears, Idle Tears."
Thomas Moore, the author of so many touching and
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72
THE ART OF POETRY.
pathetic lines, has written few better than *' The Lake of the
Dismal Swamp.** It is iambic rhythm. We give the first
stanza :
ThSy made h^r ^ grave, to5 cold ^nd damp
F5r ^ heart s5 warm itnd true;
And sh^'s gone t6 th^ Lake 5f thS Dismal Swamp
Where, all ntght long, by S fire-fl J lamp,
She paddle h^r white c^noe I
* * The Lake of the Dismal Swamp. '*
Another form of this stanza is given in the following, in
iambic measure :
Enters t5day
Another body \n church ySrd sod,
Another soul 5n th€ life tn God.
Hts Christ wSs buried — Snd lives aiway :
Trtist Him, ^nd go yotir way.
Dinah Maria Mulock—'' Buried Today.'*
We give the third stanza of a touching poem in iambic
rhythm :
And O, stnce that babj slept,
S6 hushed, h5w th6 mother h^s kept,
WUh a tearfUl pleastire.
That little dear treastire.
And o'er tkem thought and wept !
William Cox Bennell—" Baby's Shoes."
Whittier describes a visit to Hampton Beach. The
rhythm is iambic. We give the twelfth stanza :
What heed I of the dustj^ land
And noisy town ? *
I see the mighty deep ex pand
Fr5m its whfte line 6f glimmeftng sand
T6 where the blue 6f heaven 6n bluer waves shtits down !
** Hampton Beach."
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A poem by Samuel Taylor Coleridge, contains this excel-
lent stanza in iambic rhythm. It is the second one of the
poem :
F6r shame, my friend ! renounce thfe idl^ strain !
What wouldst th5u have it good gre&t man 5btain ?
Wealth, titl^, dignity, ^ golden chain,
Or heap ttf c6rs& which hte sword h^th slain ?
Goodness and greatn^s are n5t means, btlt ends.
" The Good Great Man/'
Edmund Clarence Stedman, one of our best writers,
furnishes a dashing poem. It is in trochaic rhythm. We
give a stanza :
Hark ! the jingle
Of the sleigh-bells* song !
Earth ^nd air in snow^ sheen c6mmingie ;
Swiftly, throng
NorselSnd fandes, as we sail along.
** The Sleigh-Ride.'*
Who is there that has not read of the fabled youth —
** A youth, wh5 bore, 'mid snow and Ice,
A banner with the strange device —
fixcelsior !"
a youth that pressed on, barkening not the voices that
gave him warning, until overtaken by death. The poem is
by Longfellow. It is an iambic tetrameter, except the last
line of the stanza, which is iambic dimeter. We have
selected the fifth stanza :
"Oh stay, *' the maiden said, "and rest
Thy weary head tipon this breast ! "
A tear sto^d In his bright bltie eye
Btit still he answered, with a sigh,
fixcelsior.
"Excelsior."
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74 THE ART OF POETR Y.
Edmund Waller is the author of a prelty poem in iambic
rhythm. The third stanza is given.
Small is th^ worth
Of beauty from thS light retired ;
B!d her c5me forth,
Suffer herself ttt be d^ired,
And not bltlsh so t5 be Admired.
— *'Go Lovely Rose.*'
Henry Kirke White added to the poem, this stanza :
Yet, though thoti fade,
Fr5m thy d^ad leaves let fragrance rise ;
And teach the maid.
That goodness Time's rttde hand defies,
That virttie lives when beauty dies.
Longfellow ever teems in good thoughts. This one in
iambic rhythm is worth remembering. We give the eighth
stanza of the poem :
And he wh5 has n5t learned t5 know
H5w false !ts sparklKng bubbles show,
H5w bitter are the drops 5f woe,
Wfth which !ts brim may overflow,
He has n6t learned t5 live.
—" The Goblet of Life."
Another charming poem by Longfellow, is entitled
*^ Christmas Bells." It is iambic rhythm. We give the
seventh stanza :
Then pealed the bells m6re loud and deep :
" G6d is n5t dead; n6r doth he sleep !
The Wrong shall fail,
The Right prevail,
W!th peace 5n earth, g6od-will t6 men ! "
*' Christmas Bells."
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"A Woman's Question," is the tide of a poem written by
Adelaide Anne Proctor in iambic rhythm, furnishing us an
example of the middle or line rhyme in the fifth line, as well
as another form. We give the first stanza :
Before I trust mj fate ttt thee,
Or place my hand !n thine,
Before I let thy futtire give
C616r and form t6 mine,
Before I peril all fbr thee, questi6n thy soul t6-night fbr me.
— **A Woman's Question."
THE SIX LINE STANZA.
Endless are the varieties of our English stanza. The art
of the poet is susceptible of a high degree of cultivation.
Our best authors have from time to time found new and
beautiful combinations. The six line stanza is one capable
of producing the very best of results. We have selected many
forms of the six line stanzas with a view of illustrating their
combinations and formations. Our first selection is in
anapestic rhythm, — anapestic tetrameter. We give the
first stanza :
There's a little 15w hut by the river's side,.
Within the sound 6f Us rippling tide ;
Its walls are grey with th^ mosses 6f years,
And Its roof ^U crumbled itnd old Appears :
Bttt fairer t6 me th^n castl6*s pride
Is the little Ittw hut by the river's side !
P. B. Shillaber-^'' My Childhood Home."
A stanza by Tennyson, in anapestic rhythm is given.
The first, second, third, fourth and sixth lines trimeter, the
fifth, tetrameter.
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^6 THE ART OF POETRY.
C6me int5 thS garden, Maud,
F5r thS black b^t, night, hSs flown !
C5me int6 th6 garden, Maud,
I ^m here St th^ gate, ^lone ;
And th^ woodbYne spic& Sre waft^ Abroad,
And th^ musk 6f th^ r6s& blown.
— ** Come Into the Garden, Maud.'*
Another form of this stanza, in iambic tetrameter, the lines
rhyming alternately, is given. The first stanza is selected :
Sh^ walks Kn beauty, like thfi night
Of cloudless climes itnd starry skies, '
And all that's best 6f dark ^nd bright —
MSet in h^r aspect and h^r eyes, /
Thtts mell5wed to that tender light •—
Which heaven t5 gaudy day denies. '
Byron—'' She Walks in Beauty."
Here is another six line stanza rhyming in alternate lines.
It is a poem of exquisite finish and delicacy of touch, tender
and pathetic, by Edgar Allen Poe, entitled * 'Annabel Lee."
The poem was composed by Poe in memory of his child-
wife, who was his cousin and to whom he was devotedly
attached ; whom he loved * * with a love that the winged
seraphs of heaven coveted her and me.** It is anapestic
rhythm :
It was many and many a year ago, '
In a kingd5m by th€ sea, —
That a maiden lived wh5m you may know |
* By the name 6f Annabel Lee ;
And thts maiden she lived with n5 other thought
Than t^ love, and be loved by me. —
— '^Annabel Lee."
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THE CONSTRUCTION OF THE STANZA.
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Sorrow and adversity are depicted in these lines by one
of England* s best writers. It is iambic rhythm and a fine
form of the stanza, — dimeter and tetrameter lines :
Spring It !s cheery, ^
Winter ts drearj,
GrSen leaves hang, but thS brown mttst fly;
Wh^n he's f5rsaken, •
Withered ^nd shaken.
What can an old mSn do bttt die ?
Hood—' * What Can an Old Man do but Die ? "
Another form of this stanza, in iambic rhythm, is com-
posed of a quatrain, rhyming in alternate lines, and a
couplet :
I love, and have s6me cause t5 love, thS earth, —
She is my Maker's creattire, therefore good ;
She is my mother, for she gave me birth ;
She is my tender nurse, she gives me food ;
Bttt what's a creatttre, Lord, cttmpared w!th thee?
Or what's my mother or my nurse t6 me ?
Francis Quarles—'' Delight in God."
Robert Herrick is the author of the following in iambic
rhythm :
Fair pledges of a fruitfttl tree.
Why do ye fall s6 fast?
Yotir date te not s6 past
Bttt you may stay yet here awhile
T6 blush and gently smile,
And go at last.
•*To Blossoms."
A fine trochaic stanza is to be found in * Twelfth Night,"
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78 THE ART OF POETRY.
Act II, scene 3. The third and sixth lines rhyme, the
other lines rhyming in couplets :
What fe love? 'Tfe not hereafter ; /
Present mirth hath present laughter ;f
What's t6 come fe still ttnsure : • -^
In dSlay th^re lies n6 plenty, — " ^
Then c5me kiss m^, Sweet-^nd-twentjM
Youth's a stuff w!ll not Endure. |
Shakespeare—"' O Mistress Mine."
An ardent love stanza composed by John Moultrie, is to
be found in the following in iambic rhythm, rhyming in
couplets :
" F5rget th^e ?"— If ttt dream by night, itnd muse 5n thee by day,
If all th^ worship, deep ^nd wild, ^ port's heart c^n pay,
If prayers In absence breathed fbr thee t5 Heaven's pr6tect!ng
power,
If winged thoughts th^t flit t5 thee — ^ thousand in itn hour.
If busy Fancy blending thee wtth all my futtire lot, —
If this th6u calPst "forgetting," thou indeed shait be fbrgot !
"Forget Thee?"
Ralph Hoyt is the author of a poem depicting old age.
It is touching and pathetic and portrays true to life some ol
the sad events of this existence. The poem is written in
trochaic rhythm. The first, second, third, fourth and
sixth lines being trochaic pentameter, and the fifth trochaic
dimeter. We have selected the seventh stanza :
"Angd," said hS sadly, " I ^m old ;
Earthly hope n5 longer hath a m6rr6w ;
Yet, why I sit here thott shalt bS told."
Then his eye betrayed ^ pearl 6f sorr5w,
Down it rolled !
"Ang^l," said hS sadly, " I am old."
"Old."
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THE CONSTRUCTION OF THE STANZA,
79
Another form of the six line stanza is the quatrain rhym-
ing in alternate lines, with the couplet. The following is
iambic rh)rthm and the first stanza of the poem :
Friend aft^r friend departs ;
Wh5 hath n5t lost a friend ?
ThSre is n6 uni5n here ttf hearts
That finds n6t here an end !
WSre this frail world 6ur final rest,
Living 6r dying none wSre blest.
James Montgofnery—''Vaj\&d Friends."
A dainty poem, exquisite in its form, is by Sarah Roberts.
It is trochaic rhythm. We give the first stanza :
Here I cttme creeping, creeping Everywhere ;
By th^ dusty roadside.
On thS sunny hillside,
Close by thS noisy brook,
In every shady nook,
I c6me creeping, creeping everywhere.
** The Voice of the Grass.**
Bums is not the first who used the form of the stanza fol-
lowing. He, however, used it frequently in his writings
and it is known as the stanza of Bums. It is iambic rhythm:
Still thou art blessed, c5mpared wi' me !
The present only touchSth thee :
Bttt, och ! I backward cast my e*e
On prospects drear ;
An* forward, though I canna* see,
I guess an* fear.
**ToaMouse.'*
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8o THE ART OF POETR Y.
"The Little Beach Bird'* is the theme of a poem by
Richard Henry Dana. It is also in iambic rhythm. We
give the first stanza :
Thoti little bird, thoti dweller by the sea,
Why tak^st thou its melSncholj^ voice ?
Why with that bodKng cry
O'er the waves d6st thoti fly ?
0, rather, bird, wUh me
Through the fair land rejoice !
*' The Little Beach Bird."
An interesting stanza may be formed in alternate lines, the
first, second and fourth trimeter, the third tetrameter, and
the fifth and sixth a tetrameter couplet, as follows :
Ten me I hate the bowl,—
Hate is a feeble word ;
I loathe, abhor, — mj very soul
By strong disgust is stirred
When'er 1 see, 6r hear, 6r tell
Of the dark beverage 6f hell !
Anonymous— '' Qo Feel What I Have Felt"
In trochaic rhythm we give —
So, go6d night !
Slumber on till morning light ;
Slumber till another morr6w
Brings its stores 6f joy and sorr5w ;
Fearless, in the Father's sight !
Slumber on. Go6d night !
Komer—'' Good Night."
William CuUen Bryant is the author of this patriotic
stanza, in iambic rhythm :
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THE CONSTRUCTION OF THE STANZA. 8 1
MOTHER of a mightj^ race, t
YSt lovelj^ in thy youthftil grace !'
The elder dames, thy haughty peers, i
Admire and hate thy blooming years ; '
WUh words ttf shame N
And taunts 5f scorn th^y join thy name. )
''America."
Charles Kingsley is the author of a poem in iambic
rhythm, from which we give the second stanza :
The creeping tide c^nie up along the sand.
And o'er and 6*er the sand.
And round and round the sand.
As far as eye cotild see ;
The blinding mist came down and hid the land:
And never home came she.
*' The Sands of Dee/
In trochaic rhythm Longfellow has written a poem
entitled ^* Sea Weed." It is a neat form of the six-line
stanza. The first, third, fourth and sixth lines are tetra-
meter, the second and fifth dimeter. We give the fifth
stanza
So when storms 6f wild em6ti5n
Strike the ocean
Of the poet's soul, ere long,
From each cave and rocky fastness
In Its vastness
Floats s6me fragment of a song.
"Sea Weed."
Maria Gowan BrooRs is the author of these exquisite lines
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82 THE ART OF POETRY.
in trochaic rhythm. The quatrain is tetrameter, the couplet
dimeter. We give the second stanza :
Thou, t6 whom 1 love t6 hearken ; I
Come, 6re night around mS darken ; }
Though thy softness but deceive m6, X
Say thttu^rt true, ^nd I'll believe the^; J
Veil, if ill thj^ soul's intent, \
Let m€ think U inn6cent ! ^
*' Day, in Melting Purple Dying."
THE SEVEN LINE STANZA.
Of all th6se arts in which the wise 6xcel,
Nattlre's chifif masterpiece Ks writing well ;
N6 writing lifts Exalted man s6 high
As sacred and s6ul-m6ving po^sy.
Buckingham.
This stanza may not be so generally used as the ones of
four, five and six lines, still many beautiful and exquisitely
finished poem; are to its credit. It is also capable of many
nicely formed combinations. The various forms that may
be selected fi^om our best poems, examined and analyzed,
will soon make us familiar with the stanza of seven lines.
The first selection is a sweet, spicy, little love poem by
Charles Sibley, entitled ** The Plaidie." How true to na-
ture are these little word accents in iambic rhythm. An
analysis of the first line of the stanza shows a line composed
of three iambic feet, with a redundant syllable ; the second
line is composed of a trochee, and two iambuses ; the third
line is composed of an anapest and two iambuses, with a re-
dundant syllable ; the fourth line is composed of an anapest
and two iambuses ; the fifth line is composed of one iambus
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THE CONSTRUCTION OF THE STANZA. 83
and a redundant syllable ; the sixth line is like the third ; the
seventh is composed of three iambuses. The fifth line is a
monometer, the others trimeter :
THE PLAIDIE.
tJpon ane stormy Sunday,
ComKng adoon th^ lane,
W6re a score 6f bonnte lasstes —
And thfi sweetest I maintain
was Caddie,
That I took tinneath mj plaidYe,
T6 shield h6r from th6 rain.
She said that the daisies blushed
F6r the kiss that 1 had ta'en ;
1 wadna hae thought the lassie
wad sae 6f a kiss c5mplain :
'* N5w, laddie !
1 winna stay under yotir plaidle,
If I gang hame In the rain !"
Btlt on an after Sunday,
When cloud there was n6t ane.
This selfsame winsttme lassie
(We chance t5 meet In the lane)
said, ** Laddie,
Why dinna ye wear yotir plaidle ?
Wha kens bttt it may rain ? "
**How Many Times,*' a poem in iambic rhythm, by
Charles Lovell Beddoes, gives expression of great love.
We have selected the second stanza :
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84 tii^ AR T OF FOE TR V,
H5w many times d5 I love, ^gain ?
T611 me h6w many beads th^re are
In a silver chain
Of the evening rain,
tJnravSled from thS tumbling main,
And threading th^ eye 5f a yellttw star :
S5 many times d5 I love, ^gain.
"How Many Times."
Elizabeth Barrett Browning has written a delicately fin-
ished and pathetic poem entitled, ** My Heart and I." We
give the seventh and last stanza. It is iambic rhythm :
YSt, who c5mplains ? My heart Jlnd I ? '
In this abundant earth n6 doubt
Is little room f6r things w6m out ;
Disdain thfim, break thSm, throw thSm by ;
And if before the days grew rough,
we once were loved, then — well enough
I think we've fared, my heart ^nd I.
'* My Heart and I."
From an old manuscript in the time of Henry VIII,
written anonymously, the following stanza in iambic rhythm
is taken :
Ah, my sweet sweeting ;
My little pretty sweeting,
My sweeting will I love wherever I go ;
She is s6 proper Snd pure,
Trtie, steadfitst, stable and demure.
There is n6ne siich, yoti may be sure.
As my sweet sweeting.
** My Sweet Sweeting.
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THE CONSTRUCTION OF THE STANZA. 85
Tennyson's **Song of the Milkmaid," from "Queen
Mary," is a fine specimen of the seven line stanza. It is
trochaic measure :
Shame tipon yotl, Robin,
Shame tip6n yotl now !
Kiss m^ would yotl ? with my hands
Milking th^ cow ?
Daisies grow ^gain,
King cttps blow again,
And yotl came Snd kissed m^ milking thS cow.
Jean Ingelow is the author of ''Songs of Seven," which
contains a love song in anapestic rhythm :
I leaned 5ut ttf windttw, 1 smelt thfe white clover,
Dark, dark w^s thS garden, I saw n6t th^ gate ;
** N5w, if there bS footsteps, h^ comes, mj 5wn lovfir, —
Htlsh, nightingale, hush ! swe^t nightingale, wait
Till 1 listen and hear
If a step draw^th near,
F6r my love K^ Is late !
*' Seven Times Three, Love."
A poem greatly admired is by Rev. Charles Kingsley.
It is an anapestic rhythm. The stanza which we have
selected is an anapestic tetrameter, and analyzed is as
follows: The first line is composed of two anapestic and
two iambic feet ; the second line is like the first ; the third
is composed of four iambic feet ; the fourth is composed of
one iambic and three anapestic feet ; the fifth is composed
of one anapestic and three iambic feet ; the sixth is like the
third ; and the seventh line is like the fifth, the anapestic
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36 THE ART OF POE TR Y,
foot prevailing denotes the rhythm of the istanza. The
third stanza is as follows :
ThreS corpses ISy out 6n th^ shining sands
In thS morning gleam ^s thS tide w^nt down,
And thS wom^n 2lre weeping Snd wringing th^ir hands
F5r those wh6 will nev^r c6me back t6 th^ town,
F6r men mtist work, and w6m6n mtist weep ;
And th^ sooner Its ovSr, thS sooner t6 sleep ;
And go6d-bye t5 th^ bar Snd Its moaning.
"The Three Fishers.*
** My Love is Dead,'* is a poem by Thomas Chatterton,
in trochaic measure composed of nine stanzas, from which
we have selected the second. The measure is mixed, the
trochaic foot prevailing. The stanza is tetrameter, except
the fifth and sixth Hnes, they being dimeter. The first and
third, the second and fourth lines rhyme. The fifth and
sixth being a rhyming couplet :
Black his hair Ss th^' summer night.
White his neck ^s thfi winter snow.
Ruddy his face fe thS morning light ;
Cold hS lies In th6 grave bSlow.
My love Is dead
Gone t6 his d^ath-bed.
All und^r the will6w tree.
** My Love is Dead.'*
Henry N. Cobb is the author of the following lines in
iambic rhythm. The first four hnes being pentameter, the
fifth and sixth dimeter, and the seventh a monometer. We
give the first stanza of the poem :
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THE CONSTRUCTION OF THE STANZA. 87
ThS way fe dark, my Father ! Cloud 5n cloud
Is gathering thickly o'er mj head, ^nd loud
ThS thunders roar above m^. See, I stand
Ltke one b^wild^red ! Father, take va^ hand,
And through thfi gloom
L6ad safely home
Thy child !
*' Father, Take my Hand."
In a fine descriptive poem Francis Bret Harte thus nar-
rates the cause of the fear of the inhabitants of a seaport
town, in iambic rhythm. We give the second stanza :
G6od cause fttr fear ! In th^ thick midday
Th^ hulk that lay by th^ rotting pier.
Filled with children Xn happy play.
Parted th€ moorings and drifted clear, —
Drifted clSar beyond the reach 6r call, —
Thirt^n children th^y were Kn all, —
All adrift In th^ low^r bay !
* 'A Greyport Legend. * *
A ride made famous in iambic tetrameter is that of Sheri-
dan's from Winchestertown. We give the first stanza :
tJp from the South at break 6f day
Bringing t6 Winchester fresh dismay.
The affrighted air with a shudder bore,
Like a herald In haste, t6 the chieftain's door,
The terrible grumble, and rumble, and roar,
Telling the battle was on 5nce more.
And Sheridan twenty miles away.
Thomas Buchanan ^^fl:flf— "Sheridan's Ride."
Another little poem depicting rural sport, is by Thomas
Tod Stoddart, in trochaic rhythm. It is very cleverly
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88 THE AR r OF FOE TR Y,
written and the stanza worth reading to a lover of the
sport. We give the first stanza :
Sing, swe^t thrushes, forth and sing !
Meet thS morn tipon the lea ;
Are the emeralds of the spring
On the ahgler's trystKng-tree ?
Tell, sweet thrushes, tell t5 me !
Are there buds 6n 5ur will6w-tree ?
Buds &nd birds 6n 6ur trysttng-tree ?
•*The Angler's Trysting-Tree. "
What a fine sentiment is contained in this stanza, the
last one of a poem by Mrs. Craik. It is iambic rhythm :
6 soul, fbrget the weight that drags thee down,
Deathmiiy, deathfiilly:
Kn6w thyself As thts glory wraps thee round,
Let it melt off the chains that long h^ve bound
ThJ^ strength. Stand free before thj God and cry —
'* MJ^ Father, here am I : ,
Give to me as th6u wilt — ftrst cross, then crown." !
*' The Aurora on the Clyde."
And by the same author we find a fine iambic stanza
taken from a poem entitled * * Sitting on the Shore * ' :
life, 6 silent shore.
Where we sft patient : O great sea beyond
T6 which we turn wtth solemn hope and fond, '
Btit s6rr5wful n5 more : <
A little while, and then we too shall soar
Oke white-winged sea-birds int5 the Infinite Deep ;
Till then, Th5u, Father— wilt ottr spirits keep.
"Sitting on the Shore."
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THE CONSTRUCTION OF THE STANZA. 89
Let us give still another from the same author. It is
from a poem in anapestic rhythm entitled, ** Sleep on Till
Day'^
Yfit life's btit ^ vision to6 lovely t6 stay :
M5rn passes, no6n hastens, ^nd pleastires dficay ;
And evening approaches ^nd closes the day :
Then laid wTth praises
Under the daisies :
Smiltng we'll creep t6 6ur pill6w ttf clay,
And sleep 6n tKll Day, my 15ve, sleep 6n tHl Day.
For one desirous of selecting a wife, the following stanza
may be of some practical help. The poem is an iambic
tetrameter. Here is the third stanza :
If I cotild find & lassie — mild,
Wom^n in wit, in heart a child :
Blithe— just t5 sweeten s6rr6w ;
sedate enough t6 temper mirth —
Meek-hearted, rich in househ51d worth —
N5t quite the ugliest girl 6n earth, —
I'd marrj her t6m6rr6w.
Oflz>fe— "TheSix Sisters."
A ** Dream in the Woods,** written by Thomas Hood, in
iambic rhythm, is a poem of excellent merit — contemplative
in character. We give the sixty-seventh stanza :
Bttt haughty peer and mighty king
One doom shall overwhelm !
The oaken cell
Shan lodge him well
Wh6se sceptre ruled a realm —
While he wh6 never knew a home
Shan find it in the elm !
**The Elm Tree."
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90 THE ART OF POETR Y.
Henry Carey is the author of **God Save the King,*'
written in dactylic rhythm. We give a stanza :
God save 6ur gjaciotis king,
Long live 5ur nobl^ king,
God s^ve th€ king !
Send hKm vKctoriotis
Happy and gloilotis,
Long t5 rSign ovfir tis,
God sJlve the king !
A patriotic poem by Francis Bret Harte furnishes this
excellent stanza in trochaic rhythm. The second one of the
poem is selected :
*' Let me of my heart take counsel :
War fe not 6f life thfi sum ;
Who shall stay and reap th^ harvest
When thS auttimn days shall come ? "
But th€ drum
Ech6ed, "Come!
Death shall reap th^ braver harvest," said thfi
solemn soundXng drum.
"The Reveille."
Lord Tennyson is the author of a soul-stirring poem in
dactylic rhythm. The second stanza is given :
Be n6t deaf t5 th^ sound that warns !
Be n5t gulled by a desp6t's plea !
Are fXgs 6f thistlfe, 6r grapes 5f thorns?
How shotild a desp6t set m^n free ?
Form ! form, Rifl^m^n, form !
Ready, b^ ready t5 meet thS storm !
Rifl^m^n, rifl^m^n, rifl^m^n, form !
"The War."
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THE CONSTRUCTION OF THE STANZA,
91
Phoebe Carey has written many tender and charming
poems. The art of the poet was one she thoroughly under-
stood. This stanza, the last one of the poem, is in trochaic
rhythm :
Ah wfee mother ! if yott proved
LovSr nev^r crossed h^r way,
I wotild think th^ self-s^me way.
Ev^r since th^ world h^s moved,
Babes se^m womSn in ^ day ;
And, alas ! and well a day !
Men have wooed and maidens loved !
Phosbe Gary — "Gracie."
Matthew Arnold has written a fine poem, which he entitles
*/ A Question." It is trochaic rhythm. We give the first
and second stanzas :
Joy c6mes and goes, hope fibbs and flows
Like thS wave ;
Change d6th tinknit th6 tranquYl strength 6f men.
Love l^nds life a little grace,
A few sad smiles and then
Both are laid \n one c51d place, —
In th^ grave.
Dreams dawn and fly, friends smile and die
Like spring flowers;
Our vaunted life \s one I6ng funfiral.
Men dig graves with bittSr tears
For their dead h6pes ; and all.
Mazed with doubts and sick with fears.
Count thS hours.
"A Question.
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92 THE ART OF FOE TR V,
What is known as the Rhyme- Royal, a stanza invented
by Chaucer, is still another form of the seven line stanza.
The first four lines being an ordinary quatrain, with alternate
lines rhyming, the fifth line repeating the rhyme of the
fourth, and the last two rhymes forming a rhyming couplet.
We give a stanza illustrating :
And thou, sweet Mustc, dancing's only life,
Th^ ear's s61e happiness, the air's bSst speech,
Loadst6ne 5f fellowship, charming-rod 6f strife,
The soft mind's paradise, the sick m^n's leech,
With thine 6wn tongue th6u trees ^nd stones c^n'st teach,
That, when the air d6th dance her finest meastire,
Then art th6u born, the gods' ^nd men's sweet pleastlre.
Sir John Dames — "The Dancing of the Air."
THE EIGHT LINE STANZA.
This stanza is used extensively in writing poetry. No
form, unless it should be the quatrain, is in such general
use. It is capable of great variety. The stanza may be
composed of four couplets, or a six line stanza and a couplet,
or a seven line stanza with an odd rhyming line.
As our object is not only the familiarizing ourselves with
the various forms of the stanza, but also to learn perfectly
the art of scansion, become perfectly acquainted with the
rhythm and meter of verse, we shall endeavor to select
from the best authors the various forms of the eight line
stanza, assuring the reader that he cannot be too familiar
with the formation of the stanzas, if he has a desire to
become perfectly acquainted with the art of versification.
The selections given, while but a single stanza of some
excellent poem, will certainly be a help to the reader who
will undoubtedly follow up the poem and give to it a thor-
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THE CONSTRUCTION OF THE STANZA. 93
ough reading. First, we have selected the fourth stanza of
Thomas Hood's *' The Song of the Shirt.*' It is iambic
rhythm. The stanza is as follows :
Oh ! men with sisters dear !
Oh ! men wfth mothers and wives 1
it IS n6t linfin yotl're wearing out,
Btlt human creattires' lives !
Stitch— stitch— stitch !
In poverty, hunger and dirt,
Sewtng at once, wfth a double thread,
A SHROUD as well as a shirt !
What can be more beautiful than the poem of Edward
Coate Pinkney entitled, ** A Health?" It is also in iambic
rhythm. The poem is composed of five stanzas. We have
selected the last, as follows :
I fill this cup t6 one made up
Of loveliness alone,
A woman, of h^r genti^ sex
ThS seeming paragon.
H^r health ! and would 6n earth thSre stood
S5me more 6f such a frame,
That life might be all poetry.
And weariness a name.
Philip Pendleton Cooke gives us a fine example of an
eight line stanza in a little poem entitled, " Florence Vane. "
It is iambic rhythm. We select the third stanza :
Thou wast lovelier than thS ros^s
In th^ir prime ;
Thy voice Excelled th^ closes
Of sweetest rhyme ;
Thy heart was a riv^r
Without a main.
Wotild I had loved the^ nevSr,
Florence Vane.
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94
THE ART OF POETRY,
Samuel Daniel has written a neat little poem entitled,
** Love is a Sickness.'* We give the last stanza :
L5ve Is a tormfint of thS mind,
A tempest everlasting ;
And Jove h^th made It of ^ kind,
N6t well, n6r full, n6r fasting.
Whjso?
M5re we €nj6y it, more U dies ;
If not Enjoyed, ft sightng cries
H€igh-ho.
James Shirley is the author of a fine poem in iambic
rhythm entitled, * * Death the Leveler. ' ' The last stanza is
selected :
The garlands wither on yotir brow.
Then boast n6 more yotir mightj^ deeds ;
tJpon death's purple alt^r now
See where the vict5r-vict!m bleeds ;
Yotir heads mtist come
T5 the c61d tomb ;
Only the acti6ns of the just
Smell sweet, ^nd bl6ss6m in their dust.
Alexander Rogers gives us a beautiful stanza, in a love
poem entitled, ** Behave Yourself Before Folk.'* We
select the fifth stanza, which is iambic rhythm :
Ye tell me that m^ lips ^re sweet :
Sic tales, I doubt are a* deceit ;—
At ony rate, ft's hardly meet
T5 prie their sweets before f61k.
Behave yotirsel' before f61k, —
Behave yotirsel' before fttlk, —
GKn that's the case, there's time Snd place,
Bttt surely no before fblk !
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THE CONSTRUCTION OF THE STANZA, 95
John G. Saxe, the author of so many excellent poems,
who delighted the reading public throughout his life, tells
us he is growing old in these finished lines entitled, ^Tm
Growing Old.'' We give the fourth stanza. It is iambic
tetrameter :
1 feel U in my changYng taste ;
I see W in mj changing hair ;
1 see ft in my growing waist ;
I see ft in my growing heir ;
A thousand signs proclaim the truth,
As plain as truth w^ ev^r told,
That, ev^n in mj vaunted youth,
I'm growing old ^"
An anonymous poem entitled, ' ' The Grave of Bona-
parte * ' is a beautiful eight line stanza in anapestic rhythm.
We have selected the first stanza :
On a I one-barren isle, where the wild-roaring bill6ws
Assail the stem rock, and the loud-tempests rave,
The her5 lies still, while the dew-dr5pplng will5ws.
Like fond-weeping mourners lean over the grave.
The lightnings may flash, and the loud- th tinders rattle ;
He heeds n5t, he hears n5t, he's free fr6m all pain ; —
He sleeps his last sleep — ^he has fought his last battle !
N6 sound can awake him t5 glory again !
*' A Doubting Heart,*' by Adelaide Anne Proctor, is a
pathetic poem in iambic rhythm, expressive of sorrow and
adversity. We give the third stanza :
The sun has hid Its rays
These many days ;
Will dreary hours never leave the earth ?
6 doubting heart !
The stormy clouds 6n high
Veil the same sunny sky
That soon, fbr spring Is nigh,
Shan wake the summer int5 golden mirth.
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^6 THE AR T OF FOE TR Y.
We present below a stanza of eight lines, the second,
fourth, sixth and eighth lines rhyming. It is taken from
one of the finest poems in the English language, ** Man was
Made to Mourn," by Robert Bums. It is iambic rhythm.
We give the eleventh stanza :
6 Death ! thS poor m^n's dearest friend,
The kindest and the best !
Welc6me the hour my aged limbs
Are laid with thee at rest !
The great, the wealthy, fear thj^ blow,
Fr6m pomp ^nd pleastire torn ;
BtttO, a blest reii^tb those
That wearj^-laden mourn !
The "Cavalry Song" by Edmund Clarence Stedman-
taken from * 'Alice of Monmouth," is a poem showy and
animated, a very neat form of the eight line stanza. It is
also iambic rhythm. We give the second stanza :
Dash on beneath the smokKng dome :
Throttgh level lightnings gallop nearer !
6ne look t6 Heaven ! N5 thoughts 5f home ;
The guid6ns that we bear are dearer.
CHARGE !
Cling ! Clang ! forward all !
Heaven help those wh6se horses fall ;
Ctit left and right !
Caroline E. Norton is known the world over by * ' Bingen
on the Rhine." The poem is highly descriptive, tender
and sympathetic, touching a keynote that reverberates and
swells as the reader cons each line. It is in iambic measure
— an iambic heptameter :
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THE CONSTRUCTION OF THE STANZA. 97
HKs trembHng voice gr^w faint ^nd hoarse — hfe gasp w^ childfeh
weak, —
His eyes ptit on a dytng look, — h6 sighed ^nd ceased t6 speak ;
Hts comrade bent t6 lift htm, but th^ spark 6f life had fled !
ThS soldier of thS Legi6n, in a foreign land — te dead !
And th^ soft mo6n rose tip slowly, ^nd calmly she lo6ked down
6n th^ red sSnd of thS battle-field wtth bloodj^ cors^ strewn ;
Y^s, calmly on that dreadf til scene h^r pale IKght seemed t6 shine,
As W shone 5n distant Bing^n — fair Bing^n on th€ Rhine !
John G. S'axe is the author of " American Aristocracy,"
from which: we have selected the first stanza. It is iambic
rhythm :
6f all the notable things ftn earth,
The queerest one \s pride 6f birth
Among 5ur " fierce democracy ! "
A bridge across a hundred years.
Without a prop t5 save W fr6m sneers,
N6t even a couple 5f rotten peers, —
A thing 5f laughter, fleers and jeers,
Is American aristocracy !
How true to nature is this poem by Joanna Baillie, entitled
" The Heath-Cock." It is iambic rhythm. We select the
first stanza :
Go5d morrftw to thy sable beak
And glossy plumage dark and sleek.
Thy crimsttn moon and aztire eye,
C6ck of the heath.^ wildly shy ;
I see thee slyly cowering throiigh
That wiry web 5f silvery dew.
That twinkles in the morning air,
Like casements of my lady fair.
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98
THE ART OF POETRY.
The Italian Heroic meter in which Tasso and Ariosto
wrote, known as the "Ottava Rima,'* is a stanza of eight
iambic, pentameter lines. The stanza consists of six lines
rhyming alternately, and the seventh and eighth a rhyming
couplet. Lord Byron wrote ** Don Juan" in this stanza,
a selection from the first canto, is here given :
*TKs sweel t5 hearfch^ watch|d5g's hoiifet bark
Bay deep-m6uthed welc5nie as w6 dr|w nSar home ;
'T!s sweet t6 knowjth^re isl ^n eye wHl mark
Our conllng, and foftk brighter when wS come ;
*Tte sweet t5 be ^wakSned by th^ lark,
6r lulled by falltng waters ; sweetith^ hum
Of bees, the voice 5f girls, th€ song 5f birds,
The lisp 5f children, and th^ir earliest words.
THE NINE LINE STANZA.
The nine line stanza gives fine effect to English poetry,
and hence may be termed a favorite among writers. It is
capable of many combinations. One form, however, of the
nine line stanza is fixed, and it is this form that is so justly
praised and highly noted. It is the Spenserian, so named
from Edmund Spenser, the author of " The Fairy Queen,"
who composed that beautiful poem in that stanza. While
Spenser is generally accredited as being the inventor of the
form of the stanza that now bears his name, and is so widely
used, he borrowed it from Italian poetry.
Many of the highest types of poetical composition, we
find in this stanza — Byron's *'Childe Harold," Bums*
•* Cotter's Saturday Night," Beattie's '' Minstrel," Thom-
son's ** Castle of Indolence." The Spenserian stanza con-
sists of nine lines, the first eight being iambic pentameter,
the ninth an iambic hexameter. The stanza is composed of
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THE CONSTRUCTION OF THE STANZA. 99
two quatrains rhyming in alternate lines. The last line of the
first quatrain rhymes with the first line of the second quat-
rain ; the ninth line rhyming with the eighth.
Ah ! who c^u tell h5w hard it is t6 climb
The steep whSre Fame's pr5ud temple shines afar !
Ah ! who c^n tell h6w many a soul sttblime
H^s felt the infitience of mSlign^nt star,
And waged with Forttine an eternal war ;
Checked by the scoflf 6f Pride, bj Envy's frown,
And Poverty's tinconquerabie bar;
In life's 15w vale remote h^s pined all one,
Then dropped into the grave, tinpitied and tin known !
BeatHe—''ThQ Minstrel."
We have also selected a stanza from a beautiful poem,
'* Philip, My King," an illustration of childhood. It is by
Dinah Maria Mulock Craik. It is iambic rhythm. We
select the first stanza :
Lo6k at me with thy large br6wn eyes,
Philip, my king !
R6und whom the enshad6wing piirpie lies
Of babyho5d's roy^l dignities.
L^y on my neck thy tiny hand
With Love's invincible scepter laden ;
I am thine Esther, to c5mmand
Till thou shait find ^ queen-handmaiden,
Philip, my king !
Another fine nine line stanza is from the pen of Sir
Charles Sedley, entided, *'Phillis is My Only Joy." It is
trochaic rhythm. We give the first stanza •
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lOo THE ART OF POETRY.
Phillis Is my only joy,
Faithless as th6 wind 5r seas ;
Somettmes coming, somettmes coy,
Yet sh^ nev^r fails t6 please.
If with a frown
I am c^st down,
Phillfe, smiltng
And b^guiUng,
Makes mS happier than before.
Robert Burns touched the hearts of all Scotland, as well
as the reading world, when he gave to the public, '*The
Cotter's Saturday Night." It is a poem that portrays
vividly the life of the Scottish peasant, and is so true and
accurate as to bring home to all, the scenes it so faithfully
depicts. The rhythm is iambic. We select the third
stanza:
At length his lonely cot Appears in view,
Beneath th6 shelter of Sn ag^d tree ;
Th^ Expectant wee thlfngs toddlKn', stach^r through
T6 meet thSir dad, wi' flicfiterin' noise Sn' glee.
His wee bit inglS blinking bonnily,
His clean hearthst6ne, his thriftie wifie's smile,
Th^ lisping infant prattling on his knee,
D6es a' his weary carking cares beguile,
And makes him quite fbrget his lab6r and his toil.
William Cullen Bryant is the author of this stanza,
selected from one of his poems entitled, "June." The
measure is iambic. We give the third stanza :
Th^re through th^ long, 15ng summer hours
The golden light shotild lie,
And thick y6ung herbs ^nd groups 6f flowers
St^nd in th^ir beaiity by.
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THE CONSTRUCTION OF THE STANZA. loi
The oriole shotild build and tell
Hts love-t^le close b&ide my cell ;
The idle butterfly
Shotild rest h!m there, ^nd there be heard
The housewife bee ^nd hummXng-bird.
Another beautiful poem is selected from the same author.
Who hasn't read William Cullen Bryant's '* Robert of
Lincoln," and admired the charming rhythm ? The meas-
ure is mixed, the trochaic prevailing. We select the fifth
stanza :
Six whtte eggs 6n ^ bed 6f hay,
Flecked with purple, S pretty sight !
There ^s the mother sits ^11 day,
Robert is singing with all his might ;
Bob-5'-link, b6b-6'-link,
Spink, spank, spink ;
Nice go6d wife, th^t never g5es out,
Keeping h5use while I frolic Sbout.
Chee, chee, chee.
From Byron's" Child e Harold," Canto III, we select
the following stanza from his description of * ' Waterloo. ' '
No grander poem of its kind was ever written. It is
written in Spenserian stanza, which is always iambic rhythm.
The first eight lines are iambic pentameter, the ninth line
being an hexameter *
Ah ! then and there w^s hurrying to ^nd fro.
And gathering tears, ^nd tremblings of distress,
And cheeks all pale which but Sn hour ^go
Bliished at the praise 6f their 6wn loveliness ;
And there were sudden partings, such as press
The life fr6m out yoting hearts, and choking sighs
Which ne'er might be repeated ; who wotild guess
If evermore shotild meet th6se mutual eyes
Since up6n night s5 sweet stich awftil morn cotild rise !
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I02 THE ART OF POE TR Y
How beautiful are the ** Lines*' by Thomas Campbell,
" On leaving a Scene in Bavaria.'* We select the seventh
stanza. It is iambic rhythm :
Y6s ! I have loved thy wild abode,
tJnknown, tinploughed, tintroddfin shore ;
WhSre scarce th^ woodman finds S road,
And scarce th^ fisher plies an oar ;
F5r man's neglect I love the^ more ;
That art n6r avarice Intrude
T6 tame thy torrent's thunder-shock,
6r prune thy vintage of th^ rock
Magnificently rude.
A fine variation of the Spenserian stanza is found in the
following from Percy Bysshe Shelley's lines entitled, *' The
Sun is Warm, the Sky is Clear." It is iambic rhythm.
We select the third stanza :
Alas ! 1 have n6r hope n6r health,
N5r peace within, n6r calm around,
N6r that C6ntent stirpassing wealth
The sage in meditati6n found,
And walked with inward glory crowned,^
N6r fame, n6r powSr, n5r love, n6r leisttre,
Others 1 see wh6m these stirround ;
Smiling they live, and call life pleasure ;
T6 me that cup has been dealt in another meastire.
THE TEN LINE STANZA.
This form of the stanza is widely used. It may be em-
ployed in many combinations. Five couplets make a beau-
tiful ten line stanza. Three triplets and a single line may
be used. The quatrain doubled and the couplet combined
form the stanza. It can be formed of two five line stanzas :
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UNIViLJr.;
THE CONSTRUCTION OF THE STANZA. 103
of a six line and a quatrain ; of a seven line and a triplet.
We select a stanza from Shakespeare, entitled, * * Blow,
Blow, Thou Winter Wind,'* from **As You Like It,** act
ii, scene 7. It is iambic rhythm. We select the first
stanza :
B16w, blow, th6u winter wind,
Th6u art n6t so tinkind
As man's Kngratftude ;
Thy tooth te not s6 keen,
Because th6u art n6t seen,
Although thy breath b€ rude.
H^igh-ho ! sKng h^igh-ho ! ttnto the gre^n hollj- ;
Mttst friendship fe feigning, m6st loving m^re folly;
Then heigh-ho, the holly !
This life is m6st jolly!
Our next selection is a poem from John Keats. It is one
of the best of that celebrated writer's productions. It is
entitled, * ' Ode to a Nightingale. * * We select the seventh
stanza :
Thdu wast n5t bom ibr death, imtliort^ Bird !
N5 hungry generati6ns tread thee do^n ;
The voice 1 hear this parsing night w^s ^eard
In ancient days by em] ^xov ^nd clowij ;
Perhap$ the self-s^me sopg th^t found ^ path
Throtigh the s^d heartf 6f Eliith, when sick fbr home,
She stood in tears ^mid the alien corn ;
The same that oft-times hath
Charmed magic casements opening on the foam
Of perilotts seas, in faery lands forlorn.
Charles Mackay has written an excellent poem which has
been oft quoted, entitled, "Tell Me, Ye Winged Winds.*'
It is iambic measure. We select the first stanza :
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I04 THE AR T OF FOE TR Y.
T^ll me, y$ winged winds,
That round my pathway roar,
D6 ye n5t know s6me spot
Wh^re mortals weep n5 more ?
S5me lone and pleasant dell, |
S5me valley in thS west,
WhSre free fr6m toil and pain,
The wearj^ soul may rest ?
The loud wKnd dwindled to a whisper low,
And sighed fbr pitj^ as U answered, ** No."
Milton's "May Morning" is another charming ten line
stanza. It is also iambic rhythm, as follows :
N6w the bright morning star, day's harbinger,
C5mes dancing from the east, and leads with her
The flowery May, wh5 from her green lap throws
The yell5w cowslKp and the pale primrose.
Hail, bounteotis May ! that doth inspire .
Mirth and yoiith and warm desire ; •
Woods and groves are of thy dressing,
Hill and dale d5th boast thy blessing,
Thtts we saiiite thee with ttur early song,
And welc6me thee, and wish thee long.
''The Owl," a poem by Bryan W. Proctor, furnishes
another excellent ten line stanza, in a mixed anapestic and
iambic rhythm, the iambic prevailing. We select the first
stanza :
In the hollbw tree, in the old gray tower,
The spectral owl d6th dwell ;
DttU, hated, despised, in the sunshine hour,
Bttt at dusk he's abroad and well ! j
N5t a bird 5f the forest e'er mates with him ; i
All mock him outright by day ; '
Bttt at night, when the woods gr6w still and dim.
The boldest will shrink away !
6, when the night falls, and roosts the fowl.
Then, then, is the reign 5f the horned owl !
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THE CONSTRUCTION OF THE STANZA. 105
A rare old poem is *' The Ivy Green/' and its author is
no less a personage than Charles Dickens. It is mixed
anapestic and iambic rhythm, the iambic foot prevailing :
6, a dainty plant te thS ivj green,
• That creep^th 6'er ruKns old !
Of right ch5ice food ^re hfe meals, 1 ween,
In hte cell s6 lone ^nd cold.
ThS walls mtist bS crumbled, thS stones decayed,
T5 pleasttre his dainty whim ;
And th^ mould^rtng dust that years h^ve made.
Is a merry meal fbr him.
Creeping where n6 life ts seen,
A rare 61d plant is thS ivy green.
No less loved by everyone is Mrs. S. J. Hale. All school
boys have read " It Snows," written by her. The poem is
but a glimpse of the actual reality of the delight of the youth
at a sight of snow and the rare pleasure of the. winter sports.
It is anapestic rhythm. We give the first stanza :
**lt snows ! '* cries th6 Scho61-b5y, '* Htirrah ! " and hte shout
Is ringing throtigh parl6r and hall,
While swift as th^ wing 5f a swall5w, hS's out.
And his playmates have answered his call ;
It makes th^ heart leap btit t6 witness th^ir joy ;
Pr6ud wealth has n6 pleastire, I trow.
Like the rapttire that throbs in th^ pulse 5f th^ boy.
As he gathers his treastires 5f snow;
Then lay n5t the trappings 5f gold 6n thine heirs.
While health, and the riches 6f nattire, are theirs.
Harrison Weir is the author of * * Christmas in the
Woods." It is a six line stanza and a quatrain combined.
It is anapestic rhythm. We select the first stanza :
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Io6 THE ART OF POETRY.
Fr6m und€r thfi boughs Kn th^ snow-clad wood
ThS merle ^nd thS mavis ^re peeping,
Alike secure fr6m thS wind ^nd thS flood,
Y^t ^ silent Christmas keeping.
Still happj^ are they,
And their looks are gay,
And thSy frisk it fr6m bough t6 bough ;
Since berries bright red
Hang ovSr their head,
A right goodly feast, I trow.
*' Pack Clouds Away," a poem by Thomas Hey wood, in
iambic rhythm, is a neat, pretty, dainty poem of love. We
select the second stanza:
Wake fr6m thy nSst, robin-redbrSast !
Sing, birds, in every fiirr5w ;
And from Sach bill let music shrill
Give my ftlir love go6d-morr6w !
Blackbird and thriish, in every bush,
Stare, linnet, and c5ck-sparr5w,
Yott pretty elves, among yotirselves.
Sing my fair love go6d-morr6w.
T6 give my love go6d-m6rr6w, '
Sing, birds, in every furr6w.
Another fine ten line poem is by Thomas Gray. It is
entitled, " Ode on a Distant Prospect of Eaton College."
It is iambic rhythm. We give the last stanza :
T5 each his sufferings : all are men,
C6ndemned alike t6 groan ;
The tender for another's pain,
The ttnfeeling for his own.
vet, ah I why shoiild they know their fate,
Since s6rr6w never comes to5 late.
And happiness to5 swiftly flies ?
Thought wotild destroy their paradise.
N5 more ; where ign5rance is bliss,
*Tis folly to be wise.
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THE CONSTRUCTION^ OF THE STANZA. 107
THE SONNET.
One of the finest forms of the stanza in our English poetry
is the Sonnet. Borrowed by the Italians from the early
Provenctal poets, it was assiduously cultivated by them, and
brought to a high state of perfection. Many beautiful
sonnets are found in the writings of Petrarch, Ariosto, Girido,
and Dante. The Sonnet is a poetical piece containing four-
teen iambic pentameter lines. It i§ generally lyrical in its
nature. In fact it is the primordial form of modern English
lyric poetry. It deals with one idea of a grave nature,
presented under various aspects. The sonnet was intro-
duced into English poetry in the early part of the sixteenth
century by the Earl of Surrey and Sir Thomas Wyatt.
The Italian sonnet then introduced is termed the correct and
strict form. After the introduction of the sonnet into the
English from the Italians, another form of the fourteen line
stanza was used by English poets, in which the succession
of rhymes was different in order from that authorized by the
Italian form. To distinguish the two forms, the Italian was
termed the regular, while all the others were called irregular,
and are governed by separate and distinct rules or laws to
be used in the formation of the different kinds of sonnets.
The sonnet in its structure is more elaborate than any
form of the stanza. The Italian is always a positive and
fixed form in some respects. It consists of two divisions.
A major and a minor portion. The major portion consists
of eight lines, called the octave ; the minor portion consists
of six lines, called the sestette. The octave is composed of
two quatrains. The quatrains are similar in form and con- '^
struction. The first and fourth lines of each quatrain rhyme
with each other, and the second and third lines rhyme.
The octave, however, has but two rhymes, for the first and
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.;
I08 THE ART OF POETRY.
fourth lines of the first quatrain rhyme with the first and
fourth Hnes of the second quatrain ; the same is true of the
second and third Hnes of both quatrains. The octave is
joined to the sestette by a close grammatical structure.
The octave is a fixed form.
In the construction of the sestette of the Italian form of
the sonnet, the first and fourth, the second and fifth, the
third and sixth lines rhyme ; or, the first, third and fifth
rhyme with the second, fourth and sixth of the sestette. All
other forms of the sonnet are not termed pure. Our best
poets have used the sonnet to pour forth their most
sublime thoughts expressive of love, friendship, praise,
adoration, grief and sorrow. It seems peculiarly adopted
as a form to express the most intense feelings of the human
mind, and to enable the writer to give vent to the finer '
feelings and thoughts.
A beautiful sonnet by Richard Watson Gilder expresses
in admirable language the sonnet :
WHAT IS A SONNET?
MAJOR PORTION— FIRST QUATRAIN.
What is a sonnet ? *Tis a pearl J^ shell
That murmttrs of th€ far-5flr murmuring sea ;
A preciotis jewel carved m6st cQriotisly ;
• It is a little picttire painted well.
MAJOR PORTION — SECOND QUATRAIN.
What is a sonnet? Tis the tear that fell
Fr6m a great poet's hidden ectasy ;
A two-edged sword, a star, a song— ah me !
S5metimes a heavy-tolltng funeral bell.
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THE CONSTRUCTION OF THE STANZA. 109
MINOR PORTION.
This was the flame that shook wUh Dant^^s breath, ^ *
The solemn org^n whereon Milt6n played, ^ '
And the clear glass where Shakespeare's shad5w falls ;S.
A sea thte Is — beware, wh6 venttireth \ iK.
F5r like ^ fiord the narr5w floor Ks laid \^
Deep as mXd-oce^n to sheer mountain walls. C^
John Milton thus describes his own blindness in a sonnet
of the regular model :
ON HIS BLINDNESS.
To Cyriack Skinner.
OCTAVE.
When i|cttngider^h6w my lightife spent ^^
fire half piy days, m this j^^rk woild ^nd wide,
And that 6ne talent, which is deatn t6 hide,
L6dged with me useless, though my soul m6re bent
T6 serve therewith my Maker, and present
My true Account, lest He, returning, chide ;
"D5th God exact day-lab5r, light denied?"
I fondly ask. Bttt Patience, to prevent
SESTETTE.
f
That murmtir soon replies, ** Gttd doth n6t need ^
Either man's work, 6r his 6wn gifts ; wh5 best
Bear his mild yoke, they serve him best. His state
Is kingly ; thousands at his bidding speed, - ,
And post 5'er land and ocean without rest ;
They als6 serve wh5 only stand and wait ! *'.
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I lo THE ART OF POETRY,
Longfellow has written many exquisitely charming sonnets.
None better than, ** A Summer Day by the Sea : "
Th^ sun Ys set ; ^nd in h!s latest beams
Y6n little cloud 6f ash^n gray ^nd gold,
Slowly tlpon thS amb^r air tinrolled,
The f alHng mantis of th^ Prophet seems^^^
Fr5m the d!m headlands many ^ lighth6use gleams.
The street-l^mps of th^ oceln ; and behold,
O'erhead the banners of the night tinfold ;
The day hath passed Into the land 6f dreams.
summer day, beside the joyotis sea !
summer day, s6 wonderful Snd white,
Stt full 6f gladness and s6 full 6f pain !
Fttrever and fbrever shalt th6u be
T6 some the gravestttne of ^ dead delight,
T6 some the landmark of a new d6main
The following by Ella Wheeler Wilcox is a good example
of the sonnet :
Methinks oftt!mes my heart te like s6me bee,
That goes fbrth through the summer day and siljgs.
And gathers honey from all growing things . '
In garden plot, 6r on the clover leaf
When the 10ng afternoon gr6ws late,' and she
Wotild seek her hive, she cann6t lift her wings,
S6 heavily the too sweet burden clings,
Fr6m which she would n6t, and yet would, fly free.
S6 with my full f 6nd heart ; f6r when ft tries
T6 lift itself t6 peace-cr6wned heights above
The commbn way where countless feet have trod,
L6 ! then, thfe burden of dear human ties,
This growing weight 6f preciotis earthly love.
Binds down the spirit that wotild soar t5 God.
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THE CONSTRUCTION OF THE STANZA. 1 1 j
The regular model is varied in the sestette. Below we
give forms of these variations. ** Echo and Silence," is an
excellent sonnet :
In eddying course, whSn leaves b^gan t6 fly,
And Auttimn in h6r lap thfi store t6 strew.
As *mid w!ld scenes I chanced thfi Muse t6 woo,
Throtigb glens tintrod, Snd woods that frowned 6n high,
Tw6 sleeping nymphs with wondering mute I spy !
And, 15, she's gone — in robe 6f dark-gre^n hue,
'TwSs £ch6 from hfir sister Silence flew,
F6r quick thfi hunter's horn r&oundSd to th^ sky !
In shade affrighted Silence melts away.
N6t so hgr sister. Hark ! f6r onward still,
With far-heard step, she takes her listening way.
Bounding fr6m rock t6 rock, and hill t6 hill.
Ah, mark the merr^ maid in mockfiil play
With thousand mimic tones the laughing forest fill !
Samuel E^erton Biydges.
Another elegant sonnet is :
ON THE GRASSHOPPER AND CRICKET.
The poetry 6f earth is never dead : ^ \
When all the birds are faint with the httt sun, ^^
i And hide in cooling trees, a voice will run ^
Fr6m hedge t6 hedge about the new-m6wn mead,
That is the grassh6pper's — ^he takes the lead C-^
In summer luxury, — he has never done V
With his delights ; fbr, when tired out with fun, '
He rests at ease beneath s6me pleasant, weed, t/
The poetry 6f earth is ceasing never : 'i^
On a 16ne winter evening when the frost t/
Has wrought a silence, from the stove there shrills i
The cricket's song, in warmth increasing ever, JL ^
And seems, t6 one in drowsiness half lost, \j <
The grassh6pper's among s6me grassy hills. \
JohfKlCeats.
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1 1 2 THE ART OF POETR Y.
William Shakespeare deigned to trangress the laws of the
Italian model and mold one of his own. Can it not be said
what was fit for Shakespeare's use is all sufficient for any
person ? These sonnets, one hundred fifty-four in number,
are wonderful in composition and merit. They are devoted
to friendship and love. Their form consists of three
quatrains and a couplet. Many of the best poets have
written sonnets on the Shakesperian model :
THE APPROACH OF AGE.
VVh^n I d6 count the clock that tellsUi^ time, ^ i
And see thfi brave d^y sunk Kn hideotts night ;
WhSn 1 behold thS vi61et pSst prime, ^
And sablS curls ^11 silvered o'er wtth white ; , J
Wh^n lofty trees I see barren 6f leaves, c
Which erst fr6m heat did can6py th^ herd, (K
And summer's green ^11 girdM up In sheaves, ^
B6rne on tliS bier with white Snd bristly beard ; * \^
Th^n of thy beauty do I questittn make, ^ _
That thou among th^ wastes 6f time mtist go, /
Stnce sweets and beauties do themselves f6rsake, A^
And die as fast as they see others grow ; ^ r^
And nothing *gainst Time's scythe can make defence, j^r
save breed, t6 brave him when he takes thee hence.
William Shakespeare.
Mr. Frederick Locker- Lampson, an English poet, has
written a sonnet fashioned after the Shakesperian model.
It is entitled, '* Love, Time and Death : "
Ah me, dread friends 6f mine — L6ve, Time and Death !
Sweet Love, wh6 came t6 me 6n sheeny wing.
And gave her to my arms — her lips, her breath.
And all her golden ringlets clustering ;
And Time, wh6 gathers in the flying years,
He gave me all — btit where is all he gave ?
He took my Love and left me barren tears ;
Weary and lone, 1 f6116w to the grave. -
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THE CONSTRUCTION OF THE STANZA. 113
There Death will end this vision half divine,
wan Death, wh6 waits in shad6w evermore,
And silent ere h^ gave th^ sudden sign ;
Oh, gently lead m^ through thy narr5w door,
Th6u gentle Death, th6u trustfest friend 6f mine.
Ah me, fbr Love will Death my Love restore ?
A fine sonnet after the same model is by Thomas Hood :
FALSE POETS AND TRUE.
Lo5k how the lark s6ars upward and is gone,
Turning a spirit as he nears the sky !
His voice is heard, btit body there is none
T6 fix the vague excursi6ns of the eye.
S6 poets* songs Sre with tis, though they die
Obscured Snd hid by death's 6bliviotis shroud,
And earth inherits the rich mel6dy.
Like raining music from the morning cloud.
Yet, few there be wh6 pipe s6 sweet Snd loud,
Their voices reach tis through the lapse 5f space ;
The noisy day is deafened by ^ crowd
Of undistinguished birds, a twittering race ;
Btit only lark ^nd nightingale forlorn
Fill up the silences 6f night ^nd morn.
A granddaughter of the famous orator, Richard Brinsley
Sheridan, herself famous as a poetess of extraordinary merit,
pays this compliment to her loved treasures, in a sonnet :
TO MY BOOKS.
Silent c6mpani5ns of the lonely hour.
Friends who cSn never alter or fbrsake.
Wh6 for inconstant roving have n6 power,
And all neglect, perforce, mtist calmly take, —
Let me return t6 yoii ; this turm6il ending
Which worldly cares h^ve in my spirit wrought.
And, o'er yotir old familiar pages bending,
Refresh my mind with many a tranquil thought,
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114 ^^^ ^^^ ^^^ POETR y.
T!ll happy meetj jng th ere, fr6m time t6 time,
Fanci^, the audible ech6 of mj own,
'T wHl be like hearing in a foreign clime ••
My native language spoke in friendly tone,
And with a sort 6f welcbme I shall dwell
6n these, m^ unripe mustngs, told s6 well.
Caroline Elizabeth Norton.
William Lisle Bowles furnishes a fine sonnet on the river
Rhine. Mr. Bowles had great ability as a sonneteer :
THE RIVER RHINE.
'Tw^s morn, Snd beauteoiis on the mountain's brow
[Hting with the beamy clusters of the vine]
Streamed th$ bltie light, when on the sparkling Rhine
we bounded, and the white waves round the prow
In murmtlrs parted. Varying as we go,
L6, the wo6ds open, and the rocks retire,
S6me convent's ancient walls 6r glistening spire
'Mtd the bright landscape's track tinfoldlng slow.
Here dark, with furr5wed aspect, like despair,
Frowns the bleak cliff; there on the woodland's side
The shadowy sunshine pours Its streaming tide ;
While Hope, enchanted with the scene s6 fair,
Wotild wish t5 linger many a summer's day,
N5r heed h6w fast the prospect winds ^way.
Matthew Arnold' s sonnet of ' ' Quiet Work ' ' is a lesson
in itself. It is not strictly a sonnet of the regular type, the
difference, however, is very slight. The second and third
lines of the first and second quatrains do not rhyme together,
making more than two rhymes in the octave. Arnold's
sonnets, twenty-three in number, are all first-class, but none
of them strictly pure :
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115
THE CONSTRUCTION OF THE STANZA.
QUIET WORK.
0ne,less6n, Nattire, let mS learn 5f thee,
One less6n which !n every wind Ks blown,
One less6n of tw6 duttes kept at one
Throtigh the 16ud world pr6claim thetr enmfty,
Of toil tinsev^red from trSlnquiltty ;
Of lab5rjthat Kn lasting fruit 6utgr6ws
Far noisier schemes, accomplished in repose,
To5 great fbr haste, to6 high f6r rivalry.
Yfis, while 6n earth a thousand disc6rds ring,
Man's senseless upr6ar mingUng with his toil,
Sttll do thy quiet ministers m6ve on.
Their glorioiis tasks !n silence perfecting ;
StKU worktng, blamtng still 5ur vain ttirmoil,
Lab6rers that shall n6t fail, when man fe gone.
One of the finest sonnets in our language is entitled ;
Mysterlotis Night ! when our f!rst parent knew
Thee from report dWine, and heard thy name,
DKd he n6t tremble for th!s lovely frame,—
ThKs glortotts can5py 6f light and blue ?
Yet *neath a curtain of translucent dew,
Bathed in the rays 6f the great setting flame,
Hespertis, with the host 6f heaven came.
And 16 ! creation widened in man's view.
Wh6 could have thought stich darkness lay c6ncealed
Within thy beams, Sun ! 6r who cotild find.
Whilst fly and leaf and insect stood revealed,
That to stlch countless orbs th5u mad'st tis blind !
Why do we then shtin death with anxiotis strife !
If light can thiis deceive, wherefbre n6t life ?
Joseph Blanco White.
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Il6 THE ART OF POETRY.
THE BALLADE.
The French ballade is radically different from the English
ballad. Of late years it has come into general use, and it
is now fairly well known to lovers of the poetic art. The
ballade was attempted in England as early as the sonnet,
more than three-hundred years ago, but it did not succeed.
The ballade consists of three stanzas and a half stanza, clept
an .envoy, addressed to some prince or power, title or
theme. The arrangement of the first stanza is repeated in
the others ; and the burden or refrain concludes all three
stanzas, as well as the envoy. Eight line stanzas using
three rhymes are generally used ; but ten line stanzas using
four rhymes are of frequent occurrence, and permissible.
There is also a variety of the ballade known as the double
ballade. It is simply a ballade of six stanzas of either eight
or ten lines, repeating the arrangement of the first stanza,
and the ballade may conclude with or without an envoy, as
the writer may desire.
Then we have still another form of the ballade. It is a
ballade with a double refrain. The stanzas are always of
but eight lines ; and the fourth and eighth lines of the first
stanza are repeated in the fourth and eighth lines of the
other stanzas, while the envoy consists of two couplets, the
first refrain occurring in the second line, and the second
refrain occurring in the fourth line of the envoy.
BALLADE OF BLUE CHINA.
There's S joy wtth6ut canker 6r cark,
There's a pleastire fiternail^ new,
'Tts t6 glote 6n thS glaze ^nd the mark
Of chin^ that's ancient Snd blue ;
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THE CONSTRUCTION OF THE STANZA. 117
Cnchipped ^11 th^ centtiries through
It h^s passed, since thS chime 6f U rang,
And thSy fashittned !t, figtire ^nd hue,
In thS reign 6f thfi £mpSr5r Hwang.
Thfise drag6ns (th^ir tails, yoti remark,
Int5 bunches 6f gill^fl6wers grew) —
WhSn No^h c^me out 6f thS ark,
DKd these He !n wait fbr hfe crew ?
Th^y snorted, th^y snapped, ^nd thSy slew,
ThSy wSre mighty 6f fin and 6f fang,
And their portraits C^lesttSls drew
In the reign 6f thS EmpSr6r Hwang.
Here's a pot wfth a cot Kn k park.
In a park whSre th^ peach -bl5ss6ms blew,
Where the lovers Sloped In thfi dark,
Lived, died, ^nd wSre changed tnt6 two
Brfeht birds that eternally flew
Throiigh the boughs 6f the May, as they sang ;
'Tts a tale was tindoubtedlj true
In the reign 6f the Emper6r Hwang.
ENVOY.
Cttme, snarl at m^ ecstasies, do,
KKnd critKc, yotir "tongue has a tang "
Bttt — a sage never heeded a shrew
In the reign 6f the Emper6r Hwang.
Andrew Lang,
THE BALLADE OF PROSE AND RHYME.
(ballade a double refrain).
When the ways are heavy wtth mire and rut,
In November fogs, In December snows.
When the North Wind howls and the doors are shut
There !s place and enough fbr the pains 5f prose;
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1 18 THE AR T OF POE TR V.
Btit whSnevfir a scent fr5m th^ whTteth5rn blows,
And thS jasmtne-stars ^t thfi casement climb,
And a R6sai!nd-face at th^ latttce shows,
Thfin hey !— f 6r th^ ripple 6f laughing rhyme !
WhSn th^ brain gSts dry ^s ^n empty nut,
WhSn thS reas6n stands 6n KLs squarSst toes,
Wh^n the mind (Uke ^ beard) has a ** formal cut,"—
ThSre is place and Enough (6v th^ pains 6f prose ;
Btit whenever th^ May-blo6d stirs and glows, .
And the young ySar draws t5 th^ ** golden prime,"'
And SKr Rom^S sticks \n his ear a r5se, —
Th^n hey ! — fbr thS ripple 5f laughing rhyme !
In a theme whSre th^ thoughts have a pedant strut,
In a changing quarrel 5f "Ayes " and " Noes,"
In a starched pr5cessi5n 6f * * If " and " But, ' '—
There !s place and Enough fbr thfi pains 6f prose ;
Btit whenever a soft glance softer grows
And the light h5urs dance t5 the tryst!ng-time, 4l
And the secret is told that " no 5ne knows,"—
Then hey ! fbr the ripple 5f laughing rhyme !
ENVOY.
In the work-a-day world, — fbr its needs and woes,
There is place and enough f6f the pains 6f prose;
Btit whenever the May-bells clash and chime,
Then hey ! for the ripple 5f laughing rhyme !
Austin Dobson,
THE CHANT ROYAL.
Another variation of the ballade is known as the Chant j
Royal. It is a ballade of five stanzas of eleven lines, with ■
an envoy of five lines. It is not, however, a practical form
of verse and is difficult of construction. We give below a
very excellent Chant Royal by Mr. Austin Dobson :
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THE CONSTRUCTION OF THE STANZA,
THE DANCE OF DEATH.
(chant ROVAL, after HOLBEIN).
'* Contra vim Mortis
Non est Medicamen in hortis,^^
H^ IS th^ desp5ts' Desp5t. All mtist bide,
Later 6r soon, th^ message of h!s might ;
Princ^ and potentates their heads mtist hide,
Touched bj the awftil sigfl of hfe right ;
Beside the Kaiser he at eve d6th wait
And pours a p6ti6n in hfe cup 6f state ;
The stately Queen hfe bidding must 6bey,
N6 keen-eyed Cardinal shall him affray ;
And to the Dame that want6neth he saith —
** Let be, Sweetheart, t5 junket and t6 play."
There is n6 king m6re terrible than Death.
The lusty Lord, rejoidng in hfe pride.
He draweth down ; before the armed Knight
Wfth jingltng bridal-rein he still d6th ride ;
He crosseth the strong Captain in the fight ;
He beck6ns the grave Elder from debate ;
He hails the Abb6t by hfe shaven pat^,
N6r for the Abbess' wailtng will delay";
N6 brawUng Mendtcant shall say him nay ;
fi'en to the pyx the Priest he follttweth,
N5r can the Leech hfe chilling finger stay.
There is n5 king m5re terrible than Death.
All things mijst bow t5 him. And woe betide
The Wine-bibber— the Roysterer by night ;
Him the feast-master many bouts defied,
Him 'twixt the pledging and the cup shall smite ;
W6e to the Lender at tisuriotis rate,
The hard Rich Man, the hireling Adv5cate ;
W6e to the Judge that selieth right ftir pay ;
W6e to the thief that like a beast 6f prey
With creeping tread the traveler harryeth : —
These, in their sin, the sudden sword shall slay.
There is n6 king m5re terrible than Death.
119
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I 20 THE ART OF POETR Y.
He halli n6 pit^,— nor wfll be dfinied,
When the 15w hearth !s garnished Snd bright,
Grimly h6 fling^th th6 dim portal wide,
And steals thfi Infant in the Mother's sight ;
He hath n6 pity for the scorned 6f fate :—
He spares n6t Lazartls lytng at the gate,
NSy, nor the Blind th^t stumbleth as he may ;
N^y, the tked Ploughman, — at the sinking ray.
In the l^st furr6w, — feels ^n ic^ breath,
And knows ^ hand hath turned the team Astray
There is n6 king m5re terrible th^n Death.
He hath n6 pity. For the new-m^de Bride,
Blithe with the promise of her life's delight,
That wanders gladly by her Husband 's side.
He with the clatter of his drum d6th fright ;
He scares the Virgin at the Convent grate ;
The maid half-won, the Lover passi6nate ;
He hath n6 grace fbr weakness and decay :
The tender Wife, the Wid6w bent and gray,
The feeble Sire wh6se footstep faltereth, —
All these he leadeth by the lonely way —
There is n5 king m6re terrible than Death.
ENVOY.
Yotith for wh5se ear and monishing, 6f late
I sang 6f Prodigals and lost estate,
Have thou thy joy 6f living and be gay ;
Btit know n5t less that there mtist come a day, —
Aye, and perchance e'en now it hasteneth, —
When thine 5wn heart shall speak t6 thee and say,-
There is n6 king m6re terrible than Death.
THE RONDEAU. ^
I
The rondeau is a form of verse introduced from the
French by the English. Its form dates back to the four-
teenth century. The rondeau is composed of thirteen
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THE CONSTRUCTION OF THE STANZA, 121
verses or lines, of which eight have one rhyme and five
another. These lines are divided in three unequal strophes ;
the four first words of the first line serve as the refrain, and
occur after the eighth and thirteenth lines. It is a delicate
form of poetry and capable of the highest degree of excel-
lence and finish. Many delight to use it for that reason,
and have succeeded in producing poems of rare beauty.
The practice of new meters and the study of new forms aids
the poet and enables him to rise higher in his art. Form
and precision are necessary to a high degree of excellence.
The rondeau in its true type, has a fixed exotic form,
susceptible of a highly English polish. Lope de Vega
and Hurtado de Mendoza wrote sonnets on sonnet making;
Voiture imitated them as regards the rondeau. Here is a
paraphrase of Voiture :
Yott bid m^ try, Bltle Eyes, t6 write
A rondeatl. What !— f5rthwith ?— t5night ?
Reflect. S6me skill I have, *lts true ; —
Btit thirteen lines I — ^nd rhymed 5n two !
• • Refrain, ' ' ^s well. Ah, hapless plight I
Still, th^re ^re five Unes, — ranged bright.
Th^se Gallic bonds, I feared, wotild fright
My easy Muse. ThSy did, ttll you —
Yoti bid mS try !
That makes th^m eight. ThS port's \n sight ;-
*T fe all because yotir eyes ^re bright !
N6w just Sl pair t6 end in "oo," —
Whfin maids c5mmand, what can't w6 do !
Behold !— the rondeatt, tastefttl, light,
Yoti bid m^ try !
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122 THE ART OF POE TR Y.
TO A JUNE ROSE.
royal Rose ! thfi Roman dressed
Hfe feast w!th thee ; thy petals pressed
Attgustan brows ; thXne 6d6r fine,
Mtxed with th^ three-ttmes mingled wine,
Lent thS 16ng Thracian draught !ts zest.
What marvfil then, M host and guest,
By Song, by Joy, by Thee caressed,
Haif-trembl6d on thfi half-dtvine,
royal Rose !
And yet— and yet — I love the^ best
In our 61d gardens of th^ West,
Whether about my thatch th6u twine,
Or Hers, that brown-eyed maid 6f mine,
Wh6 lulls the^ on h^r lawny breast,
royal Rose !
Austin Dobson.
FOR MY DEAR LOVE
(an opal.)
F6r my dSar love I long t5 bring 1
S5me rare and dainty ofTSring. 4
I'll steal a rainb5w from th^ sky V
T5 paint my joy wh^n she Ks nigh y*
Thfi f airn&s of h^r form t6 sing, I
I'll mount mS on a port's wing ; <
Throtigh winter frost, ^ach flower 6f spring /
Shall speak and tell hSr how I sigh i •
F5r my d^ar love.
Nay, nay, thts is btit loitering ;
Se^, here, a tiny, roundM thing,
Wh^re all swe^t shades lmpris6ned lie,
H^r blush, th^ flowers, thS rainb6w sky ;
N6w, I wtll set this in a ring,
F5r my d^ar love.
Margaret B. Logan — "The Magazine of Poetry.**
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THE CONSTRUCTION OF THE STANZA. 123
THE RONDEL.
The rondel is a poem, in two rhymes, containing fourteen
hnes. The refrain of the rondel is but a repetition of the
first and second lines as the seventh and eighth, and again
as the thirteenth and fourteenth. It is the original form of
the rondeau.
THE WANDERER.
L6ve comes back to his vacant dwelling,—
Th^ old, 61d Love that w6 knew 6f yore !
W^ see hTm stand b^ th^ opSn door,
Wtth his great ejes sad, and hte b6s6m swelling.
H^ makes as though tn 6ur arms r^pellKng,
H^ fain wotild lie as he lay before ;—
L6ve comes back to hfe vacant dwelltng. —
Thfi old, 61 d Love that w€ knew 6f yore !
Ah, who shall help tis fr5m ov^r-telUng
That sweet fbrgott^n, f 5rbidd5n lore !
fi'en as w6 doubt in 6ur heart 5nce more,
Wtth a rush 5f tears t6 5ur eyeltds welHng,
L6ve comes back to h!s vacant dwelling.
Austin Dob soft.
These man^ years since we b^gan t6 be,
What have the gods d6ne with tis ? what with me ?
What with mj^ love ? They have shown me fates and fears.
Harsh springs, and fountains bitterer than the sea.
Grief a ftxed star, and joy a vane that veers,
These many years.
With her, mj love, wtth her have they d6ne well ?
Btit who shall answer for her? who shall tell
Sweet things 5r sad, stich things as no man hears ?
May no tears fall ; if no tears ever f el|,
Fr6m eyes m6re dear t6 me than starriest sp heres
These many years ^^^^^^^Ar^
^ Or THK ^
UNIVEHblTY
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I 24 THE AR r OF POE TR Y
Btlt if t^ars evfir touched, fbr anj^ grief,
Th5se eyeltds folded like ^ white-r6se leaf,
DeSp double shells wh^re through th^ eye-fl5wer peers,
LSt them we^p once m5re onlj^, sweet ^nd brief,
BriSf tears Snd bright, fbr one wh5 gave hSr tears
Th^e many years.
A. C. Swinburne.
THE ROUNDEL.
Another variation of the rondeau is the Roundel. It is
formed of three stanzas of three lines each, containing only
two rhymes. A refrain composed of the first four or five
words or syllables of the first line constituting the refrain or
burden, which is at the end of both the first and third
stanzas :
.-
THE ROUNDEL. 1
A Rounds is wrought ^ S ring 5r ^ star-brKght sphere,
With craft 6f delight ^nd wtth cunntng 6f sound tinsought,
That th^ heart 5f thS hearer mSy smile tf t6 pleastire hJs ear
A roundel !s wrought.
Its jew^l 5f mustc te carvSn 5f all 6r 6f aught—
L6ve, laughter 5r mourning — remembrance 6f rapttire 6r fear —
That fancy mSy f ashi6n t5 hang \n thS ear 6f thought.
As a bird's quick song rtins round, and th^ hearts In tis hear —
pause answers t5 pause, and again the same strain caught
S6 moves the device whence, round as a pearl 5r tear,
A roundel !s wrought.
A. C. Swinburne,
THE VILLANELLE.
The villanelle is still another form of French poetry
introduced and adopted by our English writers. It is a
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THE CONSTRUCTION OF THE STANZA. 125
poem of but two rhymes written in tercets. The first and
third lines of the first stanza ahernating as the third line in
each successive stanza, and at the close forming a couplet.
VILLANELLE.
(to M. JOSEPH BOULMIER, AUTHOR OF " LES VILLANELLES.")
VilianellS, why art th6u mute ?
Hath th^ singer ceased t6 sing ?
Hath th^ Master lost hVs lute ?
Many a pipe ^nd scrannel flute
On the breeze their disc6rds fling ;
Vilianelie, why Srt th^u mute ?
Sound 6f tumtilt and dispute,
Noise 5f war the ech5es bring ;
Hath the Master lost hts lute ?
Once he sang 5f bud and shoot
in the seas5n of the Spring ;
Villanelie, why art th6u mute ?
Fading leaf and falling fruit
Say, " The year Is on the wing,
Hath the Master lost his lute ? "
Ere the axe lie at the root.
Ere the winter come as king.
Vilianelie, why art th6u mute ?
Hath the Master lost his lute?
Andrew Lang,
FOR A COPY OF THEOCRITUS.
(VILLANELLE.)
Singer of the field and fold,
Theocritus ! Pan's pipe was thine —
Thine was the happier Age 5f Gold.
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126 THE ART OF POETRY.
F6r thee th^ scent 6f new-ttirned mouUl.
Th^ bee-hives and th^ murmuring pine,
6 Singer of th^ field ^nd fold !
Th6u sang'st th^ simple feasts 6f old,—
Th^ beech^n bowl mSde glad with wine —
Thtne was th^ happier Age 5f Gold.
Th6u bad'st th^ rustic loves b^ told.—
Th5u bad'st thS tunefttl reeds c5mbine,
Singer of thfe field ^nd fold !
And round the^, evSr-laughtng, rolled
Th^ blithe Snd blue Sicilian brine —
Thtne was thS happier Age H Gold.
Alas fbr us ! 6ur songs ^re cold ;
6ur Northern suns to5 sadl)^ shine : —
Singer of th^ field ^nd fold.
Thine was th^ happier Age 6f Gold !
Austin Dobson.
THE SESTINA.
The sestina or sestine is another French form of verse,
quaint and difficult. It, like many others, is from Provence,
France, hence termed Provencial. It had its origin in the
thirteenth century, and was invented by Arnauld Daniel,
a troubadour. As its name indicates it is a stanza com-
posed of six lines, each line or verse ending in the same six
words arranged in a prescribed order, but not rhyming.
The sestina concludes with an envoy of three lines, which
must contain all six of the final words ; three of these words
must be in the body of the verses and three at the end of the
verses or lines. Mr. Swinburne varies this form by making
the six final rhyme by threes. We give his poem at length :
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THE CONSTRUCTION OF THE STANZA. 127
SESTINA.
I saw vci^ soul at rest tipon ^ day
As a bird sleeping in th^ nest 6f night,
Among s6ft leaves that give th^ starlight way
T5 touch !ts wings but not its eyes w!th light ;
S5 that !t knew Ss one !n visi6ns may,
And knew n5t as m^n waking, of delight. •
This was the meastire of mj souPs delight ;
It has n6 power 5f joy t6 fly by day,
N6r part In the large lordship of th^ light ;
Btit in a secret, moon-b^hold^n way
Had all its will 5f dreams and pleasant night.
And all the love and life that sleepers may.
Btit such life's tritimph as m^n waking may
It might n6t have t5 feed its faint delight
Between the stars bj night and sun b>r day,
Shtit up with green leaves and a little light ;
Because its way was as a lost star's way,
A world's n6t wholly known 5f day 5r night.
All loves, and dreams, and sounds, and gleams 61 night
Made it all music that stich minstrels may,
And all they had they gave it of delight ;
Btit in the full ftce of the fire 6f day
What place shall be f 5r any starry light,
What part 5f heaven in all the wide stin's way ?
Yet the s6ul woke n6t, sleeping by the way.
Watched as a nursling of the large-eyed night,
And sought n6 strength n5r knowledge of the day,
N6r closer touch c6nclusive of delight,
N5r mightier joy, n5r truer than dreamers may,
N6r more 6f song than they, n6r more 5f light.
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128 THE ART OF POETRY.
F5r who sleeps once, and sees th^ secret light
Whereby sle^p shows th^ soul & fairer way
Between th^ rise and rest 5f day and night,
Shall care n6 more t6 fare as all m^n may,
Btlt be hfe place 5f pain 5r of delight,
Th^re shall h^ dwell, beholding night as day.
S6ng, have thy day, and take thy fill 6f light
Before the night bS fallen across thy way ;
Sing while hS may, man hath n6 long delight.
Algernon Charles Swinburne,
Fra tuttiil printo Arnaldo Daniello gt an maestro d^amor.
— Petrarch.
In fair Province, th6 land 6f lute and rose,
Amaut, great master of thS lore 6r love,
First wrought s^stines t6 win his lady's heart,
F6r she was deaf whSn simpler staves hS sang,
And for h^r sake h^ broke th^ bonds 6f rhyme,
And in this subtler meastire hid hfe woe.
*' Harsh be my lines," cried Arnaut, "harsh th^ woe.
My lady, that finthorned and cruSl rose.
Inflicts 6n him that made hSr live \n rhyme ! "
Btlt through th^ met^r spake the voice 6f Love,
And like a wild-wo5d nightingale h^ sang
Wh5 thought in crabbed lays t6 ease his heart.
It is n5t told \f her tintoward heart
was melted by the poet's lyric woe,
Or if \n vain s6 am6rousiy he sang ;
perchance throtigh cloud 6f dark c6nceits he rose
T6 nobler heights 5f phil6s6phtc love,
And crowned hts later years wTth sterner rhyme.
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THE CONSTRUCTION OF THE STANZA. 129
Thfe thing ^lone w^ know ; th^ triple rhyme
6f him wh6 bared hfe vast ^nd passi6nate heart
T6 all th^ crossing flames ttf hate and love,
W^ars in th^ midst 6f all fts storm 6f woe —
As some 15ud morn 6f March m^y bear ^ rose — "
ThS impr&s of a song that Am^ut sang.
*'SmUh of hfe mother-tongue," the Frenchman sang
df Launcel6t and 6f Galahad, the rhyme
That beat s5 blood-like at !ts core 5f rose,
It stirred the sweet Francesca*s gentle heart
T6 take that kiss that brought her so mtich woe,
And sealed !n fire her martjdom 6f love.
And Dante, full 6f her Immortal love.
Stayed his dear song, and softly, sweetly sang
As though hfe voice br6ke with that weight 6f woe ;
And to thfe day we think 5f Arnaut's rhyme
Whenever pity at the laboring heart
On fair Francesca's memory drops the rose.
Ah ! Sovereign Love, fbrgive thfe weaker rhyme !
The men 6f old wh6 sang were great at heart.
Yet have we too kn6wn woe, and worn thy rose."
E. W. Gosse.
THE TRIOLET.
Another form borrowed from the French is the triolet.
It is a short poem of eight lines. Its peculiarity consists in
the first line^ being repeated as the fourth and again as the
seventh lines ; while the second line is repeated as the
eighth.
A KISS.
Rose kfesed me t5day.
Will she kiss me t5m6rr6w ?
Let ft be as ft may.
Rose kfesed me t6day.
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I30 THE ART OF POETRY,
But th^ pleasure gives way
To a savotir 5f s6rr6w ;
Rose kissed me t5day. —
Will she kiss m^ t6m6rr5w ?
Austin Dobson,
Alas, thS strong, th^ wise, th€ brave,
That boast themselves th6 sons 5f men !
6nce they g5 down Into th^ grave-
Alas, th^ strong, the wise, thS brave,
Th^y perish and h^ve none t6 save,
Th^y are s6wn, and ^re n5t raised Sgain ;
Alas, the strong, thS wise, the brave.
That boast themselves the sons 6f men !
Andrew Lang.
VIRELAY.
The virelay is an ancient French song or short poem. Ow-
ing to the peculiarities of its formation it is termed the Veer-
ing Lay. The French form contained only two rhymes, one
of which is made to lead at the beginning and the other at
the end of the poem The English virelay is composed of
more than two rhymes, and the rhymes change place or
alternate. Here is a specimen of an ancient little poem of
this type.
Th6u cruel fair, I go,
T5 seek 5ut any fate btit thee ;
Since there Is none c^n wound me so,
N6r that has half thj^ cruelty,
Th6u cruel fair, I go.
Fttrever, then, farewell !
'Tls a 15ng leave I take ; btit oh !
T6 tarrj with thee here Is hell.
And twenty thousand hells t6 go —
F5rever, then, farewell.
Cotton.
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THE CONSTRUCTION OF THE STANZA. 131
Here is another specimen of one of our early virelays. It
is a stanza of an old song of the fifteenth century :
Robin sat on thS good greSn hill,
Keeping ^ flock 5f fie, ^
Merry Makyn said Wm till, ^
Robtn, rue 5n me,
I have 16ved thee, in speech and still, *
These y^ars two 6r three.
My secret s6rr5w tinless th6u dell*
Doubtless in sooth I de. ^
Robert Henry son.
^ Sheep. 2 Unto or to. ^ Silence. * Assuage. * Die.
THE PANTOUM.
French poets anxious for something new adopted a
Malayan form, the Pantoum. It is not of much practical
use, but serves to illustrate the quaint and peculiar in verse.
It is best adapted to the light, airy and frivolous things of
life, and used in describing comic or ludicrous affairs. Mr.
Austin Dobson has exercised his ingenuity and literary skill
writing a pantoum en tided "In Town/' It will be per-
ceived the pantoum consists of a series of quatrains ; the
second and fourth lines of the first stanza reappear as the
first and third lines of the second stanza, and the second and
third lines of the second stanza reappear as the first and
fourth lines of the third stanza, and so on until the end of
the poem. The first and third lines of the first stanza are
again used as the third and fourth lines of the last stanza.
Mr. Dobson* s pantoum is in dactylic rhythm arid is here
given :
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132
THE ART OF POETRY.
IN TOWN
The blue fly sung in the pane.— Tennyson.
Toiling tn Town n5w is ** horrid,"
(There is that wom^n again ! ) —
June in thS zenith is torrid,
Thought g^ts dry in th^ brain.
There is that woman again :
** Strawberries ! f ourp^nce a pottle ! "
Thought gets dry in thS brain ;
Ink gets dry in the bottle.
** Strawberries ! f ourpence a pottle ! "
6 for the green 5f a lane ! —
Ink gets dry in the bottle ;
'* Buzz " g6es a fly in the pane !
for the green 6f a lane,
Where 6ne might He and be lazy !
*• Buzz " g5es a fly in the pane ;
Blueb6tties drive me craz5^ !
Where 6ne might lie and be laz5^,
Careless rff town and all in it !—
Blueb6tties drive me craz5^ ;
I shall g6 mad in a mintite !
Careless 6f town and all in it.
With some 6ne t5 soothe and t6 still yoti ;
1 shall g6 mad in a mintite ;
Blueb6ttie, then I shall kill yoti !
With some 5ne t6 soothe and t5 still yoti ; —
As only 6ne's feminine kin d6, —
Bluebottle, then I shall kill yoti :
There n6w ! I've broken the wind6w !
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THE CONSTRUCTION OF THE STANZA, . 133
As only 5ne*s feminine kin d6, —
S6me mushn-ciad Mab^l 6r May !—
There n5w, I've broken th^ wind5w I
Blueb6ttl6's offend ^way !
S6me muslIn-clad Mab^l 5r May,
T5 dash 6ne with eau dS C61ogne ; —
Blueb6ttl^'s offend ^way ;
And why shotild I stay h^re ^lone !
T5 dash 6ne with eau d^ C516gne,
All 6v6r 6ne's eminent forehead ; —
And why shotild I stay hSre Slone !
Toiling in Town n6w is ' ' horrid. "
BLANK VERSE.
Blank verse is without rhyme. It is, however, a favorite
form of poetic art with many writers of verse. All poetry
was in blank verse until rhyming was introduced by
Chaucer. For a long while its devotees condemned rhyme.
Rhyming was termed frivolous and its practice and use dis-
countenanced by some of the best writers of early English
poetry. It gradually gained favor, however, until today,
instead of our best and sweetest thoughts finding expression
in blank verse, as was formerly the case, we find them
expressed in rhyme. To blank verse, however, the world
of literature is greatly indebted. It was in blank verse
Milton wrote *' Paradise Lost *' and Bryant '' Thanatopsis. ' *
The first may be termed the first and greatest of English
poems in blank verse. For while it was used in Greek and
Latin poetry, it was in little use in English poetry, until the
appearance of Milton's '* Paradise Lost.'* It immediately
came into general favor in writing epic poetry. Before this
its chief use in English was its use in dramatic composition.
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134 ^^^ ^^^ ^^ POETRY.
The second, * * Thanatopsis, ' ' is justly termed one of the
best and grandest of conceptions of an elegiac character.
Blank verse is ten-syllabled, that is, composed of five poetic
feet. It is also termed Heroic verse, and is iambic penta-
meter. Blank verse usually ends with an important word.
THANATOPSIS.
T6 him wh6 in th^ love 6f Nattire holds
C6mmuni6n with hSr visible forms shS speaks
A variotis language ; for his gay^r hours
ShS has a voice 5f gladness, and ^ smile
And el6quence 6f beauty, and sh^ glides
Int5 his dark musings with ^ mild
And gentle sympathy that steals ^way
Th^ir sharpn^s ere hS is aware.
William Cullen Bryant
LIFE.
Life is th^ transm](grati5n of a soul
Throtigh variotis bodies, variotis states 6f being :
N^w manners, passi6ns, new ptirsuits in each ;
In nothing, save in consciotisness, th^ same.
Infancy, ad51esc^nce, manho5d, age.
Are alway moving onward, alway losing
Themselves in one another, lost at length
Like undtilati6ns on the strand 5f death.
James Montgomery.
ADDRESS TO LIGHT.
Hail, hol^ Light, offspring 6f Heaven, first-born,
6r of the eternal, c6-eternai beam,
May I express thee tinblamed ? since God is light.
And never but in unapproached light
Dwelt from eternity, dwelt then in thee,
Bright efflttence 6f bright essence increate.
John Milton.
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THE CONSTRUCTION OF THE STANZA.
135
M^n are btit children of S larger growth ;
6ur appetites as apt t5 change Ss theirs,
And full as craving, too, and full as vain ;
And yet the soul shttt up In her dark room,
Viewing s6 clear abroad, at home sefe nothing ;
Btit like a mole in earth, busj^ and blind,
W6rks all hSr folly up, and casts U outward
T6 the w6rld*s view.
John Dryden.
A COUNTRY LIFE.
H6w blest thS man wh6 in th&e peaceftil plains,
P16ughs his paternal field ; ftr from thS noise,
ThS care, and bustle of a busj^ world !
All in the sacred, sweet sequestered vale
6f soHtude, the secret primr6se-path
6f rural life, he dwells ; and with him dwell
Peace and C6ntent, twins of the sylvan shade,
And all the grates of the golden age.
Michael Bruce.
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CHAPTER X.
MEASURES EXEMPLIFIED.
Trochaic.
Tasteful, gracefttl, pleasing meastire
And t6 write theS is Sl pleastire.
THERE is real music about a well written poem com-
posed in this measure. The stress or accent is laid
on the odd syllables, and the even ones are unacgpnted or
short.
Trochees are often mixed with iambuses, but that can
make no difference in the scansion, as the number of feet
in a verse or line must be reckoned by the number of
accented syllables. Trochaic verse admits of the cutting off
of the final syllable ; of the use of single rhymed endings, or
in other words, single rhymed trochaic omit the final or un-
accented syllable. While a foot may end in one accented
syllable, a foot in no instance can be permitted to commence
with simply one syllable. This is true in trochaic, iambic,
or any other kind of measure. Frequently we find a line
ending in one syllable in dimeter, trimeter, or tetrameter
verse. Hence we have lines of three, five and seven sylla-
bles. Trochaic retrenched of the last unaccented syllable is,
however, trochaic still. .
Iambuses are admitted frequently in trochaic verse as we
have already noticed. It is not usual, however, to intro-
136
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MEASURES EXEMPLIFIED,
m
duce a trochaic line with an iambic foot, although it is per-
missible. Double rhymes are always less frequent than
single ones; hence lines oftener terminate in trochaic meas-
ures catalectic than in full trochaic. But the accented sylla-
ble is always counted a foot. The inconvenience that
naturally results from writing a line of full trochees is at
once apparent. There must always be a double ending to
the rhymes. This cannot always happen. It is also use-
less. There is no good reason why trochaic of any length
should not be allowed to terminate in a single rhyme.
One or more unaccented syllables are termed hyper-
metrical.
When trochaic ends in a single accented syllable, consti-
tuting a foot, such accented syllable is not to be termed an
' * additional ' ' syllable. The verse is simply catalectic.
No additional, unaccented syllable is ever allowed before
the first foot. By permitting this you destroy all distinction
between iambic and trochaic. It is well to observe also, in
this connection, that iambic measure is never shorn of the
unaccented syllable in the first foot. Iambic measure never
commences with a single accented syllable. It must always
commence with a regular foot, and so, too, must trochaic.
Measure, Monometer.
Rhythm, Trochaic.
Formula, Ab.
Sign, —
Example (i).
Helter,
2.
Singing,
Hurry,
Skelter,
Swinging,
Skurry,
Skaters go.
They g6 by.
See them glide.
Changing,
Whisking,
Rattling,
Ranging,
Frisking,
Battling,
In a row.
As they fly.
Skater's pride.
**The Skaters.^'
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138
THE ART OF POETRY.
Measure, Dimeter.
Rhythm, Trochaic.
Formula, Ab X 2.
Sign, — v^ X 2.
Example (i).
None d6 hear
Use t6 swear :
Oaths d6 fray
Fish away ;
We sit still,
Watch oOr quill :
Fishers mtist n6t wrangle.
Chalkhill—''TYie^ Angler.'^
One peculiarity of the above poem, many of its lines
might be termed safely anapestic meter. The trochaic
foot, however, prevails and the poem is trochaic.
A fine specimen of trochaic dimeter is furnished in the
following, with single rhyme :
Example (2).
In a maze
Lost, I gaze :
Can 6ur eyes
Reach thy size ?
May my lays
Swell with praise
Worthy thee !
Worthy me !
Muse, inspire
All thy fire !
Bards 6f old
Of him told.
When th$y said
Atlas* head
Propped th^ skies.
See ! and believe yotlr eyes !
John
See him stride
Valleys wide;
OvSr woods,
Ov^r floods.
When he treads.
Mountain heads.
Groan and shake :
Armtes quake,
Lest hte spurn
Overturn
Man and steed.
Troops, take heed ;
Left and right
Speed yottr flight,
Lest an host.
Beneath hts foot b6 lost.
Gay^^'K Lilliputian Ode."
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MEASURES EXEMPLIFIED.
^39
This poem is also attributed to Alexander Pope and it is
published in his works.
Measure, Trimeter.
Rhythm, Trochaic.
Formula, Ab X 3.
Sign, — v^ X 3.
Example (i).
Go n6t, happy day,
From the shining fields,
Go n6t, happy day.
Till thS maiden yields.
Rosy Is the West,
Rosy is the South,
Ros^s are h€r cheeks.
And a rose h^r mouth.
When thS happy Yes
Falters from h^r lips,
Pass ^nd blush thS news
0*er thS blowtng ships,
Ov^r blowing seas,
OvSr seas at rest,
Pass the happy news,
Blush !t thro' th6 West,
Till the red m^n dance
By hts r^d ced^r-tree,
And the red m^n's babe
Leap, beyond the sea.
Blush fr6m West t5 East,
Blush fr6m East t6 West,
Till the West Is East,
Blush !t thro* the West.
Rosy is the West,
Rosy is the South,
Roses are her cheeks,
And a rose her mouth.
Alfred Tennyson— ** U^.w6,''
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140
THE ART OF POETRY.
Example (2).
LYRICS AND EPICS.
I wotlld be the Lyric,
£vSr on th^ lip,
Rather than thS Epic
Mem5ry l^ts slip !
I wotlld be th^ diamond
At my lady's ear,
Rather than th6 June-r6se
Worn btit once a year !
Thomas Bailey Aldrich — " Lyrics and Epics.'*
Example (3).
Swinging on a birch-treS
To ^ sleepy tune,
Hummed by all thS breezes
In thS month 5f June !
LittlS leaves a-flutt^r,
Sound like danctng drops
Of a brook 6n pebble ;
Song that nevSr stops.
Lucy Larcom — ** Swinging On a Birch Tree."
Measure, Tetrameter.
Rhythm, Trochaic.
Formula, Ab X 4.
Sign, — ^ X 4.
Example (i).
' ' Your Mission * ' is an excellent poem in trochaic tetra-
meter. We select the last stanza -
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MEASURES EXEMPLIFIED, 141
*' Do n6t, then, sUind idlj^ waitYng
For s6me greater work t6 do ;
Forttlne Is ^ lazj^ goddess,
She wUl nev^r come t6 you.
Go ^nd toil Kn any viney^d, —
Do n6t fear t6 do ^nd dare,
If yoii want & field 6f lab6r,
You c&n find It anjwhere."
Ellen M. H. Gates,
Example (2).
Sound, swe^t song, fr5m some f^r land.
Sighing softlj^ close at hand.
Now 6f joy, and now 6f woe !
Stars are wont t6 glinmi^r so.
Sooner thus will good tlnfold ;
Children young and children old
Gladly hear thy numbers flow.
Goethe— * * Sound, Sweet Song. * '
Another poem that will never die illustrates this measure.
In addition to its perfect versification there is something of
heaven's own music, something supernal, in the poem. Its
lines are so elevating and pure, with a sweet tenderness of
expression unsurpassed :
'* Every tinkle on thS shingles
Has an ech5 in thS heart."
Example (3).
The fifth of six stanzas is here given :
And another comes, t5 thrill m^
With h^r eyes' d^liciotts blue ;
And I mind n6t — musing on h6r.
That h6r heart was all tlntrue ;
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142 THE ART OF POETK K
I r^memb^r but t6 love h^r
With ^ passi6n kin t5 pain,
And my heart's qutck pulsus vibrate
To th^ patter of the rain.
Coates Kinney — '* Rain on the Roof.'*
Measure, Pentameter.
Rhythm, Trochaic.
Formula, Ab X 5.
Sign, — w X 5.
Example (i).
TdU the plumage of thS rush-fl6wer tosses ;
Sharp and soft tn many a curve and line.
Gleam and glow th^ sea-c616red marsh -m6ss&,
Salt and splendtd from thS cIrcUng brine ;
Streak 5n streak 5f glimmering sea shtne crosses
All the land s€a-sattirate as wUh wine.
A, C Swinburne—'' By the North Sea."
Example (2).
** Mother, dear, what is thS wat^r saytag ?
Mother, dear, why does thS wild s^a roar ? "
Cry the children on thS white sand playtng, —
On the white sand, half a mile fr5m shore,
"Little ones, I fear a storm \s growing.
Come away ! Oh, let tis hasten home ! "
Calls the mother ; and the wind te blowing ;
Flashing up a million eyes 6f foam.
Anonymous — * ' The High Tide. ' '
The following poem is by one of our best authors, and
the poem from which selection is taken one of his best lyrics.
The measures are mixed and present an example of :
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MEASURES EXEMPLIFIED.
143
1st, Dimeter ; 2nd, Trimeter ; 3rd, Pentameter ; 4th,
Dimeter ; 5th, Pentameter.
Example (3).
Jinglfi ! Jingle !
How thS fields g6 by !
Earth ^nd air tn snowy sheen cttmminglS,
Far and nigh ;
is thS ground beneath tis, or th6 sky ?
Edmund Clarence Stedman — **The Sleigh Ride."
Measure, Hexameter.
Rhythm, Trochaic.
Formula, Ab X 6.
Sign, — ^v-/ X 6.
Example (i).
NevSr yet h^s poSt sung ^ perfect song,
But hts life was rooted like a tree's, among
Earth's great feeding forcfe — evSn as crags and mould.
Rhythms that stir the forest by firm fibres hold.
Lucy Larcom—*' The Trees."
From the works of the same author we take another
example — the first and third stanzas :
Example (2).
Happy fields 5f summer, all yoiir airy grasses
Whispering and bowing when the West wind passes,
Happy lark and nestling, hid beneath the mowing,
Root sweet music in yoti, to the white cl5uds growing.
Happy little children, skies are bright above yotl.
Trees bend down t6 kiss yoti, breeze and bloss6m love yotl;
And we bless yoti, playing in the field-paths mazy.
Swinging with the harebell, dancing with the daisy !
Lucy Larcom — *' Happy Fields of Summer."
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1 44 THE AR T OF POETR Y.
Example (3).
Now thS hare fe snared and dead b^ide the snow-y^rd,
And the lark beside the dreary winter sea,
And my baby in h!s cradle in the church-y^rd
Waiteth there tintil the bells brtng me.
Charles Kingsley—'' The Merry Lark. "
Each couplet of the trochaic hexameter is sometimes
divided into alternate lines of six and ?iwe syllables, forming
the trochaic iis of our hymns.
Measure, Heptameter.
Rhythm, Trochaic.
Formula, Ab X 7.
Sign, — w X 7.
Iambic heptameter is what is termed ballad meter, being
lines of tetrameter and trimeter alternately. There can be
no good reason shown why trochaics can not also be used
in the same manner. One thing, however, must necessarily
be observed, where it is thus divided, every other line becomes
iambic While the first and third lines will be trochaic and
catalectic, the second and fourth will be iambic and hyper-
meter.
Trochaics of seven feet are exceedingly rare. We find
few examples. It is not certainly on account of the extreme
length, for trochaics octometer of late years are plentiful and
can no longer be termed ''prosodial anomalies,'* as they
were formerly termed.
This is the 7s and 6s of our hymns :
*' Stop, po6r sinner, stop ^nd think,*'
Before yoti further go ;
Will yoti sport tipon the brink
Of everlastlfng woe? "
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MEASURES EXEMPLIFIED, 145
It will be observed the second and fourth hnes are iambic.
If, however, the lines were not alternated they would be
trochaic.
Example (i).
Cle6n sees n6 charms !n nattire, in a dais5^ I ;
Cle5n hears n6 anthem ringing in th^ sea and sky ;
Nattire sings t5 me fbrevSr, earnest listener I ;
State fbr state, wtth all attendants, who wotlld change ? N6t I.
Charles Mackay — " Cleon and I."
Example (2).
Holy, holy, holy ! Though th^ darkness hide The€,
Though th^ eye 5f sinfttl man Thy- glory may n5t see,
Only Thou, God, art holy ; there is none b&ide The^,
Perfect Thou \n power, In love and purUy !
Reginald Heber—'' Trinity Hymn.'*
Example (3).
Hasten sinner to repent the^, turn t6 God and live,
Seek f6r mercy, beg fbr pard5n, God alone can give ;
Leave thS sinfttl throng fbrev^r, sinner, why delay ?
Seek fbrgiven&s, seek his blessing, haste theS, haste away! —
Trust Him, sinner, he will bless the^, only mercy crave
Trust thy loving, loving Saviotir, He alone can save.
Come t5 Jestis, to thy Saviotir, plead before to6 late,
Come In s6rr6w, come repentant, do n5t longer wait.
Christ has left a true rSligi5n, that w^ may n6t err.
Come and share It, choose It, sinner, will yoti not prefer
A rSligi5n that can save yoti in that world above ?
Where Is bliss and endlfes pleastire — God alone Is love.
" Hasten Sinner to Repent Thee."
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146 THE ART OF POETRY.
Measure, Octometer.
Rhythm, Trochaic.
Formula, Ab X 8.
Sign, — w X 8.
Example (i).
She w^s walking in thS spring-time, in thS morning-tide 6f life,
Little reckoning of thS journey, of Its perils and Its strife ;
For thS flowers w^re peeping coyly, and th^ sunshine glistened
bright.
And th^ dewdr5ps lingered, quivering, like fairj^ bells 6f light.
Not ^ cloud was in th^ heavens, not a surge w^s on thS deep.
For thS rimpl^d sea l^y breathing in an unlmpassi5ned sleep,
And th6 fresh gre^n leaves wSre nodding, to th^ whispers of the
breeze —
** Oh ! the world mttst be S paradise with promises like these !
There's n5 canker in the bl6ss6ms, and n6 blight tipon the trees.**
Hunter— " The Curtain."
Example (2).
In the spring a fuller crimsttn comes tipon the robin's breast ;
In the spring the wantOn lapwing gets himself another crest ;
In the spring a livelier iris changes on the burnished dove ;
In the spring a young man's fancy lightly turns t6 thoughts 5f love.
Alfred Tennysofi — " Locksley Hall."
Example (3).
Ah, distinctly I remember, it was in the bleak December,
And each separate dying ember wrought Its ghost tipon the floor.
Eagerly I wished the m6rr6w ; vainly I had sought t6 borrow
From my books stircease 5f s6rr6w, — sorr5w for the lost
Lenore,—
For the rare and radiant maiden whom the angels name Lenore,—
Namel<^ss here fttrever more.
Edgar A. Poe— ''The Raven "
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MEASURES EXEMPLIFIED. 147
IAMBIC.
As before observed the iambic measure is used more than
all others combined. Accent in iambic verse is placed on
the even syllables, and the odd ones are unaccented.
This measure must always be commenced with a regular
foot of two syllables, although the first may be a trochee,
and often is. However, the first foot cannot be commenced
with a single syllable. By an attempt to commence the
first foot of the verse with a single accented syllable, you
will simply change the measure to trochaic. A single sylla-
ble not accented, frequently is added to the end of the verse.
It is, however, not to be reckoned as anything but super-
numerary unless we should term the ending an amphibrach.
Dactyls and anapests, where they serve to explain the
meter of a line of poetry should be used, as it is far better
to do so than to have recourse to extra metrical syllables.
It is sometimes difficult to tell theprevailing foot. However^
only the accents are to be counted,and where a proper scan-
sion is made the introduction of other feet causes no trouble.
A dactyl may be often employed instead of a trochee, an
anapest for an iambus. This usually occurs where one un-
accented vowel precedes another in what we usually regard
as separate syllables, and both are clearly heard, although
uttered in such quick succession that both syllables occupy
only half the time in utterance a long syllable would require, ,
as :
Ftill many & gem 5f purest ray serene.
•* Gray's Elegy."
ThS murmuring wind, th^ quivering leaf,
Shan softl? tell tis thou art near ! ^
Oliver Wendell Holmes— -'' Hymn of Trust."
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148 THE ART OF POETRY.
The words *' murmuring" and "quivering" are pro-
nounced naturally with more rapidity. So too ** many a **
in the first example.
Lines may contain ten syllables and yet be only iambic
tetrameter. The last two syllables being hypermetrical, as:
Thfire was Sn ancient sage Ph!los6ph^r
Wh6 had rSad Al^xand^r Ross 5vSr.
Butler's "Hudibras."
Extra metrical syllables can, however, occur, and are per-
missible only at the end of a line, or verse. Such syllables
are always unaccented.
Measure, Monometer.
Rhythm, Iambic.
Formula, bA.
Sign, w — .
Poems in this measure are very rare. The measure is
often used, however, to construct a single line, in combi-
nation with other lines in forming a stanza.
Example (i).
Thtis I As one I'm made
pass by tJnknown A shade,
^nd die. And gone ! And laid
I' th' grave ; Whgre tell
Th^re have I dwell.
My cave : Farewell.
Robert Herrick — **Upon His Departure Hence."
\
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MEASURES EXEMPLIFIED.
149
Example (2).
At morn,
And thy
I hear
Gay trill
Thy note,
Is'but
56 cheer,
His will,
Sweet Thrush.
Thrush !
The while
May I
1 dream.
Be heard,
In song
Like thee.
Yoti teem.
F6nd bird.
Blithe Thrush.
Bright Thrush :
G5d made
T6 sing
The earth
G5d*s praise,
T6j6y
Sweet as
In mirth
Thy lays,
Dear Thrush.
Example (3).
And he
Wh6m we
See dejected.
Next day
we may
See erected.
Br6wn Thrush.
"The Thrush."
/^<?rw^—* 'Anacreontic. ' '
Example (4).
Hark ! hist !
Around
A list !
The bounds
Of space
All trace,
Efface
6f sound.
Victor Hugo-'*Th^ Djinns."
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J CO ^^^ ^^^ ^^ POETR K
Measure, Dimeter.
Rhythm, Iambic.
Formula, bA X 2.
Sign, N-^ — X 2.
Example (i).
Once through th^ fortet
Alone I went ;
T5 seek fbr nothing
My thoughts wSre bent.
1 saw !n thS shad6w
A flower st^nd there ;
As stars U glistened,
As eyes 'tw^s fair.
I sought t6 pluck U, —
It gently said ;
" Shan I be gathered
Only t5 fade?*'
WUh all Its roots
I dug ft with care,
And took ft home
T6 my garden fair.
In silent corner
So6n it w^ set ;
ThSre grows ft ev6r —
ThSre blooms ft yet.
Goethe— ^"'YQxmAV
Example (2).
Thbugh care Snd strife
Elsewhere b^ rife,
tJpon my word I do n5t heed *Sm ;
In bed I lie
With books hard by,
And with Increasing zest I read 'Sm.
Euzene Field— '^T>e^ Amicitiis."
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MEASURES EXEMPLIFIED,
151
Measure, Trimeter.
Rhythm, Iambic.
Formula, bA X 3.
Sign, w — X 3.
Example (i).
Oh you the virgtas nine,
That do 5ur souls incline
T6 noble discipline.
N5d to this vow 6f mine !
C5me then, ^nd now inspire
My vi5I and my lyre
With your eternal fire,
And make vcA one Entire
Composer in yotir choir.
Then I ' 11 yotir alters strew
With roses sweet Snd new,
And ever live & true
Acknowledger 6f you.
Robert Herrick — "A Hymn to the Miises."
Example (2).
Lost! lost! lost!
A gem 6f countless price
Ctit from the living rock.
And graved in Paradise,
set round with three times eight
L^rge diam5nds, clear ^nd bright.
And each with sixty smaller ones.
All changeftil as the light.
Mrs, Lydia H. Sigourney — "A Lost Day."
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152
THE ART OF POETRY.
Example (3).
C6ine, all y^ jollj^ shepherds
That whistle through the glen,
I'll tell yoti of a secret
That courtiers dinna ken :
What IS the greatest bliss
That the tongue 6f man can name?
*Tte t5 woo a bonnte lassie
When the kye c5mes hame !
James Hogg—'* When the Kye Comes Hame."
Measure, Tetrameter.
Rhythm, Iambic.
Formula, bA X 4.
Sign, w — X 4.
Example (i).
F6r while th6u lingerest in delight,—
An idle poet, with thy rhyme.
The summer hours wtll take their flight
And leave thee in a barren clime.
Thomas Bailey Aidrich—** Song Time."
Example (2).
I once knew all the birds that came
And nested in 6ur orchard trees ;
F6r every flower I had a name —
My friends were wood-chticks, toads, and bees ;
1 knew where thrived Jn yonder glen —
What plants wotild soothe a stone-brttised toe-
Oh ! I was very learned then ;
Btit that was very long ago !
Eugene Fteid—** Long Ago."
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MEASURES EXEMPLIFIED, j^^
Example (3).
Have you n6t heard thg po^ts tell
H5w came the daintj^ Babj^ Bell
Int6 this world 6f ours ?
The gates 6f heaven wSre left ajar :
With folded hands and dreamj eyes,
Wandering out 6f Paradise,
She saw this planet, like a star,
Htlng in the glistening depths 6f even-
Its bridges, running to and fro,
0*er which the white-winged Angels go,
Bearing the holj^ dead t6 heaven.
She touched a bridge 5f flowers— thfise feet
S6 light they did n6t bend the bells
6f the celestial asph6dels,
They fell like dew tlpon the flowers ;
Then all the air grew strangelj^ sweet !
And thus came daintj^ Babj^ Bell
Int6 this world 6f ours.
Thomas Bailey Aldrich—'' Baby Bell.''
Example (4).
" Man wants btlt little here below,
N5r wants that little long."
*Tls not with me exactly so,
Biit 'tis s6 in the song.
M j^ wants are manj^, and If told,
Wotild muster many^a score :
And were each wish a mint 6f gold,
I still shotlld long fbr more.
John Quincy Adams, "The Wants of Man."
Example (5).
Wj days among the dead are passed ;
Around me I behold,
Where'er these casttai eyes are cast,
The mighty minds 5f old :
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154
THE ART OF FOE TR V.
My nevCr-faillng friends are they
With whom I converse night find day.
WYth them I take delight \n weal.
And seek relief \n woe ;
And while I understand ^nd feel
H5w much t6 them I owe,
My cheeks h^ve oftSn been brewed
WYth tears 6f thoughtmi gratUude.
J^odert Souihey—'* The Library."
Example (6).
The Fays th^t to mj christening came
(F5r come they did, my nurses taught me,)
They did n5t bring me wealth 6r fame,
'Tls very little that they brought me.
Belt one, the crossest of the crew,
The ugly old 5ne, uninvited,
said, "I shall be avenged 6n you,
My child ; yott shall gr6w up sh6rt-sighted ! **
With magic juices did she lave
Mine eyes, and wrought her wicked pleastlre.
wen, of an gifts the Fairies gave,
H^rs is the present that I treastire !
The bore wh6m others fear and flee,
1 do n6t fear, I do n6t flee him ;
I pass him calm as calm can be;
1 do n5t cut— 1 do n6t see him !
And with my feeble eyes and dim,
Wh&re you see patchy fields and fences,
F6r me the mists 6f Turner swim —
My " aztire distance " soon c6mmences !
Nay, as 1 blink about the streets
Of this befogged and miry city.
Why, almost every girl 6ne meets
Seems preternattirally pretty !
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^CAUFOR^gi
MEASURES EXEMPLIFIED,
155
" Try spectacles,*' 6ne*s friends !nt6ne ;
" Yoti'll see th^ world c5rrectiy through th6m."
Btit I hSve visi6ns of m^ own,
And not f5r worlds wotild I tindo th6m.
Andrew Lang—'' The Fairy's Gift.'*
Example (7).
As, by s6nie tyrant's stem c5mmand,
A wretch fftrsakes hKs native land.
In foreign climes C5ndemned t6 roam
An endl^s ex!le from hfe home :
Pensive h6 treads the destined way,
And dreads t5 go, n5r dares t6 stay ;
Till on s5me neighboring mountain's brow
HS stops, and turns his eyes b^low ;
There, melting at the well-kn6wn view,
Drops a last tear, and bids adieu ;
S5, I thtis doomed fr5m thee t6 part,
Gay queen 5f fancj and 5f art.
Reluctant move, with doubtftil mind.
Oft stop, and often look behind.
Sir William Blackstone — **A Lawyer's Farewell to His Muse."
Measure, Pentameter.
Rhythm, Iambic.
Formula, bA X 5.
Sign, w — X 5
Example (i).
*
Fair insect ! that, with thread-like legs spread out,
And blood-extracting bill, and film? wing,
D6st miirmtlr, as thotl slowlj^ sail'st about,
In pitiless ears fttll many a plaintive thing ;
And tell'st h5w little our large veins shotild bleed,
Wotild we btit yield them freely in thy need.
Bryant— '"Yo a Mosquito."
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156 THE AR T OF POE TR Y.
Example (2).
fiternai Hope ! wh^n yonder spheres stiblime
Pealed th^ir first notes t5 sound the march 6f Time,
Thy joyoiis youth b^gan — btlt not t5 fade.
WhSn all the sister planets have decayed,
When wrapt in fire the realms 5f ether glow
And heaven's last thunder shakes the world below,
Th6u, undismayed, sh^lt o'er the ruins smile,
And light thy torch at Nattire's funeral pile.
Thomas Campde//—'* Pleasures of Hope."
Example (3).
In all my wanderings round this world 6f care.
In all my griefs — and God has given my share —
1 still had hopes my latest hours t6 crown,
Amidst these humble bowers t5 lay me down ;
T6 husband out life's taper at the close,
And, keep the flame fr5m wasting by repose :
I still had hopes, fbr pride attends tis still.
Amidst the swains t6 show my book-learned skill,
Around my fire an evening group t6 draw.
And tell 6f all I felt, and all I saw ;
And, as a hare, wh5m hounds and horns ptirsue,
pants to his place fr5m whence at first she flew.
I still had hopes, my long vexatiftns past.
Here to return—and die at home at last.
Oliver Goldsmith — " Deserted Village."
H Example (4).
What is't t5 us. If taxes rise 5r fall ?
Thanks to 6ur fortune, we pay none at all.
Let muckworms, who In dirty acres deal.
Lament th5se hardships which we cann6t feel.
His Grace, wh6 smarts, may bell6w if he please,
Btit must I bell6w too, wh6 sit at ease ?
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MEASURES EXEMPLIFIED. 157
By custttm safe, thS port's numbers flow
FreS as th6 light and air s5me years ago.
N5 statesman e*er wtll find ft worth hfe pains
T6 tax 5ur Iab6r5 and Excise 6ur brains.
Burthens Itke these, vtle earthly buildings bear ;
N6 tribtite laid 6n castle in th^ air !
Charles Churchill—' * The Poverty of Poets. ' '
Measure, Hexameter.
Rhythm, Iambic.
Formula, bA X 6.
Sign, ^-^ — X 6.
Example (i).
B^ide thts massKve gateway
Built up \n years g6ne by,
tJpon wh6se top thS clouds
In Sternal shad6w lie,
While streams thS evening siinshlne
On thS quiSt wood and lea,
I stand and calmly wait
Till thS hing^ turn f6r me.
William Cullen Bryant—'' Waiting by the Gate."
Example (2).
Adore n5 God besides mS, to pr6v6ke mine eyes ;
N6r worship me In shapes and forms that men dfivise ;
With reverence use my name, n5r turn my words t6 jest ;
Observe my Sabbath well, n6r dare pr5fane my rest ;
H6n5r and due 5bediSnce to thy parents give ;
N6r spill thS guiltless blood, n5r letthS guilty live ;
Pr&erve thy body chaste, and flee thS tinlawf&l bed ;
N6r steal thy neighb5r*s gold, his garment, or his bread ;
F6rbear t6 blast his name with falsehood or d^eit ;
Nttr let thy wish^ loose tipon his large Estate.
Dr. Isaac \^atts—" The Ten Commandments Versified."
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1 58 THE ART OF FOE TR K
Example (3).
What ails the^, young One? what ? Why pull s6 at thj^ cord ?
Is It nOt well wtth thee ? well both f6r bed ftnd board ?
Thy plot 6f grass fe soft, And green tis grass c^n be ;
R6st, little young One, rest ; what Is't that aileth thee ?
Wordsworth—'' The Pet Lamb."
The iambic hexameter is seldom employed by our poets,
except in combination with other measures. It is used to
form the last line of the Spenserian stanza.
Measure, Heptameter.
Rhythm, Iambic.
Formula, bA X 7.
Sign, w — X 7.
This is our regular ballad meter. For greater conven-
ience, owing to its length, it is generally written in alternate
lines of four and three feet.
It is a favorite measure, and perhaps more examples may
be found in it than almost any other kind.
Dr. Holmes, always a felicitous writer, has few better
poems than the one from which we quote the first stanza.
It is in ballad meter :
Example (i).
for 5ne hour 6f youthftil joy !
Gtve back my twentieth spring !
I'd rather laugh a bright- hnired boy
Than reign a gray-bfiard king !
' ' The Old Man Dreams ' '
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MEASURES EXEMPLIFIED. j^g
Example (2).
The South-wtnd breathes, and 16 ! yoft throng
Thfe rugged land 6f ours:
I think thS pale bltte clouds ttf May
Dr6p down, and turn tO flowers.
Thojnas Bailey Aldrich—'' The Bluebells of New England.'*
Example (3).
As one wh6 cons at ev^nYng 6*er an albtim all alone,
And mus^ on th^ fac^s of th^ friends that he has known,
Stt t turn the leaves 6f fancy till, tn shadttwy d^ign,
1 find the smiltng feattires of an old sweetheart 6f mine.
James Whitcomb Riley—'' An Old Sweetheart."
Example (4).
The matron at her niirrOr, with her hand tipon her brow.
Sits gazYng on her lovely face — ay, lovely even now ;
Why doth she lean tipon her hand wUh such a look 6f care?
Why steals that tear across her cheeks ?— She sees her first gray
hair.
Thofftas H. Bayly—*' The First Gray Hair."
Measure, Iambic.
Rhythm, Octometer.
Formula, bA X 8.
Sign, w — X 8.
Owing to the length of the lines we usually find this
measure written in stanzas of four lines, rhyming alternately : .
Example (i).
tt was the time when lilTes blow.
And clouds are highest iip !n air,
L6rd Ronald brought a lily-whtte doe
T6 give hts coustn. Lady Clare.
Alfred Tennyson—'' I^dy Clare.**
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l6o THE AR T OF FOE TR Y.
Example (2).
Th^ light 6f smiles shall fill again
Th^ lids thnt overflow wTth tears ;
And wearj? hours 6f woe and pain
Are promtses 6f happier years.
^rva;//—'* Blessed Are They That Mourn."
DACTYLIC.
Verse in dactylic rhythms is not so common as in other
rhythms. It is, however, capable of great results. It is a
stately rhythm, and one in which some of our best battle
hymns are written. Love, pathos, grief and all the tender
emotions are expressed in this rhythm with durable effect.
Patriotism finds true expression in dactylic accents. Tetra-
meter verse is the favorite measure of writers of this rhythm.
Dactylic with single rhymes end with a caesura or single
foot ; while double rhymes end with a trochee ; full dactylic
usually form triple rhymes. Dactylic poetry is seldom pure
and regular.
Measure, Dimeter.
Rhythm, Dactylic.
Formula, Abb X 2.
Sign, — v^ v-^ X 2.
Example (r).
Little whUe Lil5^
Sat h^ a Stone,
DroopTng and wilttng
Till th^ sttn shone.
Little whtte Lily
Sunshtne has fed ;
Little white Lily
Is lifttng her head.
George Mac Donald— ''The^ White Lily."
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MEASURES EXEMPLIFIED. 15 j
Example (2).
Make n6 de^p scrutiny
Int5 hfir mutiny,
Rash and tinduttftil :
Past all dKshon6r,
Death has l^ft on h^r
Only th^ beauttmi.
Thomas Hood—' Bridge of Sighs."
Example (3).
'* Room fbrWmint5 the
Ranks 6f htimantty ;
Give htm a place tn yotir
Kingdftm 6f vanity !
Welc6me th6 stranger with
Kindly affectiftn ;
Hopemiiy, trustftilly,
N6twfthdejecti5n."
"My Boy."
Example (4).
Rising and leaping,
Sinking and creeping,
Swelling and sweeping,
Showering and springing,
Flying and flinging,
Writhing and ringing.
Eddying and whisking,
Spouting and frisking,
Tiiming and twisting,
Around and around —
With endless rebound I
Robert Southey — '* The Cataract of Lodore.'
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l62 THE ART OF POETRY,
Example (5).
Half ^ league, half ^ league,
Half iL league onward,
All !n the valley 6f Death
Rode the six hundred.
•' Forward, thS Light Brigade !
Charge fbr the guns," he said :
lnt5 the valley 6f Death
Rode the sKx hundred.
Tennyson—'' The Charge of the Light Brigade."
Example (6).
Bird 6f the wilderness,
Blithesome and cumberiess,
Sweet be thf matin, 6'er moorland and lea !
Emblem 6f happiness.
Blest !s thj^ dwelling place —
O, t6 abide tn the desert with thee !
Wild is thy lay and loud
Far in the down^ cloud,
Love gives it energy, love gave it birth.
Where, 5n thy dewy wing,
Where art th6u journeying ?
Thy lay is in heaven, thy love is 611 earth.
O'er fell and fountain sheen
O'er mo5r and mountain green.
O'er the red streamer that heralds the day.
Over the cloudlet dim,
Over the rainb5w's rim.
Musical chertlb, s6ar, singing away !
Then, when the gloaming comes.
Low in the heather blooms
Sweet will thy welc5me and bed 5f 16ve be !
Emblem 5f happiness,
Blest is thy dwelling place —
O, t6 abide in the desert with thee !
James Hogg^'*TYiQ Sky Lark.**
The above is dimeter, trimeter and tetrameter.
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MEASURES EXEMPLIFIED.
163
Measure, Tetrameter.
Rhythm, Dactylic.
Formula, Abb X 4.
Sign, — v^ vw^ X 4.
Example (i).
C6v6r them ov^r wKth beautlf&I flowers ;
Deck th^m wfth garlands, th6se brothers 6f ours ;
Lying s6 silent, by night and by day,
Sleeping tb6 years ttf th^ir manhodd away :
Years th^y had marked fttr thS joys ttf the brave ;
Years thfiy mtlst waste in the sloth 5f the grave.
All the bright laurels they fought td make bloom
Fell t6 the earth when they went t6 the tomb.
Give them the meed they have won in the past ;
Give them the honttrs their merits forecast ;
Give them the chapiets they won in the strife ;
Give them the laurels they lost with their life.
Cover them over— yes, cover them over-
Parent, and husband, and brother, and lover :
Crown in yotir heart these dead her5es ttf ours,
And cover them over with beaiitiftll flowers.
mil Carlelon—' 'Coy&[ Them Over."
Example (2).
Weary way-wanderer, languid and sick at heart.
Traveling painftiliy over the rugged r6ad,—
Wild-visaged wanderer I God help thee, wretched 6ne !
Robert Southey— ** The Soldier's Wife."
Example (3).
Hail t5 the Chief wh5 in tritimph advances I
H6n6red and blessed be the evergreen pine !
Long may the tree, in his banner that glances
Flourish, the shelter and grace 6f 6ur line !
Sir Walter 5^^//— "Boat Song."
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164
THE AK T OF FOE TR V.
Example (4).
Come t5 m^, dear, ^re I die 6f my sorr6w,
Rise 5n m^^ gloom like th^ sun 6f t6-m6rr6w.
Strong, swift and fond Ss thS words that 1 speak, 16ve
Wtth a song 6n yotir lip Snd Sl smile 5n yotir cheek, 15ve.
Come, f5r mf heart \n yotir absence fe weary —
Haste, fbr my spirit \s sickened Snd dreary —
Come t5 th^ arms whtch alone shotild caress the^.
Come t5 thS heart which Ks throbbing t6 press the^ !
Joseph Brennan — ** Come to Me, Dearest.'
Measure, Hexameter.
Rhythm, Dactylic.
Formula, Abb X 6.
Sign, — v^ s-^ X 6.
Example (i).
Beauttfiil was th^ night. Behind the black wall 6f the forest,
Tipping Its summit with silver, arose the moon. On the river
Fell here and there throtlgh the branches a tremtilotis gleam 6f the
moonlight,
Like the sweet thoughts 5f love 6n a darkened and devlotis spirit.
Nearer and round about her, the manlf51d flowers 6f the garden
Poured 6ut their souls In 6d6rs, that were their prayers and
c6nfessi5ns
Unt5 the night, as It went Its way, like a silent Carthusian.
Fuller 5f fragrance than they, and as heavy with shad5ws and
night dews.
Hung the heart 5f the maiden. The calm and the magical moon-
light
Seemed t5 Inundate her soul with Indeftnabie longings,
As, throtigh the garden gate, and beneath the shade 6f the oak
trees
Passed she along the path t6 the edge 6f the meastireiess praries.
Henry Wadsworth Longfellow — " Evangeline on the Prairie."
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MEASURES EXEMPLIFIED.
ANAPESTIC.
^65
Anapestic measure is growing in favor year by year, and
the tumbling meter of King James is one of the beautiful
rhythms of modern verse. It is interchangeable with the
iambus, as well as other measures, especially the dactylic
and amphibrach. An iambus is frequendy the first foot of
anapestic measure. Anapestic tetrameter is very smooth
flowing, a rhythm some of our poets use with admirable
effect, producing verse of both melody and vigor. It is
well adapted to cheerful and humorous verse.
Measure, Monometer.
Rhythm, Anapestic.
Formula, bbA.
Sign, v^ w — .
Anapestic monometer- is rarely met with except where it
is used as a refrain or in combination with other measures of
verse. It is so near akin to trochaic catalectic dimeter, that
it is often extremely difficult to distinguish it from that meas-
ure. Anapestic verse is very often mixed, and its measure
can only be determined by a careful scansion, and, by the
prevailing primary measure or foot.
Example (i).
In the sleigh
H!e away !
HSre w^ go
On the snow.
In a trance,
H6w we dance
Steeds Sway
Oh h6w gfiy »
M&sic-s wells
Of the bells
In the night
Gtve delight.
In a daze
H6w we gaze
In a maze
At the sleighs !
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1 66
THE ART OF POETRY.
N6w we rtde, *Tts a treat,
Nttw we glide, On the sleet —
Swtft g6 by WUh yotir Sweet
H5w we fly ! T5 g6 sleightng !
'•The Sleigh Ride/'
Example (2).
Then we go
T6 and fro,
Wfth 6ur knacks
At 6ur backs,
T5 stlch streams
As the Thames
If we have the leistire.
Chalkhi/l—'' The^ Angler.*'
**The Angler** is a trochaic j>oeni, although these lines
are readily scanned as anapestic monometer.
Measure, Dimeter.
Rhythm, Anapestic.
Formula, bbA X 2.
Sign, N-^ v-^ — X 2.
Example (i).
He is gone ! He Ks gone !
LKke the leaf fr6m the tree,
6r the down that te blown
By the wind 6'er the lea.
He ts fled, the light-hearted !
Yet a tear mtist hSve started
T6 hKs eyes, when he parted
Fr5m 16ve stricken me.
Motherwell^'* He is Gone — He is Gone.**
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MEASURES EXEMPLIFIED.
The stanza below from the ** Heathen Chinee"
pestic dimeter, trimeter and tetrameter :
167
Example (2).
Which I wish t6 remark —
And mj^ language !s plain —
That fbr ways that ^re dark
And fbr tricks that are vain,
Th^ heathen Chinee is peculiar :
Whkh thS same I wodld rise t5 Explain.
Bret Harte — '* Plain Language from Truthful James. "
Example (3).
Th^ blessM 5Id fire-place ! httw bright tt appears,
As back t6 mj^ b6yho6d 1 gaze,
0*er the des5iate waste 5f th^ vanfehing years,
Fr6m thS gloom 6f th^se lone lattSr-days ;
Its lips are as ruddy, its heart is as warm
T6 my fancj^ t5night as 5f yore,
When we cuddled around it and smiled at the storm.
As it showed its white teeth at the door.
Jmnes Newton Matthews— **T\\q Old Fireplace."
This stanza is anapestic trimeter and tetrameter.
Measure, Trimeter.
Rhythm, Anapestic.
Formula, bbA X 3.
Sign, WW — X 3.
Example (i).
I am monarch 5f all I siirvey,
My right there is none t6 dispute ;
Fr6m the centre all round \6 the sea,
I am lord <3f the fowl and the brute.
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1 68 THE ART OF POE TR K
SolTttide ! where ^re th6 charms
That sag^s have seen tn thy face ?
Better dwell tn thS midst 5f alarms
Than reign tn thTs horrible place.
mniatn 0?ze^^r—** Alexander Selkirk."
Example (2).
Oh, Love IS a wondfirfbl wizard ! /
HS can see by his own keSn light,
H6 laughs at the wrath 6f th^ tempest,
He has nevSr a fear 6f the night.
Tw6 lives that are wedded leagues hold n6t apart, —
L6ve can hear, e'en thro&gh thunder, the beat 6f a heart.
Lficy Larcom — "On the Misery Islands."
This stanza is trimeter and tetrameter :
Measure, Tetrameter.
Rhythm, Anapestic.
Formula, bbA X 4.
Sign, ^-^ >--^ — X 4.
Example (i).
Mr. 'Liakini Smith was a liard-ftsted farmer
Of moderate wealth,
And Immoderate health,
Wh6 fifty-6dd years Kn a stub and twist arm6r
Of callotis and tan, had fought Itke a man
HKs 5wn dogged progress throtigh trials and cares,
And log-heaps, and brush-heaps, and wild cats and bears,
And agties and fevers, and thistles and briars,
Po6r kinsman, r!ch foeman, false saints, and trtie liars ;
Wh5 6ft, like ** the man in 6ur town," 6verwise,
Throtigh the brambles 6f err5r had scratched 6ut hts eyes,
And when the tin welcome result he had seen.
Had altered hts n6ti6n.
Reversing the m6ti5n
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MEASURES EXEMPLIFIED.
169
And scratched thSm b5th In ^gain, perfect ftnd clean ;
Wh5 had weathered s5me storms, ^s ^ sail6r might say,
And tacked t6 the left and thS right 6f hts way,
TTfll hS found hTmsSlf anch5red, pjist tempests and breakers,
Opon a go6d farm 5f a hundred-6dd acres.
Win Car/e^on—** The Three Lovers."
Example (2).
When the candles biirn low, and the company's gone,
In the silence 6f night as I sit here alone —
I sit here alone, btit we yet are a pair ^-
Mj^ Fanny I see \n mf cane-b5tt5med chair.
William Makepeace Thackeray — "The Cane- Bottomed Chair."
Example (3).
My heart's tn the Highlands, mj heart te n6t here ;
My heart's !n the Highlands a-chasing the deer ;
Chasing the wtld deer, and foll5wtng the roe,
My heart's in the Highlands wherever 1 go.
Farewell t6 the Highlands, farewell t5 the North,
The birth-place 6f val6r, the country 6f worth ;
Wherever I wander, wherever I rove.
The hills 6f the Highlands fbrever I love.
Robert Burns — " My Heart's in the Highlands
Example (4).
young L6ch!nvar is c6me out 6f the west;
Throtigh all the wide border, h!s steed was the best ;
And save his go6d br6adsw6rd he weapons had none,
He rode all iinarmed, and he rode all alone.
S6 faithftil In love and s5 dauntless In war,
There never was knight like the young L6chtnvar.
Sir Walter Scott— * ' Lochin var.
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lyo THE ART OF POETRY,
Example (5).
ThS go6d ship Arbeim is leading thS fleet,
Away t6 thS westward throtigh rain-st5rm ^nd sleet ;
ThS white cliffs 6f England h^ve dropped otit 6f sight :
As birds fr6m thS warmth 6f their nests taking flight
Int5 widSr h5riz5ns €ach fluttering sail
Foll6ws fast where the Mayfl6wer fled 5n the gale
With her resttltite Pilgrims, 6n winters before ;
And the fire 6f their faith lights the sea ^nd the shore.
Lucy Larcom — "The Lady Arbella."
Meabure, Hexameter.
Rhythm, Anapestic.
Formula, bb A X 6.
Sign, v^ vw/ — X 6.
Example (i).
MJ^ sister '11 be down In ^ mintite, ^nd says yoti're t6 wait, If yoti
please,
And says I might stay till she came, If I'd promise her never t6
tease
N6r speak till yoti spoke ttt me first, btit that's nonsense, f5r how
wottld yoti know
What she told me t6 say If 1 didn't? D5n't yoti really ^nd truly
think so?
Bret Harte — ** Entertaining her Big Sister's Beau."
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CHAPTER XL
IMITATION OF CLASSICAL MEASURES.
MANY of our modern poets have experimented in the
classical meters. Cowper, Sou they, Kingsley,
Swinburne, Longfellow and Tennyson, have all imitated
classic measures. The results in most instances are not
practical, and have furnished us only with curiosities in
literature. There are said to be some twenty-nine Greek
and Latin meters. As all Latin and Greek verse depended
upon quantity, and English verse depends upon accent, we
do not believe classical measures can be successfully
adopted in English.
In addition to Latin Pentameters and Hexameters, some
English poets have imitated Greek Sapphics and Alcaics.
Alkaios was a lyric poet born in Mitylene, the capital of
Lesbos, who flourished B. C. 606 years. He was supposed
to have been the inventor of the Alcaic Ode, an ode written
in the Alcaic meter composed of several strophes, each
consisting of four lines. An Alcaic strophe consisted of
two Alcaic hendekasyllables, one Alcaic enneasyllable, and
one Alcaic decasyllabic. The following imitation by the
poet laureate of England is given :
mighty mouthed !nyent6r (5f harmdnKes,
6 skilled t6 sing 5f Time 6r fiternlty,
G6d-gift^d organ-voice 6f England,
Milt5n, a name t6 resound f5r agSs.
Tennyson — * * Milton. * *
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iy2 THE ART OF POETRY,
The Sapphic meter is a kind ol verse said to have been
invented by Sappho, a Greek poetess, nearly contempo-
raneous with Alkaios, born at Mitylene, in the Island of
Lesbos, B. C. 600. The Sapphic verse consisted of eleven
syllables in five feet, of which the first, fourth and fifth are
trochees, the second a spondee, and the third a dactyl.
This verse, or line, is thrice repealed and followed by an
Adonic. The following lines imitate the Sapphic :
Cold w^s th^ night-wJnd, drifting fast thS snow fell,
Wide w€re thS downs, ^nd shelterless Snd naked,
When a po5r Wanderer struggled on her journey,
Weary ^nd way-s6re.
6b7/MO'— "The Widow.*
Here is still another imitation of this measure :
All the n!ght sleep c^me not tipon mj^ eyeUds,
Shed n6t dew, nor sho6k nor tinclosed a feather,
Yet with lips shut cl6se and with eyes 6f ir6n
Stood ^nd beheld me.
Swinburne — * ' Sapphics. * '
Dr. Watts gives a vivid picture of the last day, in
Sapphics :
Tears the str5ng pillars of the vault 6t heaven.
Breaks tip 51d marble, the repose 6f princes ;
See the graves open, and the bones Arising.
Flames ^11 Ground them !
Watts—'' The Day of Judgment."
Hexameter verse was the heroic verse of the classics.
It consists of six feet properly dactyls, the last of which is
shortened by one syllable and so became a trochee, or, as
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IMITATION OF CLASSICAL MEASURES. i-jt^
the final syllable is long by position, a spondee. This
form was not always observed strictly, and the first four
feet were indifferently dactyls or spondees, the former
being used to produce the idea of rapid, the latter of slow,
laborious movement. The fifth foot should always be a
dactyl, sometimes, though rarely, it is replaced by a spon-
dee, in which case the fourth foot must be a dactyl.
Ov^r th^ sea, p^st Crete, 6n thS Syrian shore t5 thS southward.
Dwells !n th^ well-tKlled lowland ^ dark-haired -/Ethi5p people,
Skillftil wKth needle ^nd loom, and th^ arts 6f th^ dy^r Jtnd carver,
Skillfai, btit feeble 6f heart ; f5r th^y know n5t the lords 6f
Olymptis.
Lovers 5f men ; neither br6ad-br6wed Zeiis, n6r Pallas Athene,
Teacher 6f wisd6m t6 her5es, bestower 6f might In the battle ;
Share n5t the cunning 6f Hermes, n6r list t6 the songs 5f Ap6116.
Kingsley — ' 'Andromeda. ' '
These lame hexameters the strong- wKnged music 6f Homer !
No — btit a most btirlesque barbarotis experiment.
When w^s ^ harsher sound ever heard, ye Muses 5f England ?
When d!d ^ fr5g coarser croak tipon otir Helicon ?
Hexameters n6 worse than daring Germany gave tis,
BarBarotis experiment, barbarotis hexameters.
Tennyson — " Hexameters and Pentameters."
Art thoti s5 near unt5 me, and yet I cann5t behold thee ?
Art thoti s5 near unt6 me, and yet thy voice d5es n6t reach me ?
Ah ! h5w often thy feet h^ve trod this path t6 the prairie !
Ah ! h6w often thine eyes have looked 5n the woodlands around
me!
Ah ! h5w often beneath this oak, returning fr5m lab6r.
Thou hast lain d6wn t6 rest and to dream 5f me in thy slumbers !
When shall these eyes behold, these arms be folded about thee ?
Loud and sudden and near the note 6f a whip-p6or-wlll sounded
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1 74 THE AR T OF FOE TR K
Like ^ flute \w th£ woods ; ^nd &n6n, throttgh th€ neIghb5rYng
thickets,
Farther and farther away \\. floated ^nd dropped tnt6 silence.
'* Patifince ! " whispered th^ oaks fr5m firactilSr caverns 6f dark-
n^s ;
And, fr5m thS moonlYt mead5w, a sigh r&pondSd.** Tttm6rr6w ! "
Henry IVadsworth Longfellow — ** Evangeline."
A Hendecasy liable is a verse of eleven syllables. It does
not occur in Horace. In Catullus it sometimes has a
trochee or an iambus in the first place.
Example (i)
O yoti chortis 6f ind61ent rfiviewSrs,
Irresponsible, ind51ent reviewers,
Look, I come t6 the test, a tiny po^m
All c6mp6sed \n a meter of Catulltts,
All \n quantity, careftil of mj m6ti5n.
Like the skater 6n ice that hardly bears h!m,
Lest I fall tinawares before the people,
Waking laughter in ind51ent reviewers.
Should I flounder awhile without a tumble
Thro* this metrificati6n of Catulltis,
They shotild speak t5 me not without a welc6me,
All that chortis 6f indolent reviewers.
Hard, hard, hard is it, only not t5 tumble,
So fantastical is the dainty meter.
Wherefbre slight me n5t wholly, nor believe me
Too presumpttiotls, ind61ent reviewers.
blatant Magazines, regard me rather —
Since I blush t6 belaud myself a moment —
As some rare little rose, a piece 5f inm6st
Horticulttiral art, 6r half c6quette-like
Maiden, not t6 be greeted iinbenigniy.
— Tennyson—' ' Hendecasyllabics. *'
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IMITATION OF CLASSICAL MEASURES. 175
Example (2;.
In thS month 5f thS long decline 5f ros^s,
I, beholding thS summer dead before mC,
Set my face t6 the sea, ^nd journeyed siJfint,
Gazing eagerly where, above thS sea-m^rk,
Flame ^s fierce ^s th^ fervid eyes 6f li5ns
Half-divided the eyelids of the sunset ;
Till I heard, ^s !t were, a noise 6f waters
Moving tremtilotis under feet 5f angels
Miiltitudinotis, out 6f all the heavens ;
Knew the fluttering wind, the fluttered foliage.
Shaken f itftiliy, full 5f sound ^nd shad6w ;
And s^w, trodden tipon by noiseless angels.
Long mysteriotts reaches fed with moonlight.
Sweet s^d straits in ^ soft stibsiding channel,
Blown about by the lips 5f winds I knew n6t.
Winds n5t bom in the north n6r any quarter,
Winds n6t warm with the south n6r any siinshine ;
Heard between them a voice 6f extiltati5n,
" L6, the summer is dead, the sun is faded.
Even like ^s a leaf the year is withered.
All the fruits 6f the day fr6m all her branches
Gathered, neither is any left t6 gather.
Swinbume — * * Hendecasyllabics. ' *
What the ingenuity of man may yet invent is hard to
tell. We may say therefore, look to the Greek and Latin
measures still for models, some ingenious mortal may be
richly rewarded.
It is claimed Edgar Allan Poe caught the inspiration of
the rhythm of his *' The Raven," from Latin lines :
Once tipon ^ midnight dreary
Lec-t6r cast-e cath-5-lic-e
While I pondered weak and weary.
At-que 6b-ses ath-iet-ic-e.
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176
THE ART OF POETRY.
This same great master of English rhythm in his
*' Rationale of Verse,'* also stated, **That if he were per-
mitted to use the Spondee, the Trochee, the Iambus, the
Anapest and the Dactyl, together with the Caesura, he
would engage to scan correctiy any true rhythm human
ingenuity could invent. ' ' His statement after years of time,
who can gainsay ?
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CHAPTER XII.
POETICAL LICENSES.
Many are the peculiarities and licenses granted to the
writers of poetry, not accorded to the writers of prose.
These peculiarities add a charm and a freshness to our poetry
and are employed freely by the best writers, and this free-
dom is often necessary to meet the requirements of accent
and rhythm, and to it we owe much of the beauty of poetry.
There is nothing which adds more grace to our language
than these peculiarities of speech, and every student of
poetry should become thoroughly familiar with them.
While they are recognized violations of the regular rules of
speech, they are not so extensive but that they will admit of
classification. These peculiarities are usually the conceptions
of our master minds, who vary from the regular construction
and become, so to speak, inventors of new usages, which
afterwards become by common acceptance recognized licenses
in our language.
( I ) Poetry differs from prose in the fact that every verse
or line always commences with a capital letter, as :
Shall he alone, wh6m rati6nal wS call,
B^ blessed wKth nothing, if n6t blessed with all?
Pope — " Essay on Man."
177
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178
THE ART OF POETRY.
(2) For the sake of brevity or meter the article is not
infrequently omitted, as :
What dreadftil pleastire ! There t6 stand stiblime,
Like ship-wr^ked mariner 6n desert coast !
Beai^ie— '[The Minstrel."
(3) Interjections are oftener employed in poetry than in
prose, as :
gray 6blivJotls RivSr !
suns^t-kindied RivSr !
D6 you remember ev^r
Th€ eyes and skies s5 blue
On a summer day that shone hSre,
WhSn we wSre all alone hfire,
And th^ blue eyes were to6 wise
T6 speak thS love th€y knew ?
Jo/in Nay—*' The River. ' '
(4) The noun " self" is introduced after another noun of
the possessive case, as :
Thoughtless 6f beaulj^, she was beautj's self.
Thomson — * ' The Seasons. ' '
(5) The use of a kind of compound adjective ending in
*' like," as :
The proud dKctal6r of the stdte-lXke wood— ^
I mean the sovereign of all plants, the oak —
Dro6ps, dies, and falls without the cleaver's stroke.
Herrick— ''AW Things Decay and Die."
Wh5 swims wKth virttie, he shall still be sure,
tJlysses-like, all tempests to endure,
And 'midst a thousand gulfs t6 be secure.
Merrick — ** No Shipwreck of Virtue."
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POETICAL LICENSES.
179
Crowned wtth trailYng plumes 6f sablS, right a-front mj standtag-
place
Moved a swarthj^ oce^n-steam^r in hSr storm-r^sfstYng grace.
Prbphii'Cikey shS clove thS waters toward thS ancient mothfir-land,
And I heard h^r clam6rotts engine and thS ech6 of c5mmand,
While the long Atlantic bill6ws to mj feet c^me rolUng on,
With th^ multYtudKnotls musYc of ^ thousand ag^s gone.
Stedman—'' Flood-Tide."
(6) The comparative degree is used joined to the positive
before a verb, as :
" Near ^nd m6re near thS YntrepYd beauty pressed *'
Merrick.
(7) The conjunctions " or — or," and "nor — nor" are
used as correspondents, as :
N6t all thfi autttmn's rustlYng gold,
N6r sun, n6r moon, n5r star sh^ll bring
Th^joctind spirit which 6f old
M^de it ^n easj^ joy t5 sing !
Aldrich—'' Song-Time."
ThS hand 6f God c^me to hYm, and hS rose :
*' G6 trench th^ vallfiy ; though yoti may n6t feel
Or wind 6r rain,.th^ waters shall bS poured
Throtighout th^ camps Yn streams. N6r heed th^ foes,
F6r Mo^b shall bS givSn to yotir steel,
Thfi choicest citYes spoiled, th€ fruit treSs scored,
Th6 wells ch6ked up, th^ gardens marred wYth stones ! "
In awe thSy heard th^ potfint words. Alas,
F6r homes fbredoomed t5 fall wYth evYl thrones,
F6r, as hfi had fbretold, Yt came t6 pass !
Joseph O' Conner— '' Bring Me a Minister."
(8) The use of '' and— and " for " both— and," as :
** And thS starlYght and moonlYght."
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l8o THE ART OF POETRY.
(9) The preposition is placed after the object, as :
I lounge In th^ il^x shad6ws,
I see th^ ladj^ lean,
tTnclaspKng h^r silken girdle,
Th^ curtain's folds between.
^/-flfwA- " Nocturne."
(id) Prepositions and their adjuncts are not unfrequently
placed before the words on which they depend, as :
Against yotlr fame with fondness hate c5mbines;
ThS rival batters and thS lovSr mines.
Samuel Johnson,
(11) Compound epithets are frequently used, as :
Hebe's hfire. May fe here I
ThS air fe fresh and sunnj^ ;
And th^ misir-bees are busy
Hoarding golden honSy.
^A/rwrA— " May.''
** Blue-tyed^ strange-vHced^ sharfhhltaked^ ill-dmened fowl
What art thou ? * What I 6ugbt t6 be, an owl.' "
(12) Inversions are very common in poetry, as:
Few and short wfire th^ prayers w^ said,
And w^ spoke n6t a word 6f sorr6w;
Bttt wS steadfastly gazed 5n th^ face 6f th^ dead,
And wS bitterly thought 6f th^ m6rr6w.
Charles Wolfe—'' Burial of Sir John Moore."
(13) Superfluous pronouns are freely used, as:
ThSre came a burst 6f thunder sound ; »
Th^ boy, — 6h ! where was he ?
Ask 5f th€ winds, that far around
With fragments strewed thS sea.
Felicia Hemans — " Casabianca."
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POETICAL LICENSES. igi
(14) Foreign idioms are not unfrequently used, as :
'*F6r not t6 have be^n dipped tn LethS lake
Cotild save the son 6f Thetfe/r5i» id die.''
(15) The adjective is placed after the noun, as :
"Across the mead6ws bare and brown."
(16) The adjective is placed before the verb ** to be," as:
** Sweet Is the breath 6f vemJll showers.**
(17) The antecedent is not infrequently omitted, as : "
Whtt nevSr fasts, n6 banquet e'er finjoys,
Wh6 nevSr toils 6r watches, nevSr sleeps.
Armstrong.
(18) The relative is omitted, as :
** *Tts Fancy In hSr fiery car.
Transports mS to thS thick&t war.*'
(19) The verb precedes the nominative, as :
Then shodk thS hUls wKth thunder riv^n,
ThSn rushed iki^ steeds ttt battle driven.
And louder than the bolts 5f heaven,
¥^r flashed ih^ red artillery.
Thomas Gzwi/^^//— **Hohenlinden.**
(20) The verb follows the accusative, as :
His prayer he sdithy thte holy man.
Keats.
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I82
THE ART OF POETRY.
(2i) The infinitive is placed before the word on which it
depends, as :
Wh^n first thj sire, tb send 6n earth
Virttie, h!s darlYng child, designed.
Thomas Gray.
(22) The use of the first and third persons in the impera-
tive mood, as :
Bit man's peculiar work h!s sole delight.
Beattie.
Tarn we ^ moment fancy's rapid flight.
Thotnson.
(23) The pronoun is expressed with the imperative, as :
" H6pe //7^« In God."
(24) The object precedes the verb, as :
Lands he cotild measttre, times and tides pr^age.
Goldsmith—' ' Deserted Village. ' '
(25) Adverbs are placed before' the words which they
modify, as :
ThS plowman homeward plods hfe weary way.
Gray's Elegy.
(26) The introductory adverb is not unfrequently
omitted, as :
was naught around btit images 6f rest.
Thomson-
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POETICAL LICENSES,
183
(27) The use of personal pronouns and afterwards intro-
ducing their nouns, as :
It curled n6t Tweed ^Hone^ that breeze.
Scott,
(28) The use of the second person singular oftener than
prose writers, as :
Bttt thouy 5f temple old, 6r alters new,
Stdndisi ^lone — wUh nothing like t5 thee.
Lord Byron.
Lucifer, th6u son 6f morn,
Alike 5f Heaven ^nd man th€ foe;
Heaven, m€n, and all,
N6w press thy fall.
And sink thS low&t of thfi low.
Oliver Goldsmith—' * The Captivity. ' '
(29) The use of antiquated words and modes of expres-
sion, as :
J6hn Gilpin was a citizen
Of credit and rSnown,
A train-band captain eke was he
Of famotts Lond6n town.
Cowper — "The Diverting History of John Gilpin."
(30) The use of many words not used by prose writers or
that are used but rarely :
(i) Nouns, as— benison, boon, emprise, fane, guerdon, guise, ire,
ken, lore, meed, sire, steed, welkin, yore.
(ii) Adjectives, as— azure, blithe, boon, dank, darkling, dark-
some, doughty, dun, fell, rife, rapt, rueful, sear, sylvan, twain,
wan.
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l84 THE ART OF POETRY.
(iii) Verbs, as — appall, astound, brook, cower, doff, ken, wend,
ween, trow.
(iv) Adverbs, as — oft, haply, inly, blithely, cheerily, deftly, felly,
rifely, starkly.
(v) Prepositions, as— adown, aloft, aloof, anear, aneath, askant,
aslant, aslope, atween, atwixt, besouth, traverse, thorough, sans.
(34) The formation of many adjectives in y, not common,
as :
Dimply, dusky, gleamy, heapy, moony, paly, sheety, stilly, spiry,
steepy, towery, vasty, writhy.
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PART SECOND.
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CHAPTER I.
FIGURES OF SPEECH COMMON TO POETRY.
FIGURES OF ETYMOLOGY.
Apheresis.
The cutting off of one or more letters from the beginning
of a word, as :
'Neath for beneath, 'gan for began, 'gainst for against 'thout for
without, 'ghast for aghast, 'mazed for amazed, 'fore for before,
'feeble for enfeeble, 'dure for endure, 'venge for avenge, 'Nelope
for Penelope, 'sdained for disdained, 'Frisco for San Francisco,
woe's for woe is, he's for he is, what's for what is, 'twas for it was,
I'll for I will, she's gone for she is gone, devil's for devil is, she'll
for she will, world's for world is, I'm for I am, you're for you are,
there's for there is, I'd for I would, soul's for soul is.
The gl6w-w6rm shows th€ mattn to b€ near,
And 'gins t6 pale hfe in^ftecttiai fire.
Shakespeare— ** Hamlet, Act 5."
Th^ moon's thS earth's Snamotired bride ;
True t6 him \n hSr very changes,
T6 oth^r stars sh€ nev^r ranges :
Th6ugh, crossed bf him, s5metimes sh€ dips
H^r light \n short, 6flfend^ pride.
And faints t6 an Eclipse.
Campbell—'' Moonlight."
187
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jgg THE ART OF POETRY.
Apocope
Is the elision of a letter or letters at the endof a word, as:
Tho* for though, th' for the, t'other for the other, thro' for
through, Pont' for Pontus, Lucrece for Lucretia, obstruct for
obstruction. Per for Persia, Ind for India, Adon for Adonis, conduct
for conductor, amaze for amazement, Moroc for Morocco, addict
for addicted, Pat for Patrick, wretch for wretched, sads for saddens,
suit for sultry, swelt for swelter, potates for potatoes, after for
afterwards.
W6e ! woe 1 Sach heart shall bleed — shall break !
ShS would have hung tlpon hYs neck,
Had h^ come btit yestSr-evSn ;
And he had clasped th5se peerl^s charms
That shall nevSr, nevSr fill hte arms,
6r meet htm but !n heaven.
Campbell— *'ThQ Brave Roland."
Bat time will teach the Russ, ^v'n conquering War
-Has handmaid arts.
Campbell— ''The Power of Russia."
Epenthesis.
Is the inserting of a letter or letters in the middle of a
word, as :
Th6 wearied sentinel
At eve may overlook th6 crouching foe.
Till, ere his hand can sound th6 aiartim bell,
HS sinks beneath thS unexpected blow;
Before the whisker of grimalkin fell,
When slumbering on her post, the mouse may go ;
Btit woman, wakeftll woman's never wear J ;
Above all, when she waits — 15 thump her dear^.
R. H. Barham,
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FIGURES OF SPEECH. 189
"U" is inserted in '* alarum/' The "y'' at the end
of the word **dear-y" furnishes also a fine example of
Annexation or Paragoge.
Paragoge.
Is the annexing of an expletive syllable to a word. A
satire on Sir John Suckling furnishes us a fine exam])le of
this figure. Sir John Suckling was a courtier and poet at
tlie court at the time of King Charles I, in the seventeenth
century. He was well educated and refined in his taste for
that day, writing the purest and brightest poetry of his
time. Sir John, in response to a call from his majesty, the
King, raised a troop of one hundred men and equipped
them at a cost of sixty thousand dollars. Gaily caparisoned
as were his troops, they ran off the field at the first approach
of the Scotch covenanters in their first and only skirmish.
Some one given to satire thus describes Sir John. It will
be noticed annexation assists the ridicule intended with
pleasing effect :
" Sir John, hS got h!m itn ambling nag,
T6 Scotmnd for t6 ride-S,
Wtth a hundrM h6rse more, all hfe own h6 swore,
T6 guard him 5n every side-^."
Another stanza runs thus ;
•' Thfe ladtes rSn all t6 thS wind6ws t6 see
35 gallant and warlike his sight-a,
And as he pressed by th^y cried with a sigh,
* Sir John why will you 'g6 fight-a ? * "
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I^o ^^f^ ^^T OF POETR \.
Prosthesis
The prefixing of one or more letters to the beginning of a
word, as :
Amid for mid, yclept, yclad, ypowdered.
L^t fall adown hlfs silver beard s6me tears.
Thomson.
Th^ ground wSs green, ^pow^red with thS daisj^.
Chaucer.
Syncope.
Is the elision of a letter or letters from the middle of a
word, as :
Ca't for called, r'ally for really, med'cine for medicine, e'en for
even or evening, o'er for over, conq'ring for conquering, s'en night
for seven night, ha' penny for half penny, de'il for devil.
Ftrst, then, a wom^n will, 6r won't, depend 6n't ;
If she wtll do't, she will ; ^nd there's ^n end 6n't.
Bttt if she won't, sKnce safe ^nd sound yotir trust fe.
Fear is affront, ^nd jealoti^y tinjust te.
/////— "Woman."
SVNAERESIS.
Is the joining together of two syllables with one, as :
I'll for I will, 'tis for it is, spok'st for spokest.
Only a little more
1 have t5 write,
Then I'll glfve o'er,
And bid the world go6d-night.
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FIGURES OF SPEECH, i^j
T!s but a flying mintite
That i mtist stay,
Or linger m ft ;
And then I must away.
Herrick,
Tmesis.
The inserting of a word between the parts of a compound
or between two words which should be united if they stood
together, as:
Yott say t5 me-wards your affecti5n's strong ;
Pray love vcA a little, so yott love mS long.
Slowly g6es f arre ; th^ meane fe best ; d&ire
Gr6wn violent, d6's either die, 6r tire.
Herrick.
FIGURES OF SYNTAX.
Ellipsis.
An omission ; a figure by which one or more words are
■omitted, which the hearer or reader can supply, and which
are necessary to a full construction of a sentence. Words
thus omitted are said to be understood. It is a figure very
common in the language, and serves to avoid repetitions.
When, however, the ellipsis would have a tendency to
obscure the meaning or weaken the force of the sentence it
should be avoided. The ellipsis may be of the substantive,
adjective, article, pronoun, verb, adverb, preposition or
conjunction. The following is an excellent illustration of
this figure :
One m6re tinforttinate,
Weary 6f breath ;
Rashly' importtinate,
Gone t6 h^r death.
Hood — " Bridge of Sighs.'*
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192
TWE ART OF POETRY,
In the following couplet the antecedent pronoun is
omitted, as :
Wh5 has n5 inward beauty, none perceives,
Th6ugh all Ground b6 beaut!fiil.
Richard Henry Dana,
One of our greatest American poets in his conception of
the wild mystic, furnishes in the stanza following an instance
of the omission of the verb :
Once tipori & mIdnKght dreary, while 1 pondered weak ^nd wear^
Ov^r many a quaint ^nd cufiotis voltlme of fftrgottSn lore,
While 1 nodded nearly napptr^, suddenly th^re came a tapptng,
As 6f some 5ne gently rapping, rapping at my chamber door ;
Only this and nothing more.
Edgar Allan /b^— "The Raven."
The subject of the verb is often omitted, as in the follow-
ing stanza :
Did the greSn isles
Detain the6 long ? Or 'mid thS palmy groves
Of the bright South, wh^re Nattire ev6r smiles,
Didst sing thy loves
Pickering.
The following will serve as an example of the omission of
the participle :
His knowledge meastlred to his state ^nd place,
His time A moment, and a point his space.
Alexander Pope.
An Ellipsis of the adverb :
She shows a body rather than a life ;
A statile than a brother.
Shakespeare—'' Anthony and Cleopatra.'*
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FIGURES OF SPEECH. 193
Enallage.
Is the use of one part of speech, or of one modification
for another.
( 1 ) Substituting a noun for an adjective :
From thy Glory-throne.
PcUgrave,
Glory-throne used instead of glorious throne, Seraph-
sound for Seraphic sound, Carthage- queen for Carthagenian
queen.
(2) A phrase for a noun :
C6me, cuddle yotir head 6n my shoulder, dear,
Yotir head Hke thS goldSn-rod,
And w^ will g6 sailing ^way fr6m here
T6 the beauttfm Land 6f Nod.
Away fr5m Itfe's hurry, and flurry, and worry,
Away fr5m Earth's shad6ws and gloom,
T6 a world 6f f^ir weather w^'ll float 5ff't5gether,
Where ros^s are always In bloom.
Ella Wheeler IVilcost:—*' The Beautiful Land of Nod."
** Land of Nod " is here substituted for the noun * 'sleep.'*
Had she told me fifty shillings,
I might (and wouldn't you ? )
Have referred t5 that dress !n a way fttlks express
By an el6quent dash 6r two ;
Btit the guileftil little creattire
Knew well her tactics when
She casually said that that dream In red
Had cost btit two p6unds ten.
Eugene Field—'' The Tea-Gown."
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194 THE ART OF POETRY,
(3) The use of an adverb for a noun :
To th^ land 6f the h^reaft^r.
Longfellotu—** Hiawatha."
The adverb " hereafter " used as a noun, viz : to heaven.
A better Where t6 find.
Shakespeare.
Where instead of place or home.
(4) Noun for a verb :
" I'll queen U no Inch farther."
Viz : I'll walk or go no inch farther.
B^dawn 6ur sky.
Shakespeare.
Dawn, a noun, changed to a verb by prefix be-dawn.
Noun for a verb :
Crims5ned wfth flowers ^nd dark w!th leafy shade.
Vaughan.
(5) An adjective for a noun :
Thy path !s high tip !n heaven ; wfi cann6t gaze
6n the Intense df light that girds thy car.
/5?r«z;a/—** Apostrophe to the Sun.**
Viz : the sun.
(6) An adjective for a verb :
It tanks th^ cheek and pales th^ freshet sight.
Gi/es Fletcher.
This day will gentlli his c6nditi6n.
Shakespeare.
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FIGUKES OF SPEECH. 195
(7) An eighth variety is to compare with -er and -est adjec-
tives that are compared by more and most, or vice versa.
T6 hear yottr most swe^t mustc miracle.
Mrs. E. B. Browning — ** Seraphim." •
(8) An adjective for an adverb :
Bttt soft ! m^thinks I scent thS morning's air.
Shakespeare — " Hamlet, Act i, Scene 5."
Whfin soft was thS sun.
** Piers Plowman."
Soft for softly.
(9) A noun and a preposition for an adjective.
A thing 6f beauty is ^ joy fftrev^r.
Keats,
Of beauty for a beauteous thing.
(10) A preposition for an adjective :
WKth th^ spleen
Of all the iindir fiends.
Shakespeare,
(11) An adverb for a pronoun :
Where Against
My grained ash a hundred times hath broke.
Shakespeare,
(12) A preposition is used for a noun :
not llfke me
F5r mine's beyond Beyond.
Shakespeare,
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1 96 THE AR T OF FOE TR Y.
( 1 3) Adverb and a preposition in place of a preposition :
F6r that I am s6me twelve 6r fourteen moonshines Lag d/^ brother.
Shakespeare.
(14) A verb is used as a noun :
With ever^ gale Snd varj^ of th^ir masters.
Shakespeare.
(15) An adjective used as a participle :
LSt the d/dat king t^mpt you.
Shakespeare.
(16) Usages similar to ** Meseems : "
M^thinks hSr patient sons before m^ stand.
Goldsmith— * * Traveler. ' '
(17) Change of prepositions. Using **of" instead of
'^by:"
I am s5 wrapt, and th6r6ughly lapt
Of jolly go6d ale ^nd old.
John Still.
(18) Participles are turned into adjectives and actions
ascribed to them which do not belong 10 them, as :
Wh^re smiltng spring its earJi^st vistt paid,
And partKn^s^umm^r's iTn^rTng blooms delayed.
^V^ , C^/flT^wiV/^— ''Deserted Village."
And passing rich with forty pounds ^ year.
Goldsmith—'' Deserted Village."
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FIGURES OF SPEECH. 197
(19) The use of transitive verbs as intransitive, as :
Thlfs minstr^l-god, w^ll-pleased, amid th€ choir
Stoftd proud 16 hymtiy and tune hts youthfiil lyre.
Pope.
(20) The use of intransitive verbs as transitive, as :
Lang aftSr kenned 5n Carr!ck shore ;
F6r mon? a beast t6 dead sh6 shot,
And perished mony a bonnte boat.
Bums—* * Tarn O'Shanter. * '
Still in harmontotis intercourse, th^y lived
The rural day, and talked thfi flowing heart.
Thomson.
(21) The use of the auxiliary after its principal, as :
The man wh6 suffers, loudly may cdmplain;
And rage he may, bttt he shall rage \n vain.
Pope.
(22) The use of can, could and would as principal verbs
transitive, as :
Wh&t wduld this man ? N6w upward will he soar,
And, little less than angel, would be more.
Pope.
HVPERBATON OR INVERSION.
A figurative construction inverting the natural and proper
order from words and sentences. The following stanza
furnishes us with a fine example :
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198 THE ART OF POETRY,
In England rivers all ^re males,
F6r instance, Father Thames ;
Wh6ev6r in C61umbi2i sails
Finds them m^mselles ^nd dames.
YSs, there thfi softer sex pr^ides —
Aquatic, 1 assure yoti ;
And Mrs. Sippj^ rolls h^r tides
Responsive to Miss Sourl.
James Smith,
Milton furnishes us a fine example of an inversion at the
very commencement of his great epic :
Of man's first dis6bedience and the fruit
6f that forbidden tree, wh6se mortal taste
Brought death into the world and all 6ur woe,
Sing, heavenly Muse.
" Paradise Lost.*'
Pleonasm.
The use in speaking or writing of more words than are
necessary to express the thought. Frorn Thomas Hood we
have the following, in the second line Pleonasm can be
detected:
And when I speak, my voice Is weak ;
Btit hers, she makes a gong of It ;
F5r I am small and she Is tall.
And that's the short and long of U
Syllepsis.
A figure of speech by which w^e conceive the sense of
words otherwise than the words import, and construe them
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FIGURES OF SPEECH,
199
according to the intention of the author — the taking ol
words in two senses at once, the literal and the metaphorical.
The following is an example of this figure :
While ProvKdence stlpports,
L^t saints securely dwell ;
That hand which bears all Nattire up,
Shan guide his children well.
Philip Doddridge,
FIGURES OF RHETORIC.
Allegory.
Is the narration of fictitious events, designed to represent
and illustrate important realities. It is continued metaphor,
representing objects and events that are intened to be sym-
bolical of other objects and events having usually moral and
spiritual character.
The following beautiful allegory by Longfellow, starting
with the metaphorical representation of the state as a ship,
expands the metaphor into a complete description :
Th5u too, sail on, 6 Ship 5f S.tate !
sail on, tJNi6N, strong and great !
HtimanUy, w!th all its fears,
Wtth all Kts hopes 5f futtire years,
Is hanging breathl&s on thy fate !
W^ know what Master laid thj keel.
What Workman wrought thy ribs 5f steel,
Wh6 made ^ach mast, and sail, and rope.
What anvHs rang, what hammers beat,
In what a forge and what a heat
W^re shaped th^ anchttrs of thy hope !
F^ar not ^ach sudden sound and shock —
'Tfe of th^ wave and not th^ rock ;
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2CK) THE AR T OF FOE TR Y.
'Tis but the flapping of thS sail,
And not ^ rent m&de by the gale !
In spite 6f rock ^nd tempest's roar,
In spite 6f false Itghts on the shore,
S^l on, n6r fear t5 breast the sea !
6ur hearts, iSur hopes, &re all with thee,
6ur hearts, 6ur hopes, iSur prayers, 6ur tears,
Our faith triumphant 6*er 6\ir fears,
Are all with thee ! Sre all with thee !
Apostrophe.
Literally a turning away from the natural course of one's
thoughts or ideas to address the absent or dead as if present,
former ages, future ages, some person or thing. It is
closely allied to Personification with which it is often com-
bined. Objects personified, however, are not addressed ;
objects apostrophized are addressed.
R611 on, th5u deep &nd dark bltie oce&n, — roll !
Ten thousand fleets sweep over thee Xn vain ;
Man marks the earth with ruin, — his cttntrol
St6ps with the shore;— tipon the watery plain
The wrecks ^re all thy deed, n6r doth remain
A shad6w of mSn's ravage, save his own,
When, for ^ moment, like ^ drop 6f rain,
He sinks into thy depths with bubbling groan.
Without & grave, tinknelled, tincoffined, and tinknown.
Byron—** Childe Harold
R611 on, ye stars ! £xult in youthftil prime ;
MSrk with bright curves the printless steps 6f Time.
Near and m6re near yotir beamy cars Approach,
And lessening orbs 6n lessening orbs encroach.
Flowers 6f the sky ! ye too t6 age mtist yield,
Frail Ss yotir silken sisters of the field !
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FIGURES OF SPEECH. 201
Star aftfer star fr6m heaven's high arch shall rush,
Stins sink 6n suns, ^nd systems systems crush,
Tfll o'er thS wreck, Emerging from th€ storm.
Immortal nattire lifts h^r changef&l form ;
M6unts from h^r funeral pyre 6n wings 6f flame,
And soars and shines, another and the same.
Erasmus Darwin.
Ay, tear h€r tattered ensign down !
L5ng has ft waved 6n high,
And many an eye has danced t6 see
That banner in thS sky ;
Beneath !t rung th^ battle-shout,
And burst the cannttn's roar ;
The mete6r of the ocean air
Shall sweep the clouds n6 more !
Holmes — " Old Ironsides."
Hail, holy Light, offspring 6f Heaven f Xrst-born !
Or of the Eternal c6-eternai beam
May I express thee tinblamed ? since God ts light,
And never but Kn unapproached light
Dwelt from eternity, dwelt then In thee,
Bright effltience 6f bright essence increate !
Or hear'st th6u rather pure ethereal stream,
Wh6se fountain who shall tell ?
Milton — ** Paradise Lost.'
ANAPHORA.
Is the repetition of a word at the beginning of several
clauses of a sentence. It is thus repeated that the mind
may be more distinctly impressed with the idea or thought,
as :
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202 THE AR T OF FOB TR Y.
(I).
All nattire is btit art, tinknown t6 thee ;
All chance, dtrectittn, which th6u canst n6t see ;
All disc6rd, harm5ny n6t Ondfirstood ;
An partial evKl, QntversSl good ;
And spite 6f pride, !n erring reas5n's spite,
One triith ts clear, Whatever is, !s right.
Pope—'' Essay on Man."
(2).
S6metimes thS linnet piped hfe song ;
sometimes thS throstle whistled strong ;
sometimes thS sparh^wk, wheeled along,
Htished all thfi groves fr6m fear 6f wrong.
Tennyson — *'Sir Launcelot and Queen Guinevere.'*
(3).
Th^re is a rest f5r all things. On stXll nights
ThSre is a folding 5f a milliOn wings —
ThS swarming honSy-bees tn tinknown woods,
ThS speckled butterflies, and downj? broods
In dizzj? poplar heights ;
R^st for innumerable nameless things.
Rest for the creattires underneath the Sea,
And in the Earth, and in the starrj Air —
Why will it not tinburden me 6f care ?
It comes t6 meaner things than my despair.
weary, wearj night, that brings n6 rest t6 me !
Aldrick — '* Invocation to Sleep."
ANTITHESIS.
A contrast by which each of the contrasted things is
rendered more striking :
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FIGURES OF SPEECH. 2O3
On parent knees, a nakSd new-b5m child,
Weeping th6u sat'st, while all Ground theS smiled ;
S6 live, that sinking in thj^ last, Ittng sleep,
Th6u then mSy'st smile, whKle all Ground thefi weep.
Sir William Jones.
EPANALEPSIS.
Is a figure by which a sentence ends with the same word
with which it begins :
(I).
Fare thefi well, and if fbrev^r,
Still fttrev^r fare the^ well ;
Ev6n though tinfbrgiv!ng nevfir
'Gainst thefi shall m^ heart rSbel.
^^/row— " To His Wife."
(2).
ThSy questi6ned each th^ othSr
What Brahma's answer meant,
said Viv6chumti, " Brother,
Throtigh Brahma the great Mother
Hath spoken her tntent :
'^MUn ends as he b^gan,—
The shad6w on the watSr fe all thSre is 6(fndn/ *'
Richard Henry Sloddard,—'* Brahma's Answer."
EPIGRAM.
It is a statement in which there is an apparent contradic-
tion between the form of the expression and the meaning
really intended. The force of the epigram lies in the
pleasant surprise attendant upon the perception of the real
meaning ;
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204 ^^-^ ART OF FOE TR K
(I).
Wj wonder ts really boundl^s,
That among the que^r casfis w6 try,
A land case sh6uld oft^n bfi groundless,
-And a watSr-case always be dry !
5a;ir/?— *• On a Famous Water-Suit."
(2).
Swans sing before th^y die, Hw^re no bad thing
Dtd certain pers5ns die before they sing.
5. T, Coleridge.
EPIZEUXIS.
The repetition of a word or words for the sake of em'
phasis :
(I).
The Isles 6f Greece, the ISLES OF GREECE,
Where burning Sapph6 loved and sung,
Where grew the arts 6f war and peace,
Where Del6s rose and Phoebiis sprung—
fiternai summer gilds them yet,
Btit all except their sun fe set.
Byron.
(2).
An example of double affirmation :
'* Falsely, falsely have ye done,
mother," she said, " !f this be true
T6 keep the best man under the sun
S6 many years fr6m hte due."
Tennyson — " Lady Clare."
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FIGURES OF SPEECH. 205
(3)-
Laugh, and thS world laughs with yoti,
Weep, and yoti weep alone;
F6r thS sad 61d earth mtist b6rr6w Its mirth,
Btit has trouble Enough 6f !ts own.
Sing, and the hills w!ll answer.
Sigh, U Xs lost 6n thS air ;
The ech6es bound t6 a joyfUl sound,
Btit shrink fr6ni voictng care.
Ella Wheeler Wilcox—'' Solitude. "
(4).
** The fault was mine, the fault was mine " —
Wh^ am 1 sitting here s6 stunned and still,
Plucking the harmless wild-fl6wer on the hill ?
It is thts guilty hand !
Tennyson — ' * Maud. '*
(5)-
Mtlst ye wait ? Mtist ye waft ?
TUl they ravage her gardens 6f orange and palm,
Ttll her heart ts dust, till her strength is water?
Mtist ye see them trample her, and be calm
As priests when a virgin \s led t5 slaughter ?
Shall they smite the marvel of all lands, —
The Nati6n's longtng, the earth's c5mpleteness, —
On her red m6uth dropping myrrh, her hands
Filled with fruitage and spice and sweetness ?
Miist ye wait ?
Stedman^'' Qyih^r
EROTESIS OR INTERROGATION.
Is an animated or passionate interrogation. Interrogation
in its primary sense is the asking of a question, and an
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2o6 7'^^ ^^ ^ OF FOE TR r.
answer would be expected. When declarative sentences
are expressed in the interrogative lorm, no answer is
expected ; for the statement is made thereby more emphatic
and convincing.
The negative interrogation affirms — an affirmative denies.
An interrogative sentence should always be followed by a
question mark.
can storied urn, 6r animate bust,
Back to Its niansi5n call th^ fleeting breath ?
can h6n6r's voice pr6v6ke thS silent dust,
Or flattery soothe th^ dull c61d ear 6f death ?
(7ra)/— "Elegy."
ECPHONESIS.
Is an animated or passionate exclamation, generally indi-
cated by such interjections as O ! oh ! ah ! alas !
(I).
my sttul'sjoy.
If after every tempest comes stich calms.
May the winds blow tUl they have wakened death !
Shakespeare— ' * Othello. ' '
Pope illustrates well one of the ruling passions that con-
tinue not only throughout life but even unto death :
(2).
" Odiotis ! In woolen 1 *Tw6uld a saint pr6v6ke ! "
were the last words that poor Narcissa spoke.
" N6, let a charming chintz and Brussels lace
Wrap my cttld limbs, and shade mf lifeless face.
One would n6t, sure, be frightftil when 6ne's dead ;
And, Betty, give this cheek a little red."
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FIGURES OF SPEECH. 207
*' I give and I devise," 5ld Eucli5 said
And sighed, " mj lands ^nd tenements t6 Ned.'*
•• Yotir mongy, sir ? " *' MJ mon^y, sir ? What ! all ?
Why, if I must (thSn wept), 1 give t5 Paul—'*
'* Th^ maniSr, sir ? '* " ThS man5r ? Hold ! '* h^ cried ;
" N6t that— I cann6t part wtth that ! " and died.
(3).
A horse ! a horse ! Wj kingd6m for a horse !
Shakespeare— * ' King Richard III."
EUPHEMISM.
Is the suppression of a harsh or obnoxious word or phrase,-
by substituting a word or phrase in its place that is delicate,
yet expressing the same meaning :
(I).
Worn 5ut with anguish, toil, and cold, and hunger,
Down stink thS wandSr^r; sleep had seized h^r senses.
There did th^ traveler find h^r in th^ morning :
God had released h^r.
Soidhey—'' The Widow. ' *
From Burns we have the following :
(2).
An honest wabst^r to hXs trade,
Whase wife's twa neives w^re scarce we^l-bred.
(3).
0, fear n6t in a world like this,
And thou shait know ^re long, —
Kn6w how stiblime a thing tt is
T6 suffer and bS strong.
Longfellozv—'"Y\\^ Light of the Stars."
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2o8 ^^^ ^^^ OF POETRY.
HEARING.
Is a figure akin to vision. The speaking doubtfully of
some sound that has been heard at the present or just before
apparently indistinct, but which proves to be the distant roar
of cannon, of thunder, or something real. Byron' ^Waterloo,
taken from Childe Harold, is one of the finest examples of
the figure :
Did ye n6t hear it? No ! 'twSs but the wind,
Or the c^r ratthng o'er th^ stony street ;
On with the dance ! Let joy be unc6nfined ;
N6 sleep ttll morn, when Youth Snd Pleas tire meet
T6 chase the glowing hours with flying feet.
Btit hark ! Th^t heavy sound breaks in 6nce more,
As if the clouds its ech6 would repeat ;
And nearer, clearer, deadTier than before I
Arm ! arm ! it is, it is the cannon's opening roar !
Canto III, Stanza XXII.
HYPERBOLE.
Is inflated or exaggerated speech ; so great is the exag-
geration that it cannot be expected to be believed by the
reader or hearer. It is an expression of strong passion,
and is often made use of by the poet and the orator. Im-
pulsive natures make great use of this figure of speech.
Everything with them is magnificent ! splendid ! sublime !
awful ! Abraham Cowley has translated from the Greek
poet Anacreon, this beautiful hyperbole entitled, * ' The
Grasshopper" :
Happy insect ! what cin be
In happiness c6mpared t6 thee ?
Fed with nourishment divine,
The dewy morning's gentle wine !
Nattire waits tipon thee still,
And thj^ verdant cup d6es fill ;
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FIGURES OF SPEECH. 209
'Tis filled wherever thou d5st tread,
Nature's self's thy Ganymede.
Thou d6st drink, ^nd dance Snd sing,
Happr^r than th6 happiest king !
All th^ fields which thou d6st see,
All thS plants belong ttt thee ;
All th^ summer hours pr6duce,
Fertile made with early juice.
Man fttr thee d5es sow ^nd plough,
Farmer he, ^nd landl5rd thou !
Thou d6st inn6centlj^ joy,
N6r does thy luxury destroy.
Th€ shepherd gladly hear^th thee,
More h^rmonioiis th^n he.
The countrj^ hinds wtth gladness hear,
Prophet of the ripened year !
The6 Phoebiis loves Snd does inspire ;
Phoebtis is himself thy sire,
T6 thee, 6f ^11 things tipon th^ earth,
Life is n6 longer than thy mirth.
Happy insect ! happj thou
D6st neither age n6r winter know ;
Btit when th5u'st drunk and danced ^nd sung
Thy fill^ the flowery leaves ^mong,
(Volupttious and wise withal.
Epicurean animal ! )
Sated with thy siimmer feast,
Thou retir'st t5 endless rest.
" Ye stars ! which are the poetry 6f heaven !
If in yotir bright leaves we wotild read the fate
Of men and empires, — 'tis t5 be fftrgiven,
That in 6ur aspiratittns to be great.
Our destinies 6'erleap their mortal state,
And claim a kindred with yoti ; for ye are
A beauty and a mystery, and create
In us siich love and reverence tr6m afar,
That forttine, fame, p5wer, life, have named themselves a star.'*
Byron— ''Q\{\\d.^ Harold."
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2IO THE ART OF POETRY.
IRONY.
A figure ol telling effect when properly used. It is used
to express directly the opposite of what it is intended shall
be understood. It is used effectively in Whittier's *'The
Prisoner for Debt," a poem of great merit :
What has the gray-hSired prisoner done ?
Has murder stained hKs hands wUh gore ?
N6t so ; hXs crime's a fouler one ;
gOd made th£ old man poor !
F5r this hfi shares a fel6n*s cell, —
The fittest earthlj^ type 5f hell !
F6r this, the boon f5r which he poured
Hfe young blo6d on the invader's sword,
And counted light the fearfttl cost, —
His blood-gained liberty fe lost !
And so, fftr such a place 6f rest,
Old prisoner, dropped thy blood as rain
6n C6nc6rd's field, and Bunker's crest,
And Saratoga's plain ?
Lo6k forth, th5u man 6f many scars,
Throtigh thy dim dungeftn's ir6n bars ;
It must be joy, In sooth t6 see
Y6n montiment tipreared t5 thee, —
Piled granite and a pris6n cell,
The land repays thy service well !
G6, ring the bells and fire the guns.
And fling the starry banners out ;
Shttut *' Freed6m ! " till yotir lisping ones
Give back their cradle-shout ;
Let boastfttl el6quence declaim
Of h6n6r, liberty and fame ;
Still let the poet's strain be heard.
With glory for each sec5nd word.
And everything with breath agree
T6 praise "bur gloriotis liberty ! "
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FIGURES OF SPEECH. ^i l
Btit when th^ patr6n cannttn jars
That prTs6n*s cold ^nd gloomy wall,
And through Its gates th^ stripes ^nd stars
Rfee on th^ wind, Snd fall, —
Think ye that prisoner's agSd ear
Rejoices in th€ general cheer ?
Th!nk ye his dim and f ailtng eye
Is kindled at yotir pag^ntry ?
Sorrttwtng 6f soul, and chained 6f limb,
What is yotir carnWal t6 him ?
D6wn with thft LAW that binds htm thus !
tJnworthy freeman, let tt find
N6 refUge from th6 withering curse
Of God and human kind !
OpSn the pris5n's living tomb,
And usher from Its brooding gloom
The victims of yotir savage code
Ttt the free sun and air 6f God ;
N6 longer dare as crime t5 brand
The chastening of the Almighty's hand.
LITOTES.
A diminution or softening of statement, for the purpose of
avoiding censure, or of expressing more strongly what is
intended ; a figure in which the affirmative is expressed by
the negative of the contrary ; thus, ' * a citizen of no mean
city ' ' means * * of an illustrious or important city. * '
It is the opposite of hyperbole.
The following from one who was unsurpassed as a prose
writer, and who was a very clever poet, illustrates this
figure.
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212 THE ART OF POETRY.
The Mountain and th^ Squirrel
Had a quarrel ;
And the Mountain called th€ Squirrel "Little Prig."
Bun replied,
** You are doubtless very big ;
But all sorts 6f things and weather
Must b^^takSn in t5geth6r
T6 make tip a year
And a sphere ;
And I think U no disgrace
Ttt occtipy my place.
If I'm nttt s6 large as you,
You are not s5 small as I,
And n6t half s5 spry.
I'll n5t d^ny yoti make
A very pretty squirrel track :
Talents differ ; all ts wisely put, —
if 1 cann6t carr^ forests on m^ back,
Neither can yoti crack a nut."
Emerson—'' A Fable."
METONYMY.
A change of noun or substantive, is a figure in which the
name of one object is put for some other object. The rela-
tion is always that of causes, effects, or adjuncts.
( I ) Substituting a noun that expresses the cause, for tha
noun that expresses the effect :
A time th^re was, ^re England's griefs b^gan
\Vhen every rood 6f ground maintained Us man.
Goldsmith—'' The Deserted Village."
' ' Ground ' ' is here used for what the ground produces,
viz : food.
for a beaker full 6f the warm South !
Keats — " Lines to the Nightingale."
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FIGURES OF SPEECH. 2 1 3
'* South'* is here used for the rich wines produced in
sunny lands.
R5bed in th^ 15ng night 6f her de^p hair.
Tennyson.
* * Night, * ' the cause of darkness, is put for * ' darkness, ' '
the effect.
(2) Substituting the noun expressing the effect for the
noun used to express the cause, being the converse of the
first proposition :
Swtfl as an arr5w flies thS leaden death.
James Harvey — "Thereon and Aspasia."
''Death," the effect of the bullet, is put for the bullet
itself
(3) A substantive denoting the place is substituted for a
substantive denoting the inhabitants :
At length the world, renewed by calm repose,
W&s strong f6r toil ; th6 dappled mom ^rose.
/>ar«^//— "The Hermit."
'* World*' is used for ** inhabitant."
'• What land ts s6 barbarous tnjustXce to allow ? "
* * Land ' ' is used to express ' * race " or " people. ' '
(4) The sign is used for that of which it is the symbol or
signifies :
His banner leads the spears n5 more amid the hills 5f Spain.
Felicia Hemans.
** Spears " is used for ** soldiers."
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214 THE ART OF POETRY.
As, too, "the olive branch,'* instead of **peace;'! the
** throne," the ** purple,'' the ** scepter" instead of
* ' kingly power. ' '
The path by which w^ twain d!d go.
Which led by tracks that pleased tis well,
Throtigh four swe^t years ^rose and fell,
Fr5m flower t6 flower, fr5m snow t5 snow.
Btit where th£ path w^ walked b^an
T6 slant the fifth autumnal slope.
As we descended, foUowtng Hope,
There sat the Shad5w feared 5f man.
Tennyson,
' ' Flower, " * ' snow ' ' and * ' shadow ' ' as used here are
emblematic of * ' Summer, " * ' Winter ' ' and * * Death. ' '
(5) Substituting the abstract for the concrete term, and
vice versa :
There Hdndr comes, a pilgrim gray,
T6 deck the turf that wraps their clay ;
And Freeddm shall a while repair
T6 dwell a weeptng hermit there.
Collins,
" Honor " is used to denote an individual" of merit. A
man of honor full of ripe years.
1 have found 6ut a gift fbr mj fair ;
I have found where the wo6d-pige6ns breed ;
Btlt let me the plunder fbrbear —
She wotild say 'twas a barbarotis deed,
F5r he ne'er cotlld be true, she averred,
Wh5 cotlld rob a pottr bird 6f its young :
And 1 loved her the more when 1 heard
Stlch tendltrnltss fall fr5m her tongue.
Shenstone— ' ' A Pastoral. ' '
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FIGURES OF SPEECH.
215
Here the word ' * tenderness ' ^ is used to express * * kind
feelings. * '
(6) Substituting the container for what is contained.
"Our ships nSxt opened fire."
Here the word ** ships '* is used to designate "sailors."
"Hefefond6fth6^^///^."
Viz : he is fond of ' * drink. ' '
* * Yottr purse 5r yotir life. ' '
Viz : your money.
" Wh^re will yoti find another breast like his ? *'
* * Breast ' ' is here used for the spirit that animated it.
(7) Substituting the substantive that denotes the thing
supporting for the substantive that denotes the thing sup-
ported, as:
Field for battle, table for eatables on it, altar for sacrifice.
(8) Substituting the name of the thing possessed for the
possessor, as :
'*Thg war-who5p shall wake th^ sleep 6f th^ cradle."
Viz : the voice of men en route to battle.
Drove tb^ bristled lips before him.*'
Shakespeare — * • Coriolanus. ' '
Viz : Drove indetermined men.
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2i6 'J^^ ART OF POETRY,
(9) Substituting the possessor for the possessed :
" L^t tls browse 6n th6 fields co51 wUh dew.**
Virgil— * ' Georgics. * '
" Us ' ' is used here for ' ' our flocks. * *
(10) Substituting the instrument for the user :
" Light has spread, and evSn bayonets think "
' ' Bayonets, * ' the instrument or thing used is here substi-
tuted for " soldiers *' or men who use bayonets.
" Ftill fiftj thousand muskets bright,
Led by 61d warri6rs trained tn fight."
* ' Muskets oright ' ' used for * ' soldiers. ' '
(11) Substituting the noun denoting the material for the
thing made of that material :
Like a tempest down the ridges
Swept the hurricane 6f steel ;
Rose the slogan of MacDonaid,
Flashed the broad sw5rd of L6chiel.
Aytoun — " Battle of Killiecrankie. "
** Steer* here means '* swords."
The windjs piping loud, mj^ boys,
The lightening flashes free ;
While the h6116w oak 6ur palace is.
Our heritage the sea.
Allan Cunningham.
•' The hollow oak " is here used to represent *' a ship.*'
1
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FIGURES OF SPEECH.
217
Hood has also given us a fine example similar to the one
above, in the following :
The 6ak6n cell
Shall lodge htm well
Wh6se sceptr^ ruled ^ realm.
*' A Dream in the Woods.'*
It is very easy for one to guess the meaning of the word
** oaken cell '* in the above quotation.
(12) Substituting the noun for the period of time during
which certain events occured for the events :
S6 have I worn 5ut many sleepLgss nights,
And wad^d deep throtigh many a bloodj^ day.
Homer,
' * Nights ' ' here is used to designate a period of time, viz :
* * many sleepless nights ' ' in place of * * a given number of
days. ' ' The same is true of day in the next verse or line ;
it is a noun used to express a feet, viz : waded through a
bloody battle or through war.
(13) Substituting the place for the occurrence that hap-
pened there :
Btit Linden saw another sigkt,
Wh^n the drtim beat, at dead 6f night,
C6mmand!ng fires 6f death t6 light
Th^ darkness of h^r scenery.
Thomas Campdel/—** Hohenlinden."
Here Linden, the place, is used for the occurrence that
happened there, viz : The Battle of Hohenlinden.
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2i8 THE ART OF POETRY.
Aglncourt, Aglncourt!
Know yS n6t Aglncourt,
Where w^ w5n field ilnd fort ?
French flSd like woni^n
By hand ^nd eke by watSr ;
Nevfir wils seen stich slaughter
Made by 6ur bowman.
Drayton— * * Agincourt. ' *
Here * * Agincourt, ' ' the place, is used for the occurrence
that happened there, viz : The Battle of Agincourt in 14 15.
ECHO.
A returning of what has already been uttered ; is another
form of repetition :
But the Past and all !ts beauty,
Whither has !t fled ^way ?
Hark ! th^ moumftll echttes say —
** Fled away !"
Adelaide Anne Procter.
(2)
But the drum
Ech6ed "Come!'*
Brete Harte.
ONOMATOPCEIA.
Is the use of a word or a phrase formed to imitate the
sound of the thing signified, as :
The moan 6f doves !n immemorial elms
And murmuring of Innumerable bees.
Tennyson.
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FIGURES OF SPEECH. 219
Th^ breezy call 6f inc^nse-breathing morn,
ThS swall5w twittertng from th^ straw-built shed,
Th^ cock's shrill clari6n, or thS echoing horn,
N6 more shall rouse th^m from th^ir lowly bed.
C^ro;)/— "Elegy "
Btit soon 6bscured with smoke, ^11 heaveiTappeared,
Fr5m those de^p-throat^d engines belched, wh6se roar
fimbow^lled with 6utrageoiis noise th€ air,
And all hSr entrails tore, disgorging foul
Their deviJish glut, chained thunderbolts and hail
Of ir5n globes.
Milton—'' Paradise Lost.'
Here It c6mes sparkling,
And there It lies darkling;
Here smoking and frothing.
Its tumtilt and wrath In,
It hastens along, c6nflictlng strong ;
N6w striking and raging.
As if a war waging.
Its caverns and rocks among,
Rising and leaping,
Sinking and creeping.
Swelling and flinging.
Showering and springing,
Eddying and whisking.
Spouting and frisking.
Turning and twisting
Around and around ;
Cttllecting, disjecting.
With endless rebound ;
Smiting and fighting,
A sight t6 delight In,
C5nfoundIng, astounding,
Dizzying and deafening the ear with Its sound.
Robert Southey— ' * The Cataract of Lodore. ''
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220 ^^^ ^^^7' ^^ POETRY.
PARALEIPSIS.
A pretended or apparent omission ; a figure by which a
speaker pretends to pass by what at the sarne time he really
mentions, as :
HSr klndn^s and h^r worth t6 spy,
Yott need btlt gaze 6n Ellen's eye ;
N6t Katrine, in hSr mirr5r blue,
Gtves back th^ shaggy banks mttre true,
Than everj^ free-b5m glance confessed
The guilel&s movements of h^r breast ;
Whether j6y danced tn her dSrk eye,
Or woe 6r pity claimed ^ sigh,
(>x filial love was glowing there,
Or meek dSv6ti6n poured a prayer,
6r tale 5f injtiry called forth,
The indignant spirit of the North,
6ne onlj^ passi5n unrevealed,
WUh maiden pride the maid c6ncealed.
Yet not less purelj^ felt the flame —
need I tell that passi5n*s name ?
Scott—'' The Lady of the Lake.'*
PERSONIFICATION.
Is a figure by which the absent are introduced as present
and by which inanimate objects and abstract ideas are rep-
resented as living. Personification is a species of Metaphor:
There is a Reaper wh6se name is Death,
And, with his sickle keen,
He reaps the bearded grain at a breath.
And the flowers that grow between.
Longfellow — "The Reaper and the Flowers."
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FIG URES OF SPEECH. 221
T6 you, f^ir phant5ms In th^ sun,
Wh6m merry Spring discovers,
WUh blue-birds for yotir laureates.
And hon^y-bees fbr lovers.
A/drich—'* The Blue-Bells of New England."
Hts was thS spell 6*er hearts
Which only acting lends, —
ThS youngest of thS sister Arts,
Wh^re all thfiir beauty blends;
F5r 111 can Poetry Express
Fttll many S tone 5f thought stlbllme,
And Painting, mute ^nd motiftnless,
Steals but a glance 6f time.
Btit by thS mighty act6r brought,
lllusi5n's perfect tritimphs come, —
VSrse ceases to b€ airy thought,
And Sculptiire to bS dumb.
Campbell— ''To J. P. Kemble.**
REFRAIN, OR CHANT.
A kind of musical repetition.
Hast thou a golden day, a starltt night.
Mirth, and music, and love without alloy ?
Leave n5 drop ttndrunkSn 5f thy delight :
Sorr6w and shad5w follttw on thy joy,
"Hs all In a lifetime.
Edmund Clarence Stedman — "All In a Lifetime."
John Gibson Lockhart also furnishes in his translations of
Spanish ballads, another fine illustration :
ThS Moorish king rides up and down
Through Grenada's royal town ;
From filvlra's gates t5 those
Of Blvarambia on h^ goes :
Woe Is me, Alhama ! "
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222 THE ART OF^ POETRY.
SIMILE.
Is an express comparison ; usually introduced by like, as,
and so :
(I).
Life Ys like ^ tale
Ended ere *tts told.
^/^nVA---" Dirge."
(2).
Man, like the generotls vine, stlpported lives ;
The strength he gains \s from the embrace he gives.
Pope.
(3).
Btit pleastires are Itke poppKes spread, —
Yoti seize the flower, !ts bloom ts shed ;
Or like the snowftll in the river,
A moment white — then melts fbrever ;
6r like the borealts race,
That flit ere you c^n point their place ;
6r like the rainb6w's lovelj^ form,
fivanfehing Smid the storm.
Bums— ''T^m O'Shanter.*
(4).
The day !s done, Snd the darkness
Fails from the wings 5f Night,
As a feather te wafted downward
Frttm an eagle in h!s flight.
Longfel/ow—^* The Day is Done.'*
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FIGURES OF SPEECH, 223
SYNECDOCHE.
Is the figure by which the whole of a thing is taken for
the part, or a part for the whole, as, the genus for the
species, or the species for the genus. It comprehends more
or less in the expression than the word which is employed
literally signifies.
The noun ** sail *' is used instead of the noun " ship'* — a
part of the ship for the whole :
A sail! a sail! a promised prize X6 hope,
Hfir nati6n*s flag — h6w speaks thS tel&cope?
N5 prize, alas ! bttt yet a welc6me sail.
Byron.
The force of this figure consists of the greater vividness
with which the part or species is realized.
In Pickering's ballad we have the following lines where
this figure of speech is found, where one wreath is put for
the many, that make the whirl, or storm :
'* C6me in, auld Carl, I'll steer m^ fire,
I'll make tt bleeze a bonnie flame ;
Yottr bluid fe thin, y^'ve tint thS gate,
YS shouldna stray s^e farfrSe hame.'*
** N^e hame h^ve I," th^ minstrel said ;
** sad party strife 5*ertumed my ha* ;
And weeping at th€ close 5f life,
I wander through a wreath d/sndw.'*
TROPE.
An important figure defined as a figurative use ol a word;
a word or expression used in a different sense from that
which it properly possesses, or a word changed from its
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2 24 ^^^ ^^^ ^^ POETRY.
original signification to another for the sake of life or em-
phasis to an idea, as when we call a shrewd man a fox.
Tropes are chiefly of four kinds : Metaphor, Metonymy,
Synecdoche, and Irony, but to these may be added
Allegory, Prosopopoeia, Antonomasia, and perhaps some
others.
The word Trope comes from the Greek word tropos,
which means a turning.
A change of noun is termed a Metonymy, a change of
adjective is termed a Trope.
The following are illustrations :
(I).
N6w fades th6 glimmering landscape on th6 sight,
And all th^ air S solemn stillness holds,
S^ve where th^ beetle wheels hts droning flight,
And drowsy tlnkllngs lull th^ distant folds.
Grays Elegy.
(a).
Away ! ^way ! t6 Athtinree !
Where, downward when thS sun shall fall
The raven's wing shall be yotir pall !
And not a vassal shall ttnlace
The vis6r from yotir dying face !
Campbell— ''CxxvsQ of 0'Connor*s Child."
(3).
She wept t5 leave iMfdnd ro5f where
She had been loved s5 long ;
Thotigh glad the peal tipon the air,
And gay the bridal throng.
Miss Landon — * 'Adieu to a Bride.**
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FIGURES OF SPEECH. 225
(4)-
At last th^ closing seas5n browns th^ plain,
And ripe Octbbltr gathers in th€ grain.
Joel Barlow—'' The Hasty Pudding.'*
(5).
Fountain-heads Snd pathless groves —
Places which /4/^/^jj/^« loves. -
Francis Beaumont.
(6).
When thS humid shad5ws hov^r
Ov^r all thS starry spheres,
And thfi melancholy ddrknltss
Gentl J weeps in rainy tears,
What ^ bliss t6 press th6 pill6w
Of a cottage chamber-bed,
And t5 listen to th6 patter
Of the soft rain overhead.
Coates Kinney — " Rain on the Roof.**
(7).
*Tis pleasant, by the cheerftil hearth, t6 hear
Of tempests and the dangers of the deep ;
And pause at times and feel that we are safe,
Then listen to ikAperUbUs tale again.
5^M<y— "Modoc."
(8).
Mother, thy child !s blessed ;
And though his presence may be lost t6 thee.
And vacant leave thy breast.
And missed d sweet Idad from thy parent knee ;
Th6ugh tones familiar from thine ear have passed,
Th6u*lt meet thy first-b6rn with the Lord at last.
Willis G. Clark.
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226 THE AKT OF PORTR Y.
(9)-
Sh^ hears thS cann6n*s deadly rattle.
Washington Allston — "Spanish Maid.'*
(lO).
Purple dresses, th^ wearing ttf which ts brighter th^n any star.
Horace— '' Odit:&:'
(II).
The dogs ftir kinder than their /«r^/^ master.
'* Lazarus and Dives."
(12)
Others from the dawning hills
Looked Ground.
Milton — '* Paradise Lost.'*
The ** hills" are but the receivers of the light — they are
not ''dawning hills" save when the "dawning light"
shines upon them.
VISION.
Is the expression of powerful emotion, akin to Apostro-
phe. It is a figure in which the past or future is conceived
for the present. It is appropriate to animated description,
as it produces the effect of an ideal presence. Thomas
Campbell's *' Lochiel's Warning" illustrates this figure :
Lochiei, Lochiel ! beware 6f the day
When the Lowlands shall meet thee in battle ^rray !
F6r a field 5f the dead rtlshes red 6n m^ sight,
And the clans 6f Ctilloden Sre scattered \n fight.
They rally, they bleed, fbr their kingdftm and crown; —
W6e, woe t6 the riders that trample them down !
Pr6ud Cumberland prances, Insulting the slain,
And their hoof-beaten bos6ms Sre trod \6 the plain.
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PART THIRD.
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CHAPTER I.
OF THE VARIOUS KINDS OF POETRY.
WE cannot better introduce our chapter "On the
Various Kinds of Poetry ' ' than by giving Fonte-
nelle's celebrated allegory on "The Empire of Poetry." It
is professedly one of the finest metaphorical descriptions
that has ever been written.
THE EMPIRE OF POETRY.
This Empire is a very large and populous country. It is
divided, like some of the countries of the Continent, into the
Higher and Lower Regions. The Upper Region is inhabited
by grave, melancholy and sullen people, who, like other
mountaineers, speak a language very different from that of
the inhabitants of the valleys. The trees in this part of the
country are very tall, having their tops in the clouds.
Their horses are superior to those of Barbary, being fleeter
than the winds. Their women are so beautiful as to eclipse
the star of day. The great city which you see in the maps,
beyond the lofty mountains, is the capital of this province,
and is called Epic. It is built on a sandy and ungrateful
soil, which few take the pains to cultivate. The length of
the city is. many days' journey, and it is otherwise of a
tiresome extent. On leaving its gate, we always meet with
men who are killing one another ; whereas, when we pass
through Romance, which forms the suburbs of Epic, and
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230 7^^^ ^^^ O^ POETRY.
which is larger than the city itself, we meet with groups of
happy people, who are hastening to the shrine of Hymen.
The mountains of Tragedy are also in the province of
Upper Poetry. They are very steep, with dangerous preci-
pices ; and, in consequence, many of its people build their
habitations at the bottom of the hills, and imagine themselves
high enough. There have been found on these mountains
some very beautiful ruins of ancient cities, and from time to
time, the materials are carried lower to build new cities ; for
they are now never built nearly so high as they seem to have
been in former times.
The Lower Poetry is very similar to the swamps of
Holland. Burlesque is the capital, which is situated amid
stagnant pools. Princes speak there as if they had sprung
from the dung-hill, and all the inhabitants are buffoons from
their birth. Comedy is a city which is built on a pleasant
spot ; but it is too near to Burlesque, and its trade with this
place has injured the manners of the inhabitants.
I beg you will notice, in the map, those vast solitudes
which lie between High and Low Poetry. They are called
the Deserts of Common Sense. There is not a single city
in the whole of this extensive country, and only a few
cottages scattered at a distance from one another. The
interior of the country is beautiful and fertile, but you need
not wonder that there are so few that choose to reside in it ;
for the entrance is very rugged on all sides, the roads are
narrow and difficult, and there are seldom any guides to be
found capable of conducting strangers.
Besides, this country borders on a province where every
person prefers to remain, because it appears to be very
agreeable, and saves the trouble of penetrating into the
Deserts of Common Sense. It is the province of False
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OF THE VARIOUS KINDS OF POETRY. 231
Thoughts. Here we always tread on flowers ; everything
seems enchanting. But its general inconvenience is, that the
ground is not solid ; the foot is always sinking in the mire,
however careful one may be. Elegy is the capital. Here the
people do nothing but complain ; but it is said that they find
a pleasure in their complaints. The city is surrounded with
woods and rocks, where the inhabitant walks alone, making
them the confidants of his secrets, of the discovery of which
he is so much afraid that he often conjures those woods and
rocks never to betray them.
The Empire of Poetry is watered by two rivers : One is
the River of Rhyme, which has its source at the foot of the
Mountains of Reverie. The tops of some of these mountains
are so elevated that they pierce the clouds. Those are
called the Points of Sublime Thoughts.
Many climb there by extraordinary efforts ; but almost the
whole tumble down again, and excite, by their fall, the ridicule
of those who admired them at first without knowing why.
There are large platforms almost at the bottom of these
mountains, which are called the Terraces of Low Thoughts.
There are always a great number of people walking on them.
At the end of these terraces are the Caverns of Deep Rev-
erie. Those who descend into them do so insensibly, being
so much enwrapt in their meditations that they enter the
cavern before they are aware. These Caverns are perfect
labyrinths, and the difficulty of getting out again could
scarcely be believed by those who have not been there.
Above the terraces we sometimes meet with men walkmg in
easy paths, which are called the Paths of Natural Thoughts;
and these gentlemen ridicule equally those who try to scale
the Points of Sublime Thoughts as well as those who grovel
on the terraces below. They would be in the right if they
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232 ^^^ ART OF POETR Y.
could keep undeviatingly in the Paths of Natural Thoughts,
but they fall almost instantly into a snare by entering into a
splendid palace which is at a very little distance. It is the
Palace of Badinage. Scarely have they entered it, when,
in place of the natural thoughts which they formerly had,
they dwell upon such only as are mean and vulgar. Those,
however, who never abandon the Paths of Natural Thoughts
are the most rational of all. They aspire no higher than
they ought, and their thoughts are never at variance with
sound judgment.
Besides the River Rhyme, which I have described as
issuing from the foot of the mountains, there is another
called the River of Reason. These two rivers are at a great
distance from one another, and, as they have different
courses, they could not be made to communicate except by
canals, which cost a great deal of labor ; for these canals of
communication could not be formed at all places, because
there is only one part of the River Rhyme which is in the
neighborhood of the River Reason ; and hence many cities
situated on the Rhyme, such as Roundelay and Ballad,
could have no commerce with the Reason, whatever pains
might be taken for the purpose.
Further, it would be necessary that these canals should
cross the Deserts of Common Sense, as you will see by the
map, and that is almost an unknown country. The Rhyme
is a large river, whose course is crooked and unequal, and,
on account of its numerous falls, it is extremely difficult to
navigate. On the contrary, the Reason is very straight and
regular, but does not carry vessels of every burden.
There is in the Land of Poetry a very obscure forest, where
the rays of the sun never enter. It is the Forest of Bom-
bast. The trees are close, spreading, and twined into each
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OF THE VARIOUS KINDS OF POETRY, 233
Other. The forest is so ancient that it has become a sort of
sacrilege to prune its trees, and there is no probability that
the ground will ever be cleared. A few steps into this forest
and we lose our road, without dreaming that we have gone
astray. It is full of imperceptible labyrinths, from which no
one ever returns. The Reason is lost in the forest.
The extensive province of Imitation is very sterile. It
produces nothing. The inhabitants are extremely poor,
and are obliged to glean in the richer fields of the neighbor-
ing provinces ; and some even make fortunes by this
beggarly occupation.
The Empire of Poetry is very cold toward the north, and
consequently this quarter is the most populous. There are
the cities of Anagram and Acrostic, with several others of a
similar description.
Finally, in that sea which bounds the States of Poetry,
there is the Island of Satire, surrounded by bitter waves.
The salt from the water is very strong and dark-colored.
The greater part of the brooks of this island resemble the
Nile in this, that their sources are unknown ; but it is par-
ticularly remarkable that there is not one of them whose
waters are fresh. A part of the same sea is called the
Archipelago of Trifles. The French term is 1' Archipel des
Bagatelles, and their voyagers are well acquainted with .
those islands. Nature seems to have thrown them up in
sport, as she did those of the Egean Sea. The principal
islands are the Madrigal, the Song, and the Impromptu.
No lands can be lighter than those islands, for they float
upon the waters.
FONTENELLE.
The painter gives color to his study, and his tints and
tone colors are varied according as the master possesses
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234 '^^^ ^^^ OP POETR Y.
science in his art, and as genius has given him ability and
industry necessary to great effort. The poet paints with
another brush. Figures of Rhetoric are his colors, and
nature furnishes him with similes, metaphors, and personifi-
cations. He should abound in imagery, and his words
should be descriptive of external objects which are on every
side. His efforts should be to please, and he is allowed
greater fi'eedom than any other writer. Man is always
interested in his fellow man ; hence, character, fortitude,
devotion, affection, aspiration, and passion, are all elements
that may enter into the poem. From the earliest ages down
to the present, poetry has held a place in the human heart.
Rude songs descriptive of war and peace, love and affection,
hymns to the gods, and poems celebrating the achievements
of heroes are among the first productions of all nations.
Traditional odes are found among the rudest tribes. Poetry
has always been a pleasing form of literature, and has been
assiduously cultivated at all times. The higher the grade
of civilization the greater has been the appreciation of the
poet's efforts. His efforts should always be to attain the
ideal. He has the whole world of reality to select from.
He should seek to surpass nature in his creative imagination.
The true poet is a creator, sensitive to all the scenes and
impressions around him ; his eye should catch that which
the ordinary observer passes by ; and his ear should be
attuned to every sound about him. The picturesque, the
ideal, and the real are all his. To fency he gives form and
color, and his expressions should contain a delicacy, rich-
ness and warmth of feeling and beauty, that should ever be
a pleasure to mankind. His ideas, figures, characters,
scenes, and language should all harmonize. His lines should
carry the reader throughout the poem without a jar or inter-
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OF THE VARIOUS KINDS OF POETRY,
235
ruption. Words should be selected for their beauty of sound
and association ; and the effort should alone be to attain the
highest form of expression known to elevated thought and
diction.
CLASSIFICATION OF POETRY.
It is very difficult to classify all poems. Poems may be
found that are susceptible of various classification ; others
will be found that will hardly take their places in any list.
Poetry may be divided, however, into six general heads :
1. Lyrical.
2. Pastoral.
3. Didactic.
4. Epic.
5. Dramatic.
6. Satirical.
These six species may be again subdivided as follows :
- The Lyric
1. Songs, I
2. Odes.
3. Ballads.
Sacred .
Secular.
4. Elegy, (Epitaph).
5. Sonnet.
6. Epigram.
The Pastoral.
I. Eclogue. ' 2. Idyl.
The Didactic
I. Philosophical. 2. Meditative.
The Epic
1. Grand Epic.
2. Mock Epic.
3. Metrical Romance.
4. Metrical Tale.
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236 THE AR T OF FOE TR Y.
The Drama.
1. Tragedy, (Prologue).
2. Comedy, (Epilogue, Envoy).
3. Farce.
4. Mask, Travesty or Mock Heroic.
5. Melodrama.
6. Burletta.
The Satire.
1. Moral. 3. Political.
2. Personal.
To the above classification we may be allowed to add
some other heads which properly speaking belong to some
of the classes above enumerated. They are, however,
figures and forms different from the ordinary :
1. Dialectic. 3. Versicles.
2. Nonsensical.
OBJECTIVE AND SUBJECTIVE POETRY.
We should ask ourselves when we begin to write poetry
whether what we write should be objective or subjective.
The mental forces at work in writing Cowper's '* Task *' or
Wordsworth's " Excursion,*' both eminently subjective, —
are different from the mental forces at work in writing Long-
fellow's ** Psalm of Life" or ''The Day is Done," or
Brennan's **Come to Me, Dearest," which are objective
poems. In objective poetry the structure is light and airy,
lit up as by the gay light of electricity, and the teachings
merely suggestive ; the other structure — subjective poetry —
is strong and ponderous, grave and staid, and its writers
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OF THE VARIOUS KINDS OF POETRY, 237
may be termed teachers of their own experiences, thoughts
and feelings. Subjective poetry is mostly written in the
iambic rhythm and comprises not only poems of beauty, but
poems of strength and grandeur. Objective poetry is more
frequently written in the trochaic, anapestic and dactylic
rhythms, — light, tripping, airy, suggestive, and yet possessed
of more outward beauty than any other class of poetry.
Objective poetry expresses not facts, but fancies ; yet these
fancies must have facts for a basis. Conciseness in poetry is
a virtue — often a necessity, and the writer of anapestic and
dactylic verse cannot cram his lines like the writer of iambic
verse, or they would be harsh and rugged. Then again,
consonants dominate the vowels in our language, and the
writer of anapestic and dactylic verse should make it unob-
trusively alliterative, and thus artfully bevel the comers by
the smoothing process of alliteration. Bring the liquids
mto use.
THE LYRIC.
The lyric poets form the largest class of singers. They are
a kingdom unto themselves, and often they are too much
engaged with their own feelings and emotions to have sym-
pathy with the world about them. The lyric poet loves his
muse, however, and feels that the muse loves him, and, like
the bird, he warbles his joys and sorrows, his fears and
aspirations, and the world is made better and brighter by
his song. Lyric poetry is gaining rapidly in popular favor ;
it today has more worshippers at its shrine than either the
dramatic or epic, and goes hand in hand with the metrical
romance.
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2 ^8 ^^^- ART OF POE TR Y.
SECULAR SONGS.
Secular songs that have endured for all time claim some
notice. The poets of every age and clime have sung and
will continue to sing of the beauties about them. Especially
do they sing of love, that mightiest of all the passions.
Facts and fancies, love and romances, sentiment and
reflection, have all been food for the poet*s imagination.
What a world of melody and rhythm today delights human
kind, written for us by the singers of all ages. Today we
are delighted constantly by some new words set to popular
music. Today our song writers are as sentimental, as true
to nature and as skilled as the writers of any other age. It
is, however, the old songs, — the songs of days gone by — of
the long ago, that we naturally go back to and inquire after.
Bums, Bayly, Byron, Lover, Moore, Caroline Norton,
Whittier, Longfellow, Holmes, and Tennyson have all
written words that will be ever enduring.
Bishop, Balfe, Claribel, Foster, Sullivan, and Winner
have written music that have immortalized not only the
words but the authors of both words and music. Ever
have music and poetry been twin sisters. The world would
be not beautiful without them. They are both a passion burn-
ing in the human soul that makes the cold, bleak world warm
with their inspirations. All peoples love songs. The
rudest savages have songs of love and of war, of home and
of country, of peace and of religion. The wild Cossack
delights in his songs and sings of and to his love, with the
same tenderness as the cultivated European.
Ireland has ever been famous for her song writers. The
Welsh and Scots have given to the world the sweetest of
music. Germany has contributed her part. The singers
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OF THE VARIOUS KINDS OF POETRY.
239
of all kindreds and of every clime have produced words
and music which solace mankind. Let it not be supposed,
however, that the popular song that has frequently handed
the name of the author down to posterity is but the work
of an idle moment.
Thomas Moore's *' Last Rose of Summer " is one of the
most widely popular songs. Its sale in this country alone is
estimated at over two million copies. It cost Moore deep
meditation. He wrote the song for an old air, '*The
Groves of Blarney. ' * He tells us he was weeks composing
just one of its lines before he succeeded in obtaining words
that were suitable. Moore's Irish Melodies are full of the
sweetest of songs — songs that will be more and more
appreciated in the future by a refined and cultivated public.
None can, however, touch the popular heart more than the
one we have just alluded to, a song of but three stanzas of
eight lines each, written in anapestic rhythm. **The Last
Rose of Summer '* will be as popular with future genera-
tions as it has been with past onss, and had Moore never
written anything else his name would be immortalized. We
select the last stanza :
S6 soon m^y 1 f6116w,
WhSn friendships d^cay,
As fr5m love's shining circle
ThS gems dr6p Sway !
WhSn trtie hearts are withered,
And fond 5nes ^re flown,
Oh ! wh6 would tnhabtt
Thts bleak w5rld dlone ?
Many accounts are given of how " Home, Sweet Home "
came to be written. John Howard Payne, its author, was
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240 THE ART OF POE TR V.
an American poet and playwright who had received a fair
education and who made his Hving by his pen and on the
stage. Like many actors, as well as writers, he was a spend-
thrift and became stranded in Paris, France, the world's
gay Capitol. While all the world below was gayety and
pleasure, he was the occupant of a poorly furnished room in
the topmost story of a house in the Palais- Royale. Without
friends, and temporarily without money, naturally enough
these words suggested themselves to him :
*Mld pleastires ^nd pal^cSs though w6 m^y roam,
BS it ev&r s6 humble there's no pl^ce Itke home ;
A charm fr6m thS skies se^ms t6 hall6w tis there,
Which, seek throtigh the worid, !s n^'er.met wUh Elsewhere.
H5me ! Home ! swe^t, swe^t home !
Th6re*s no pl^ce Itke home !
Oh, there's no pl^ce like home !
The words found a response in every heart. Over one
hundred thousand copies of the song were sold the first year
of its publication. Although Payne was never benefitted
a penny thereby, it immortalized him. Its music is an
old Calabrian air familiar to the pfeasant folk of Sicily. Sir
Henry Bishop, who arranged the music, tells us that he
obtained the air from an old army officer who served in
Sicily. The rhythm of the poem is anapestic tetrameter.
Stephen Collins Foster,* author of " The Old Kentucky
* Stephen Collins Foster was born July 4, 1826, in Pennsylvania. He was a
delicate child, and throughout life was of a quiet and retiring disposition. At the
early age of thirteen he composed, "Sadly to My Heart Appealing," and at six-
teen years of age, "Open Thy Lattice, Love." In after years he gave to the
world, " Old Uncle Ned," " O Susanna," ** Massa's in the Cold Ground," "Old
Dog Tray," "Gentle Annie," and ' Come Where My Love Lies Dreaming."
Foster not only composed the words, but the music to most of his songs. His was
a peculiar musical talent, which has been recognized by musical celebrities, and
his airs have been incorporated by many into concert fantasias. He died as he had
lived, in neglect and poverty, at the early age of thirty-seven, in 1864, in New York
City. It is a sad commentary upon life to know the songs of this gifted writer are
daily sung in almost every household, and still continue to delight the public on
both sides of the Atlantic, and yet, no monument marks the last resting place ol
the author of " The Old Folks at Home."
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OF THE VARIOUS KINDS. OF POETRY.
241
Home," was a writer of still another class of songs indigen-
ous to the United States. They are negro melodies, sad and
quaint, and many of them will last forever. * ' The Old
Folks at Home " in both words and air cannot be surpassed.
Its rhythm is iambic :
way down tipon d6 Swanefi Ribb^r,
Far, far away —
Dare's wha m^ heart te turning ebbfir-
Dare's wha dS old f61ks stay.
All up and down d^ whole creation,
Sadlj^ I roam ;
Stfll 16ng!ng for d^ old plantation,
And for d€ ttld folks at home.
All d€ world am sad and drear5^,
Eb*rj^where I roam ;
Oh, darkeys, how my heart gr6ws weary,
Far from d6 51d folks at home.
All round d6 little farm I wandered,
WhSn i was young ;
Dfin many happy days I squandSredj
Many dfi songs I sung.
When I was playing wid my bruddSr,
Happy was I ;
6h ! take mS to my kind 5ld muddfir I
Dare let mS live and die !
One little hut among dS bushes —
One dat I love— ^^
Still sadly to my memory rushes,
N5 matter where I rove.
When will I see de bees a-hummlng,
All round de comb ?
When will I hear de banj5 tummlng
D6wn in my good 6ld home ?
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242 THE ART OF POETRY.
Henry Russell is the author of * * A Life on the Ocean
Wave. * ' It is one of the most popular of the many beautiful
songs of the sea. The British Admiralty adopted it as the
march of the Royal Marines. It is iambic trimeter. We
select the first stanza :
A life 6n th^ oc^an wave,
A home 6n thS rolling deep,
WhSre thS scattered waters rave.
And th^ winds thfiir revels keep !
Like ^n eaglS caged, I pine,
6n thfe dull, tinchangtng shore ;
Oh ! give mfi thfi flashing brine,
Th^ spray Snd th^ tempest roar !
** The Bay of Biscay," by John Davy, and ** Black-Eyed
Susan, ' ' by John Gay, both favorites in their day, are still
popular sea songs.
A litde romance is attached to one the prettiest of the old
Scotch songs. Annie Laurie was no myth. She was born'
on the 1 6 th day of December, 1682. Her father was Sir Rob-
ert Laurie of Maxwelton, who lived on th^ opposite side of the
river Nith, from Dumfries, Scotland. William Douglass
wooed, but never won her. His song describing her beauty
and his passion for her will render her name immortal.
The fickle Annie preferred, however, to become the wife of
Sir Robert Ferguson, who possessed riches as well as a
name. The music of the song was composed by Lady Jane
Scott, and both words and music will live for generations to
come. We give the original words as they were first
written, as numerous changes have been made to them since
that time. The rhythm is iambic.
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OF THE VARIOUS KINDS OF POETRY, 243
M^xwelt6n banks Sre bonnle.
Wh^re early fa's th^ dew ;
Where me and Annie Laurie
Made up the promise true;
Made up the promfee true,
And never fttrget w!ll I ;
And f5r bonnte Annie Laurie
I'll lay me down and die.
She's backU like the peac5ck,
She's breistlt like the swan,
She's jimp about the middle.
Her waist ye weel mtcht span ;
Her waist ye weel mkht ^an,
And she has a rolling eye ;
And fbr bonnle Annie Laurie
I'll lay me down and die.
The poets of the Emerald Isle will ever be held in high
esteem in the memories and hearts of all nations. The
songs of her writers have a fervency and pathos that are
unsurpassable. The old song from which we select the
second stanza is ever dear to the heart of her countryman.
This song is selected not only on account of the admirable
words but also for the reason they are written in dactylic
rhythm — dactylic tetrameter :
Over the green sea, MavoHmeen, Mavotirneen,
Long sh6ne the white sail that bore thee away,
Riding the white waves that f^ir summer mor-ln',
Just like a Mayfl6wer afloat 6n the bay.
Oh, btit my heart sank when clouds came between tis,
Like a grey curtain 6f rain falling down,
Hid fr6m m^ sad eyes the path 6*er the ocean.
Far, ftlr away where my colleen had flown.
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244 '^^^ ^^^ ^^' POETR K
Then c6me b^ck t6 Erin, MavotirneSn, Mavotirne^n,
Come back again t5 th^ land 5f thj^ birth ;
Come back t5 Erin, Mavotime^n, MavotirneSn,
And U's KfllarnSy shall ring wUh 6ur mirth.
Claribel—'' Come Back to Erin.'
It requires only true manhood which is born of cultivation
and civilization to appreciate anything which is beautiful,
either of art or nature. And even the careless, the indiffer-
ent, and the impatient lover of business will frequently turn
aside and listen to such delicious songs of love as * * Ever of
Thee I'm Fondly Dreaming,*' by Linley, ''Her Bright
Smile Haunts Me Still," by Carpenter, or ** Love Not," by
Caroline Norton.
The field of song is one of the finest, and every poet has
entered it, and many have tofd in song their tales of joy or
woe that will never die. Burns sang of his * * Highland
Mary," and nothing in all of his wonderful productions is
superior to it ''Mary of Argyle" by Nelson, is a beautiful
song. It is mixed iambic and anapestic meter, but the pre-
vailing foot is iambic. We select the first stanza :
1 have heard th^ mavKs singing
His 16ve-s6ng to thfi morn ;
I have seen th^ dew-dr6ps clinging
T5 thS rose jtist newly bom ;
Btit a sweeter song has cheered m^
At thS eveiflng's^ gentle close,
And I've seen an eye stKll brighter
Than thS dew-dr5p on th^ rose ;
'Twas thy voice, m^ gentle Mar^,
And thtne artless, winning smile,
That made this world an Ed^n,
Bonny Mary 5f Argyle.
^5w\
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OF THE VARIOUS KINDS OF POETRY.
245
** Only Friends and Nothing More," by Septimus Win-
ner, one of the famous song writers of the New World, is a
very pretty song. Alice Hawthorne who is accredited with
the words was Winner's mother — Hawthorne being her
maiden name. Out of respect for his mother, her talented
and gifted son has natned her as the authoress of some of
the most charming 'and delightful of songs. One, * * The
Mocking- Bird," is world renowned, on account of the
delicious melody of the music, and also the words of the
song.
The stanza selected from * * Only Friends and Nothing
More," is iambic rhythm.
WS met as manj^ have before
N6r wished n6r hoped t6 meet ^gain ;
N^'er dreaming of 6ur fate tn store
Wtth days 6f pleastire or 6f pain.-
W6 met again with right g6od will
Y^t paused wh^n parting at thS door ;
we lingered with a sigh, btit still
As only friends and nothing more,
we lingered with a sigh, btit still
As only friends and nothing more.
Old songs that still live and are in touch with the popular
• heart are many, but the quaint ones, the expressive ones,
those that possess a distinctiveness of their own, are not so
numerous as one would suppose. An old English song,
a war song, entided '' I Will Hang My Harp on a Willow
Tree," is such an one. The measure is mixed, but the
iambus is the prevailing foot. The anapest, however, is
also found in almost every line. We select the first stanza:
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246 THE AR T OF POE TR Y.
ril hang mf harp 6n & will6w tree,
I'll off 15 th^ wars ^gain ;
Mf peaceftil home h^ n5 charm f5r me,
The battlefield n6 pain ;
The Lady I love will soon be ^ bride,
Wfth a diadem 6n her brow.
6h ! why did she flatter my boytsh pride,
She*s going t6 leave me now,
6h ! why did she flatter mf boyish pride.
She's going t6 leave me now.
The four stanzas composing this grand old song are all
first-class, although a little different from the war music of
the present time. There is, however, something about the
air that is fine, and music and words will still continue to
find old as well as young admirers.
The Civil War of the United States produced many great
songs — songs that stir the souls of men. Charles S. Hall's
"John Brown's Body'* will still go marching on. It caught
the public feeling of the North — the public sentiment.
"Dixie," the great song of the South was composed by
Gen. Albert N. Pike, the music by Dan D. Emmett. The
music found a general response, not only in the South, but
also in the North, and every school boy sang the song.
The words are iambic rhythm, and there is genuine music
in every word, as well as every note.
** Bonnie Blue Flag " was also one of the great songs of
the South, and was written by H. McCarthy. It is mixed
iambic and anapestic measure, the iambic foot prevailing.
No song of the South was, however, greater in words and
music than " My Maryland," written in 1861 by James R.
Randall. We select the third stanza :
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OF THE VARIOUS KINDS OF POETRY. 247
Th6u wilt n6t cowjSr in th6 dust,
Mainland, mj^ Marj^land !
Thy gleamtng sword shall nev^r rust,
Maryland, m^ Maryland I
R^memb^r Carroll's sacrM trust,
RSmemb^r Howard's warlike thrust,
And all thy slumbSrSrs with thS just,
Maryland, my Maryland !
We remember while a boy in college hearing Chaplain
Charles C. McCabe, who had just been released from a
Southern prison and was visiting at the home of that great
and good uncle of his, Prof L. D. McCabe, of the Ohio
Wesleyan University, sing the ** Battle Hymn of the
Republic. ' ' The song is by one of the grandest of woman-
kind, Julia Ward Howe. Nothing we have ever heard
found a greater response. As Chaplain McCabe' s voice
went up it thrilled the very soul. The chorus was caught
by all present, and men and women sang in the old William
Street Church upon that occasion who never sang before.
The song is in the iambic rhythm. We select the first
stanza.
Mtne eyes have seen thS glory of th^ coming of thS Lord ;
HS fe trampling out thS vintage "Where the grapes 6f wrath are
stored :
HS hath loosed the fateftil lightning of His terrible swift sword.
His truth Is marching on.
Song writing, while it may not be the greatest conception
of the poet's mind, is one that may serve to keep his mem-
ory green. It requires feeing, tenderness and sympathy to
write the sweet songs that must endure forever.
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2^8 7^^ ART OF POETRY.
SACRED SONGS.
How often have we listened in former days to good old
hymns, designated by the minister as Long Meter, Short
Meter, or Particular Meter. We did not then understand, or
could we tell just what was meant by it. When, however,
some good brother would start the tune, we could distin-
guish and recognize the old familiar sound ; for in those
days tunes were scarce. When we heard the following
iambic stanza:
where shall restlb^ found,
RSst for the weary soul ?
^TwSre vain the ocean's depths t6 sound,
Or pierce t5 either pole.
Montgotnery.
it was not difficult for us to distinguish the tune from the
following, which the same brother, who always led the
singing, would start, written in trochaic rhythm :
/ 8s 7s.
Come, th5i^ Fount 6( every plessing.
Tune my neart t6 sing thy grace.
Streams 6f mercy nevSr ceastng,
Call f5r songs 6f loudest praise.
Teach m^ some mSlodiotis sonnet.
Sung by flaming tongues above :
Praise the mount — I'm fixed tipon It ;
Mount 5f thy redeeming love !
Robinson.
Our ear soon taught us that this was Particular or Odd
Meter. We could distinguish it from the first, known as
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OF THE VARIOUS KINDS OF POETRY.
249
short measure, or from this stanza in iambics, when the
same good brother would start the tune again, and drawl its
slow length on to the end :
De^m not that they ^re blest alone
Wh6se days a peaceftil ten6r keep ;
ThS anointed Son 5f God makes known
A blessTng for thS eyes that weep.
Bryant.
This hymn was designated as Long Meter. These meas-
ures were also to be distinguished from the following stanza
in iambics, as
I love t6 steal awhile away
Fr6m every cumbering care,
And spend th^ hours 6f setttng day
In humble, grateftil prayer.
Mrs. Brown.
This was known as common measure. The Wesleys,
John and Charles, and Dr. Watts, have made these meas-
ures familiar, and all remember the old hymns we learned
at church, and are thankful for what they taught us. A
stanza of four iambic lines, the first, second and fourth
being trimeters ; the third line, tetrameter, is designated as
Short Meter.
A stanza of four iambic lines, the first and third being
tetrameter, the second and fourth trimeter, is known as
Common Meter.
A stanza of four lines, rhyming in couplets, or alternately,
in iambic tetrameter, is Long Meter. Particular or Odd
Meter was formerly used to denote all other kinds of meter,
as distinguishable from L. M., S. M., C. M., etc. We have
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250 7W^ ART OF POETRY,
also what is known as the Hallelujah Meter, a stanza of six
iambic lines, the first four being trimeter ; the last two
tetrameter, or the last two lines may be separated into four
lines, containing two iambics each, as
All hail 1 th^ gloriotis mom,
That saw 6ur Saviottr rise,
WKth victory bright Adorned.
And tritlmph in hfe eyes ;
YS saints, ^xtol yotlr ris^n Lord,
And sing hfe praise wKth sweet Accord.
*' Psalms and Hymns."
Long Particular Meter is still another form of the stanza
in which some of our hymns are written. The stanza is
iambic. The six lines are tetrameter, the third and sixth
rhyming together, the others rhyming in couplets, as
Let mortals tremble and adore
A God 6f such resistless power,
N6r dare Indulge their feeble rage ;
vain are yotlr thoughts, and weak yotlr hands,
Btlt his eternal counsel stands,
And rules the world fr6m age t5 age.
' * Psalms and Hymns. ' '
Ail the above stanzas but one are written in iambics. The
second stanza is in trochaic measure. The iambic is a
favorite measure for hymns.
OTHER METERS.
But we have many beautiful hymns in other measures.
Many hymns are designated as 8s and 7s, 7s, 6s and 8s, 8s
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OF THE VARIOUS KINDS OF POETRY. 25 1
and 7s and 4s, lis, 12s, etc. This simply has reference to
the number of syllables contained in the line or verse of the
stanza.
A common form of our hymns is the trochaic tetrameter,
lines of eight and seven syllables rhyming alternately. The
line of seven syllables being catalectic. This form in our
hymn books is denominated the 8s and 7s.
It would be much better were we to name it properly —
trochaic tetrameter.
Hymns written in trochaic, dactylic, or anapestic meter
are however, designated only by figures, giving us no clue
to the rhythm. Were the name of the meter added, as,
IIS, anapestic tetrameter, our hymns would be properly
designated.
The following stanza of an old hymn is in anapestic
rhythm, 6s and 9s :
**0 h6w haopy ^re they
Wh6 the Saviotir 6bey,
And have laid tip their treastire above !
what tongue can Express
The sweet c6mf6rt and peace
6f a soul in fts earliest love ? "
C Wesley.
The first, second, fourth and fifth lines are anapestic
dimeter, the third and sixth anapestic tetrameter.
Our hymns have been greatly improved in recent years ;
not only have many new and beautiful ones been added, but
the music has been vastly improved. We remember hear-
ing an eminent divine once say, * ' The church has all the
good hymns, but the deMl has all the best tunes." This
can no longer be said. Hymnology has kept pace with the
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252 T^^^ ^^'^ O^ POETRY.
times. Such benefactors as Philip Phillips, Ira D. Sankey,
P. P. Bliss and many others have revolutionized church
hymns and church music. Some of our hymns are the
most beautiful of songs. The slow and sorrowful iambics
of the long, short and common meters are being replaced by
sweet strains in trochaic, anapestic and dactylic rhythms.
What can be more beautiful than the tender and pathetic
hymn, written by Frances Laughton Mace. It is trochaic
tetrameter. We give the first stanza :
Only waiting till the shad6ws
Are a little longer grown ;
Only waiting, till the glimmer
Of the day's l^st beam h^s flown ;
Till the night 6f earth is faded
From the heart 5nce full 5f day ;
Till the stars 6f heaven Sre breaking
Through the twilight soft and gray.
"Only Waiting."
Another woman, Sarah Flower Adams, has written for us
another beautiful hymn. It is mixed measure, the iambic
being the prevailing foot. The first, third, fifth and sixth
lines are iambic trimeter ; the second, fourth and seventh
lines, iambic dimeter. We give the first stanza :
Nearer my God, t6 thee,
Nearer t5 thee !
fi'en though tt be S cross
That raiseth me ;
Still all my song shall be
Nearer my God, t6 thee
Nearer t6 thee !
" Nearer My God to Thee."
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OF THE VARIOUS KINDS OF POETRY. 253
Bishop Heber is the author of a beautiful hymn in dac-
tylic rhythm. It is the us and ids, dactylic tetrameter.
We give the first stanza :
Bright^t and best 6f th^ sons 6f th^ mornKng,
Dawn \\\ 6ur darkness Snd lend tis thine aid ;
Star 6f the East, th^ h6riz6n ^domtng,
Guide whfire 5ur infant Redeemer te laid.
* * The Beautiful River ' ' is still another of our hymns that
will be sung until the children of earth are gathered on the
other shore. It is trochaic tetrameter. We give the first
stanza :
Shall w6 gather at lh6 riv^r
Where bright angel feet h^ve trod ;
With Its crystal tide f6rever
Flowing by the throne 6f Gcd ?
Chorus —
Yes, we'll gather at the river.
The beautiftil, the beautiftil river-
Gather with the saints at the river,
That fl6ws by the throne 6f God.
Rev, Robert Lowry.
The " Sweet By and By," a hymn in anapestic rhythm,
is another of our popular hymns. We give the second
stanza :
we shall sing 6n that beautiftil shore
The meiodlotis songs 6f the blest,
And 5ur spirits shall s6rr5w n6 more
N6t a sigh f6r the blessing 6f rest.
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Chorus —
In thfi sweet by-^nd-by,
we shall meet 6n that beautlfbl shore,
In the sweet by-Jlnd-by,
#. we shall meet 6n that beautTHll shore.
S. Fihnore Bennett
While many beautiful hymns have been written, and old
ones arranged to new music, there is a charm that lingers
around many old ones, and they will never die. We
mention **01d Hundred, '^ written by Dr. Isaac Watts,
it being a paraphrase of the one hundredth Psalm, the
music by G. Franc, 1554 ; ** Jesus, Lover of My Soul,"
Rev. Charles Wesley, 1740, the music by Simeon B.
Marsh in 1798; **Rock of Ages," written by Rev. A.
M. Toplady, 1776, and set to music 1830 by Dr. Thomas
Hastings; ** Sweet Hour of Prayer," written in 1846 by
Rev. W. H. Walford, arranged to music in 1859 by W. H.
Bradbury.
Many are the hymns that have survived for over one
hundred years, and are fresh in the minds of the people
today.
THE ODE.
Odes are' of four kinds Sacred, Heroic, Moral and
Amatory. The ode is one of the most elevated forms of
lyric compositions. Ode, derived from the Greek, meaning
song, originally meant any poem adapted to be sung. The
ode is, however, to be distinguished from the song. It is
the loftiest form of lyrical poetry, embodying as it does the
most elevating thoughts and most intense emotions of the
writer. It is usually written in an abrupt, concise and ener-
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OF THE VARIOUS KINDS OF POETRY. 255
getic style. The meters are often irregular and are not
arranged by any fixed stanzaic law, but by a deeper law —
that feeling which guides the soul of inspiration on and on,
in rapt emotion, regardless of the demands of the stanza.
Poetry may, however, lose immensely by not being governed
by a fixed stanzaic law for much of its beauty depends upon
the fixed regularity of its rhyme. Odes are, however, irreg-
ular, and call forth the highest art of the poet in adapting
the meters and cadences to the ever varying changes of
sentiment and imagmative thought.
THE SACRED ODE.
Byron's Hebrew Melodies and Moore's Sacred Melodies
contain fine specimens of lyrical beauty. Milton's ode on
the ** Nativity" is still another fine example:
And on that cheek Snd o'er that brow
S6 soft, s6 calm, s6 el6quent.
The smiles that win, thS tints that glow,
Btit tell 6f days \n goodness spent, —
A mind at peace wtth all below,
A heart wh6se love !s inn6cent.
Byron— ''S\i^ Walks in Beauty."
THE MORAL ODE.
Odes of this nature express sentiment suggested by
friendship, humanity of heart, and patriotism. Lanier's
''Ode to the Johns Hopkins University " is an example in
iambic :
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256 '^^^ ART OF POETRY.
And here, finer Pallas, long remain, -r
Stt on thSse Marj^l&nd hills, ^nd ixn thy reign,
And frame ^ fairer Athens than 6f yore
In these blfet bounds 6f Baltimore, —
HSre, where th^ climates meet
That each mSy make thfi other's lack c5mplete, —
Whfire Florida's s6ft Favftni^n airs beguile
Thfi nippYng North, — wh^re Nattire*s powers smile, —
Wh^re Chesapeake h61ds frankly forth h^r hands
Spread wide wUh invitation to ^11 lands. —
WhSre now thS eag^r people yearn 15 find
Thfi drg^nizlng hand that fast m^y bind
Lodse straws 6f aimless aspiration fain
In sheaves 6f serviceable grain, —
H€re, old and new In one,
Throtigh nobler cycles round a richer sun
O'er-rule 6ur modern ways,
blest Minerva of th^se larger days !
THE AMATORY ODE.
It is better known as a love song. Most English and
American poets have contributed to this great class of
literature. Goethe, Schiller and Heine are the most cele-
brated of the German writers who have contributed to this
species of poetry. The Madrigal is a little amorous poem ^
that may be properly classed under this head. Byron' s
**Maid of Athens," Tennyson's **Maud,'* and Burns'
** Highland Mary" are among the finest specimens of our
love songs, expressing refined sentiment and tender aflfection:
0, sad are they wh6 know n6t love,
Btit, far fr6m passi6n's tears and smiles,
Drift down a moonless sea and pass
The silver coasts 6f fairy isles.
Thomas Bailey Aldrich—'' Sad Are They Who Know Not Love."
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OF THE VARIOUS KINDS OF POETRY, 257
THE HEROIC ODE.
Odes of this species celebrate and sing the praises of
heroes and are mosdy occupied with martial exploits.
Loweirs ''Commemoration Ode *' and Coleridge's ** Ode
to France ' ' are specimens of this species :
6ur fathers fought.fbr Liberty,
ThSy struggled long and well,
History of thSir deeds c&n tell —
Btit did th^y leave tis free ?
Z<7a/^//— "Fourth of July Ode."
*Twas at thS royal feast, fbr Persia won
By Philip's warlike son ;
Aloft Kn awftil state
The Godltke her6 sate
6n his imperial throne ;
Hfe valiant peers w^re placed around,
Their brows with rosfis and with myrtles bound
(S6 should desert in arms be crowned.)
The lovely Thais, by his side,
.sate like a blooming Eastern bride
In flower 6f youth and beauty's pride.
Happy, happy, happy pair !
None bt^t the brave,
None btit the brave,
None btit the brave deserves the fair. ^
Chorus—
Happy, happy, happy pair !
None btit the brave,
None btit the brave.
None btit the brave deserves the fair.
John Dryden — "Alexander's Feast ; or, the Power of Music.**
Thtis bright fbrever may she keep
Her fires 6f tolerant Freed6m burning,
TTU war's red eyes are charmed t6 sleep
And bells ring home the boys retiiming.
John Hay—'' Centennial, ' '
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258 ^^^^ ^^T^ OF POETRY.
THE BALLAD.
It is only in very enlightened communities that books
are readily accessible. Metrical composition, therefore,
which, in a highly civilized nation, is a mere luxury, is, in
nations imperfectly civilized,, almost a necessary of life, and
is valued less on account of the pleasure which it gives to
the ear, than on account of the help which it gives to the
memory. A man who can invent or embellish an interest"
ing story, and put it into a form which others may easily
retain in their recollection, will be always highly esteemed
by a people eager for amusement and information, but
destitute of libraries. Such is the origin of ballad-poetry,
a species of composition which scarcely ever fails to spring
up and flourish in every society, at a certain point in the
progress towards refinement. Tacitus informs us that songs
were the only memorials of the past which the ancient
Germans possessed. We learn from Lucan and from Am-
mianus Marcellinus that the brave actions of the ancient
Gauls were commemorated in the verses of Bards. During
many ages, and through many revolutions, minstrelsy re-
tained its influence over both Teutonic and the Celtic race.
The vengeance exacted by the spouse of Attila for the murder
of Siegfried was celebrated in rhymes, of which Germany is
still justly proud.
The exploits of Athelstane were commemorated by the
Anglo-Saxons, and those of Canute by the Danes, in rude
poems, of which a few fragments have come down to us.
The chants of the Welsh harpers, preserved, through ages
of darkness, a feint and doubtful memory of Arthur. In
the Highlands of Scotland may still be gleaned some relics
of the old songs about Cuthullin and Fingal. The long
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Struggle of the Servians against the Ottoman power was
recorded in lays full of martial spirit.
We learn from Herrera that when a Peruvian Inca died, men
of skill were appointed to celebrate him in verses, which all
the people learned by heart and sang in public on days of
festival. The feats of Kurroglou, the great freebooter of
Turkistan, recounted in ballads composed by himself, are
known in every village of Northern Persia.
Captain Beechey heard the Bards of the Sandwich Islands
recite the heroic achievements of Tamehameha, the most
illustrious of their kings. Mungo Park found in the heart
of Africa a class of singing men, the only annalists of
their rude tribes, and heard them tell the story of the victory
which Damel. the negro prince of the Jaloffs, won over Ab-
dulkader, the Musselman tyrant of Foota Torra. This
species of poetry attained a high degree of excellence
among the Castilians, before they began to copy Tuscan
patterns. It attained a still higher degree of * excellence
among the English and the Lowland Scotch, during the
fourteenth, fifteenth, and sixteenth centuries. But it reached
its full perfection in ancient Greece ; for there can be no
doubt that the great Homeric poems are generically ballads,
though widely distinguished from all other ballads, and
indeed from almost all other human compositions, by tran-
scendent sublimity and beauty.
Lord Macaulav.
Among the modern poets, Schiller, Goethe, Hood, Cow-
per, Carleton, Tennyson, Lang and Dobson have written
some of the finest ballads, William Cowper's '*John Gil-
pin's Ride," is a ballad known to almost every one.
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Thomas Campbell ranks as one of the best of English
writers, and few ballads have been more popular with the
general reader than **Lord Ullin*s Daughter." Thomas
Hood was an inimitable writer, one who could spin puns and
take even the bright side of life when adversity was his
almost constant companion. His * * Faithless Nelly Gray * '
is a ballad that will ever be remembered, and his work
abounds with good things in this species of p>oetry. Oliver
Wendell Holmes has also given to the world some excellent
ballads. _
Our common English ballads record in easy verse incidents
and adventures. Here is a stanza of one of the earlier
ballads :
CHEVY CHASE.
" Th^ drivers through th6 wo6ds went
For t6 rouse thS deer,
BowmSn hovered tipon th^ bent^
With their br6ad arr6ws clear,
ThSn th^ wild deSr through thS wo6ds went
6n every side f till shear, ^
Greyh6unds through th^ gr6ve glent^
For t6 kill these deer."
^ Upland. 2 Many. ^ Chased.
The ballad of today is in higher favor than poems of a
didactic character. The ballads of the present day are not
merely simple narratives without any symbolical meaning ;
they are artistic tales, in conception grand, and in execution
perfect, and are frequently of an exceedingly high order.
Schiller* s ballads are among his best poems, and he, without
doubt, was second to none of Germany's great poetic
geniuses. ' * The Diver ' ' is one of his most fascinating
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ballads. With admirable art the poet has heightened the
effect of one of the best German stories by ornamenting
the poem with those graces of description which were ever
at his command. He selects anapestic rhythm, which he
uses with such metrical beauty that from the commencement
until the conclusion the reader is carried along entranced by
the simple style of recital of which Schiller was a master.
We select three stanzas :
Th^n outspoke thS daughter in tender ^m6ti6n —
**Ah ! father, mf father, what more cSn thSre rest?
finough 6f this sport with thS pitiless oc^an —
H^ hSs served the^ &s none wotild, thyself h^st c6nfest.
If nothing cSn slake thy wild thirst 5f desire,
L^t thy knights ptit t6 shame thS Exploit 5f th^ squire ! "
Th^ King seized thS goblSt, hS swung it 6n high,
And whirling, it fell in thS roar 6f th^ tide ;
** Btit bring back that goblet ^gain t5 my eye,
And I'll hold the^ thS dearest that rides by my side ;
And thine arms shall Embrace as thy bride, I decree,
Th6 maiden wh5se pity n6w plead^th f6r thee."
And heaven, as hS listened, sp6ke out fr6m thS space,
And thS hope that makes her6es sh6t flame fr5m his eyes ;
HS gazed 6n thS blush in that beautif til face —
It pales— at thS feet 5f hgr father sh^ lies !
H5w priceless th^ guerd6n !— a moment, a breath,
And headl6ng h^ plunges t6 life and t6 death.
John Hay is the author of ** Jim Bludsoe," *'Banty Tim,"
and * * Little Breeches, ' ' three excellent ballads in dialect.
Mr. Hay is a fascinating author of both prose and poetry,
whose verse has an air of polished personality. We have
selected the following stanza from '' Banty Tim,*' originally
published in Harper s Magazine.
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262 THE AR T OF FOE TR Y.
L6rd ! how thS hot stin went fbr us,
And br'iled ^nd blistered ^nd burned !
H6w th^ Reb^l bullets whizzed r6und us
Wh^n a cuss \n his death-grip turned !
Ttll along toward dtisk I seen S thing
1 could n't believe fbr a spell :
That niggSr — that Tim— was a crawWn' t6 me
Throtigh that fire-pro5f, gilt-Sdged hell !
Oliver Wendell Holmes has written a ballad of early
New England life entitled, * ' Agnes, * ' from which we have
selected the following stanza :
Th^ old, 61d story, — fair and yoiing,
And fond, — and not to6 wise, —
That matr6ns tell with sharpened tongue
T6 maids with downcast eyes.
Of Tennyson* s ballads, ** Locksley's Hall," *'Lady
Clare" " The Lord of Burleigh," and '* Edward Gray" are
the finest. No prettier ballad adorns the English language
than **Lady Clare:"
It was thS time wh^n lilies blow,
And clouds are highest up in air,
L6rd Ronald brought a lil5^-whtte doe
T6 give his cousin, Lad5^ Clare.
THE ELEGY.
To be able to move th^ affections should be the greatest
aim and effort of the poet. To be able to touch the heart-
strings of mankind is a rare gift and power, and he who
succeeds in doing so is a benefactor of mankind. One of
our most delightful writers, who has given to the world
dialect poetry that has pleased all mankind, refused the offer
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of a large sum-in the lecture field, that he might continue to
write poems and give to the world his book offerings. He
said there was a little monitor within his breast that told him
this was a duty he owed to mankind. It is not, however,
altogether his poems in dialect that makes Riley one of
the most lovable of poets. He owes a greater part of his
popularity to his power to reach the human heart in depict-
ing the scenes of daily life, which he seizes upon and makes
the themes of his poetry. Brush away the dialect from
Riley's poems and you still have thoughts and expressions
that glitter like polished diamonds, and which carry you
entranced throughout the reading, on account of the deep
feeling that pervades his every thought. His lines are full
of tender sympathy, simple pathos, and emotion, that finds
a ready response in the hearts of men who cannot write, but
who feel and see and know well that which is written, and
are ready critics, capable of pronouncing just verdicts. To
this class of readers Riley owes his wide popularity. His
poetry is not unlike Gray, Burns, Moore, and Cowper, of
the past generation ; and it ranks with Longfellow, Tenny-
son, Whittier, Bryant, Holmes, and Lowell, of the present
generation in its elegiac character. The elegy combines
simplicity and pathos; and a tenderness that frequently
springs from an overpowering melancholy. Elegiac poetry
must necessarily be begotten of the finest impulse of the
human soul. It is always of the mournful and somewhat
contemplative claiss of poetry. It appeals directly to the
sympathies of mankind. It may or it may not express
grief, yet a tone of melancholy always pervades the senti-
ment, frequently born of the burning heart-throbs of despair
that seizes upon the gifted sons of song, from whose wretch-
edness, and sorrow, and intense feelings thousands of readers
receive joy and delight.
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Elegiac poetry is various in character. The grief that
one heart expresses another pours out in a manner entirely
different, although both show and express the tenderness
and pathos of a sensitive and fine nature. Let us make a
few selections from James Whitcomb Riley :
Wh«n Besste died—
W6 writhed Xn prayer tinsattsfied ;
W« begged 6f God, ^nd He did smile
In silence on tis all thS while ;
And we dtd see Htm, through 6ur tears,
Enfolding that ftir form 6f hers,
ShS laughing back Against His love
ThS kiss& we h^d nothing of—
And death t5 us H^ still denied,
Wh^n Bessie died.
" When Bessie Died."
What can be more expressive than the stanza selected
from the poem entitled, ''Little Mahala Ashcraft?" We
select the fourth stanza. Its lines are iambic heptameter :
Th6y*s s6rr5w in thS wavin' leaves 6f all the applS-trees ;
And sorr5w in thS harvSst-sheaves, ^nd s6rr6w in th6 breeze ;
And s6rr5w in thS twitter of th^ swallSrs 'round thS shed ;
And all th^ song h€r red-btrd sings fe ** Little Hal^^s dead ! "
"A Leave Taking" is a poem full of that rare beauty
peculiar to the writings of Riley — human nature vividly
portrayed :
I kiss thS eyes
6n either lid,
Whfere her 16ve lies
F6revSr hid.
1 cease m^ weeping
And smile ^nd say :
I will bS sleeping
Thus, s5me day !
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How beautiful these lines. Every word comes from the
depths of deep thought, sad and reflective :
Then the face 5f a Mother lo5ks back, throtigh th^ mist
6f the tears th^t are welHng ; ^nd, lucent wfth light,
I see the dear smile 5f the lips I h^ve kissed
As she knelt b^ mf cradle, at morning and night ;
Btit my arms are 6utheld, with a yeamtng to5 wild
F6r any btit God \n His love t6 inspire,
As she pleads at the foot 6f His throne fbr her child,—
As 1 sit in silence and gaze in the fire.
J^i/ey — *' Envoy."
** In the Dark " is another pathetic poem from which we
have selected two stanzas :
And 1 think 6f the smiling faces
That iised t6 watch and wait,
Till the click 6f the clock was answered
Bf the click 5r the opening gate —
They are not there now in the evening —
Morning 6r noon — n6t there ;
Yet I know that they keep their vigil,
And wait f6r me S5mewhere.
The poet Coleridge has defined an elegy to be that form
of poetry natural to the reflective mind. It may treat of
any subject, but must treat of no subject for itself, but, always
and exclusively with reference to the poet himself
Riley's peculiar genius is such that while he may have •
many imitators there can never be but one Riley. If we
read his poems as the swallow skims the air, we might be
led to say there is nothing but frivolity and fun in all his
writings. This is not true, however. While many of his
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266 THE AR T OF FOE TR Y,
poems abound in the pleasantries of life and are mirth-provok-
ing, few writers deal more directly with the sad perversities
of life:
N6w — sad perversity ! M5^ theme
Of rarest, purest joy
Is when, !n fancy blest, I dream
1 am a little boy.
^//^—** Envoy."
From deep sorrow ofttimes comes great joy, — for out of
sorrow or sadness may come joy to the sons of song, after
the teardrops have been wiped away from the soulful eye.
The misfortunes that seemingly are the inheritance of some
of our great men of letters, have given the staid old world an
inheritance in the writings of these gifted sons that delights
and benefits mankind, even though these treasures are
frequently wrung from their very heart's blood. The blind-
ness of Milton gave the world some of the rarest of poetic
gems. The melancholy of Gray gave the world an elegy
that has never been equaled. The great elegiac effort of
Tennyson, **In Memoriam," at the death of his friend,
Arthur Hallam, is the echoings of a sad and sorrowful heart.
Tennyson who was afflicted from his infancy with a lack of
good eyesight, never mingled with the gay festivous world
or dealt with its frivolities. To him the death of a friend
like Sir Arthur meant something, and he sorrowed over his
loss, and sorrowing gave to the world * * In Memoriam : * '
I sometimes hold U half a sin
T6 put in words the grief I feel :
F6r words, like Nattire, half reveal
And half c6nceal the Soul within.
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Btit, for thS tinquiSt heart and brain,
A use !n measured language lies ;
ThS sad mSchante exercise,
Like dull nSrcotYcs, numbing pain.
In words, like weeds, I'll wrap mS 6*er,
Like coarsest clothe Against th^ cold ;
Btit that ISrge grief which these Enfold
Is given in outline and n5 more.
Tennyson — ** In Memoriam.'*
William CuUen Bryant wrote * * Thanatopsis ' ' at the age
of eighteen years. His own version of how it came to be
written is here given : * * Wandering in the primeval forest
over the floor of which were scattered the gigantic trunks of
fallen trees, mouldering for long years, and suggesting an
indefinitely remote antiquity, and where silent rivulets swept
along through the carpets of dead leaves, the spoil of thous-
ands of summers, the poem * Thanatopsis * was composed.'*
Richard Henry Dana, who was then one of the brilliant
young editors of the North American Review, and who
was himself a gifted poet, saw beauty in the lines and gave
the poem to the world, — its author's feme was made. Many
beautiful lines of the elegiac character have since come from
his pen. In ''October, 1866,'' Bryant tenderly embalms
the memory of one to whom he once addressed **0h
Fairest of the Rural Maids. * * Frances Fairchild was the
person to whom he addressed his song, and whom he wedded
and afterwards lived with for nearly half a century. We
select the eighth stanza of ** October, 1866 : **
I gaze in sadness, it delights va& not
T6 look 5n beauty which th6u canst n6t see ;
And, wert th6u by m^ side, thS dreari&t spot
were, O, h5w far m5re beautiful t5 me.
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268 THE ART OF POE TR Y.
These lines of * * Thanatopsis/ * from which we quote,
are a vivid picture of man*s destiny.
C6mes a stfll voice : — ^Y€t a f^w days, and thee
ThS all-bSholdXng sun shall see n6 more
In all h!s course ; n5r yet in the c61d ground,
Where thy pale form was laid, wtth man^ tears,
N5r in thS Embrace 6f 6c6an, shall Sxist
Thy image. Earth, that nourished thee, shall claim
Thy growth, t6 be resolved t5 earth again ;
And, lost 6ach human trace, stirrendSrKng up
ThTne indXvidtial being, shalt th6u go
T5 mix fBrev^r with th^ elements ;
T6 be a brother to thS !nsenstblS rock,
And to thS sluggish clod, which the rtide swain
Ttims with his share, and treads tipon. ThS oak
Shall send his roots abroad, and pierce thy mold.
Robert Burns was one of Nature's darlings. No poet,
past or present, has so truly depicted the joys and sorrows,
the needs and wrongs, the follies, as well as the passions and
virtues of mankind. In Burns the people of Scotland
found a true representative, especially that strong race of
middle life, from whence have sprung many of the sturdiest
and best men. Burns, however, owes much of his lasting
popularity to elegiac verse. It is said of Burns that he was
grave, serious, contemplative, possessing a thoughtful mind.
While he was the poet of the lowly and espoused their cause
on all occasions, it is a mistake to esteem Burns
*' The simple Bard, r6ugh at the rustic plough."
He was reserved and dignified in his demeanor and
commanded the greatest respect among the very best
literary men of his time. He was fairly educated, having
received good instruction in all the common branches, suffic-
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ient to enable him to write, and write correctly. Is it a
wonder then, that one possessed of his high qualities, could
write such lines of ideal beauty, born of study, genius and
inspiration ?
YS banks ^nd braes 5* bonnte Doon,
H5w can yS bloom s^e fresh ^nd fair;
H6w can yS chant. yS littlfi birds,
And I s^e weary fu' 5' care !
Th5u*lt break my heart, th6u warbUng bird,
That want5ns through th6 flowering thorn ;
Th6u minds vcA o' departed joys.
Departed — nev^r to r^tiim !
Aft hae 1 roved by bonny Doon,
T6 see thS rose and wo6db!ne twine ;
And ilka bird sang 6' Its luve,
And fondly sae dtd I 6' mine.
Wr lights6me heart 1 pou'd a rose,
Fti' sweet tipon Its thorny tree ;
And my fause luv^r stole my rose,
Btit ah ! he left the thorn wt' me.
Burns—'' The Banks of Doon. "
Burns tells us in no mistaken strain, how dearly his friend.
Captain Matthew Henderson, was esteemed for his good
fellowship. His elegy, to use his own language, **is a
tribute to the memory of a man I loved much.** We select
the fifth stanza :
M5um, little harebells o'er the lea !
Ye stately f6xgl6ves fair t6 see !
Ye woodbines, hanging bonnllie.
In scented bowers I
Ye roses on yotir thorny tree.
The first 6' flowers !
"Lines on M. Henderson."
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270
THE ART OF POETRY.
Noble and pathetic are the lines in memory of Mary
Campbell, one whom Burns had loved. The words are
sweet music, penned by a sad heart three years after the
death of his Mary, in October, 1789, on the anniversary of
her death.
Th6u lingering star, wtth lessening ray,
That lovest t6 greet thS earl jr mom.
Again th6u usher^st in th6 day
My Mary from mj soul w^ torn.
MarJ ! dear d^partM shade !
Wh^re IS thy place 6f blTssf til rest ?
Se^st thou thy lovSr lowly laid ?
nearest thou thS groans that rend hTs breast ?
That sacred hour cSn I f 6rget,
can I f6rget th^ haU6wed grove,
WhSre by th6 windtng Ayr wS met,
T6 live 6ne day 6f parting love !
fitemtty wtll not efface
Th6se recttrds dear 5f transp5rts past.
Thy image at 6ur last Embrace, —
Ah ! little thought wS *twas 6ur last !
Ayr, gurgUng, kissed hTs pebbled shore,
O'erhung wUh wild wo6ds, thickening green ;
Th^ fragrant birch, and hawth6rn hoar.
Twined amorotis round th6 rapttired scene ;
Th^ flowers sprang want6n to b^ prest,
Th^ birds sang love 5n every spray —
Tlfll too, to5 soon, th^ glowing west
Prttclaimed th^ speed 5f winged day.
Sttll o'er thSse scenes my memory wakes,
And fondly broods with mis^r care ;
T!me but th* Impressi6n stronger makes.
As streams th^ir channels deeper wear.
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Mary ! dear dSpartM shade !
Where is thj^ place 6f blissf til rest ?
S^est thou thy lovSr lowly laid ?
Hfiarest thou the groans that rend his breast ?
" To Mary in Heaven."
We could multiply examples from Burns, but one more
will suffice, a stanza in memory of * ' Highland Mary, ' '
— Mary Campbell of Dunoon, on the Firth of Clyde.
Thy crystal stream, Aft6n, h6w lovely It glides,
And winds by the cot where my Mary resides ;
H5w want5n thy waters her snowy feet lave,
As gathering sweet flowerets she stems thy clear wave.
" Flow Gently, Sweet Afton."
Emerson, while he may not rank with our most celebrated
poets, has left a volume of poetry that finds a high place in
literature. He is universally conceded to be one of the first
of prose writers ; and we may add, to him the world is also
indebted for poetry that must always be held in high esteem
for its elevated thoughts. Emerson was a thinker. His
poetry, therefore, is not of that dreamy nature peculiar to
many of our most gifted artists in song. His poetry is
refined, elegant and subtle, calm and serene. His poems
are not characterized by that peculiar fever-heat which
belongs only to the masters. To Emerson, however, we
must credit one of the best of elegies. It was in memory
of his lost child — his ' * hyacinthine boy. ' ' It was born of the
sorrow that brings mankind to tears. It was born of that
sorrow only those can feel . and realize who have lost one
most near and dear. It was born of that sorrow where tear-
drops cease to flow, and the sorrowing heart ceases to be
comforted ; and torn and rent, gives voice to its feelings in
elegiac verse, — verse that beats time to the aching heart-
throbs, and tells its story in an outburst of sorrow.
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272 THE ART OF POETRY.
child 6f paradise,
B6y who made dear his fath^r*s home,
In whose de^p eyes
M^n read thS welfare of th^ times t6 come,
1 am to5 much bfireft :
ThS world d!sh6n6red thou hast left.
truth's and nature's costlj^ lie !
<3 trusted broken prophecy !
<3 richest forttine sourlj^ crossed !
B5rn for the f uttire, to the f uttire lost !
Emerson — * ' Threnody. ' '
It was Lord Macaulay, we believe, who said Gray would
go down to posterity with a thinner volume of verse than
any other one of our great poets. Gray was a timid youth,
one so fearful seemingly of mankind, that he was almost a
recluse. Gray had a fine sensitive nature ; his fiber was
more of heaven than of earth, and he was ill fitted to cope
with anything rude or boisterous. His fellow students
accused him of being over fastidious, but his nature and
organization was higher and he could ill enjoy their vulgar
sports. Though not a writer of a great number of poems
Gray has written what might be termed the greatest of all
poems, his ''Elegy Written In a Country Churchyard,'*
completed and published in 1751. The favor in which it
was received surprised even its author, who said sarcastic-
ally, that it was owing entirely to the subject, and that the
public would have received it equally well in prose. There
is no poem in the English language more decidedly popular.
It appeals to a feeling all. but universal, — applicable to all
ranks and classes of society. The poem exhibits the highest
poetic sensibility and the most cultivated taste. No poem
in the English language is more figurative, nor is there any
of greater metrical beauty. The popularity which it first
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273
attained, today continues unabated. The original manu-
script bequeathed by the poet to his friend, Mr. Mason, is
still in existence. It sold in 1845 for five hundred dollars ;
in 1854 it was again placed upon the market, bringing the
fabulous sum of six hundred and fifty-five dollars. The
original manuscript was written with a crow-quill, a feivorite
pen of the author, on four sides of a double half sheet of
yellow foolscap, in a neat, legible hand. Gray had but one
enemy in life — the gout, from which he died. He lived
contentedly and in comparative ease, devoting his time to
travel and books, of which he was ever fond. . A delicate,
handsome, effeminate soul, he lived and died one of the
greatest of literary geniuses. The entire elegy is here
given :
Th6 curf&w tolls tliS knell 6f parting day,
Thfi lowtng herd winds slowly o'er thfe lea.
The ploughman homeward plods his weary way,
And leaves thS world t6 darkness and 16 me.
N6w fades thS glimmering landscape on thS sight,
And all the air ^ solemn stillness holds,
SSve where the beetle wheels his droning flight.
And drowsy tinkllngs lull the distant folds :
save that, fr6m yonder ivy-mantled lower,
The moping owl dOes to the moon c6mplain
6f such as, wandering near her secret bower,
M51est her ancient solitary reign.
Beneath th6se rugged elms, that yew-tree*s shade,
Where heaves the turf In many a mouldering heap,
fiach in his narrow cell f6rever laid,
The rude fbref athers of the hamlet sleep.
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THE ART OF POETRY.
The breezy call 6f incense- breathing morn,
The swall6w twittering from th^ straw-buKlt shed,
The cock's shrtll clarion, or thS ech6Tng horn,
N6 more shall rouse thSm from their lowlj^ bed.
F5r them n6 more the blazYng hearth shall burn,
Or busy housewife ply her evening care ;
N6 children run t6 lisp their sire's return.
Or climb his knees the envied kiss t6 share.
Oft did the harvest to their sickle yield,
Their f urr6w 6ft the stubb6rn glebe has broke ;
H6w joctind did they drive their team afield !
H6w bowed the woods beneath their sturdy stroke !
Let not ambiti5n mock their useftil toil,
Their homely joys, and destiny ttbscure ;
N6r grandetir hear with a disdainftil smile
The short and simple annals of the poor.
The boast 6f heraldry, the pomp 6f power,
And all that beauty, all that wealth e'er gave,
Await alike the inevitable hour ;
The paths 6f glory lead btlt to the grave.
N6r you, ye proud, impute t6 these the fault,
If memory o'er their tomb n6 trophies raise,
Where through the long-drawn aisle and fretted vault
The pealing anthem swells the note 5f praise.
can storied urn, 6r animated bust.
Back to its mansi6n call the fleeting breath ?
can honor's voice pr6v6ke the silent dust,
Or flattery soothe the dull c61d ear 6f death ?
Perhaps in this neglected spot is laid
S6me heart 6nce pregnant with celestial fire ;
Hands that the rod 5f empire might have swayed.
Or waked t6 ecstasy the living lyre ;
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Biit Knowledge to th^ir eyes h^r ampl^ page
Rich with th^ spoils 6f time did ne'er tinroll ;
Chill peniiry repressed th^ir noblS rage,
And froze th^ genial current of thS soul.
Ftill many a gem 5f pur&t ray serene
Th^ dark tinfath6med caves 6f oce^n bear ;
Ftill many ^ flower Is born t5 blush tinseen,
And waste Its sweetn^s on th^ desert air.
S6me village Hampdfin, that, with dauntl^s breast,
The little tyr^nt^f his fields withstood,
S6me mute Ingloriotis Milt6n here m^y rest,
Sttme Cromwell guiltless of his countrj^'s blood.
The Applause 6f listening senates to c6mmand,
The threats 6f pain ^nd ruin to despise,
T5 scatter plenty o'er a smiling land,
And read their history in ^ nati6n's eyes,
Their lot f5rbade: n6r circiimscribed alone
Their growing virtties, but their crimes c6nfined ;
F6rbade t5 wade throtigh slaughter to & throne,
And shut the gates 6f mercy on mankind,
The struggling pangs 6f consciotis truth t5 hide,
T6 quench the blushes of Ingenuotis shame,
Or heap the shrine 5f luxtiry ^nd pride
With incense kindled at the Muse's flame.
F&r from the madding crowd's Ignoble strife.
Their sober wishes never learned t6 stray ;
Along the cool sequestered vale 6f life
They kept the noiseless ten6r of their way.
Yet even these b6nes from Insult t6 pr6tect,
S6me frail memorial still, erected nigh,
With uncotith rhymes &nd shapeless sculpttire decked.
Implores the passing tribtite of a sigh.
275
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276
THE ART OF POETRY.
Their name, th^ir years, sp^lt by th* tinlett^red Muse,
The place 6f fame ^nd el^gy stipply :
And many ^ holy text Ground she strews,
That teach the rustic moralist t6 die.
F6r who, t6 dumb fbrgetftilness & prey,
Thfe pleasing anxious being e'er resigned.
Left the warm precincts of the cheerf til day,
N6r cast 6ne longing, lingering look behind ?
On some f 6nd breast the parting soul relies,
S6me piotis drops the closing eye requires ;
fi*en from the tomb the voice 6f nattire cries,
£'en in 6ur ashes live their wonted fires.
F5r thee, wh6, mindftil of th* tinh6n6red dead,
D6st in these lines their artless tale relate :
If chance, bj^ lonely contemplation led,
S6me kindred spirit shall Inquire thj fate, —
Haply s6me hoary-headed swain mSy say :
Oft have we seen him at the peep 6f dawn
Brushing with hasty steps the dews ^way,
T6 meet the sun tipon the upland lawn.
There at the foot 6f yonder nodding beech,
That wreathes Its old fantastic roots s6 high,
His listless length at noontide would he stretch,
And pore tipon the brook that babbles by.
Hard by y6n wood, n6w smiling, as In scorn,
Muttering his wayward fancies, he wotild rove ;
N6w drooping, woeftil-wan, like one fbrlorn,
Or crazed with care, 6r crossed In hopeless love.
One morn I missed him on the 'cust6med hill,
Along the heath, and near his favorite tree ;
Another came ; n5r yet beside the rill,
Nttr up the lawn, n6r at the wood was he :
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OF THE VARIOUS KINDS OF POETRY, 277
ThS next, wUh dirges due, !n sad toay,
Sl6w through thfi church- w^y path wS saw him borne: —
Approach and read (fbr thou cSnst read) thS lay
Graved 6n the stone beneath y6n ag^d thorn.
THE EPITAPH.
H^re rests hte head tipon th6 lap 6f earth
A youth t6 forttine and t5 fame tinknown :
Fclir Science frowned n5t on hfe humble birth,
And Melancholy marked htm fdr hSr own.
Large was hfe bounty, and hte soul sincere ;
Heaven did a rec6mpense ^s largely send ;
He gave t5 misery (all he had) a tear,
He gained fr6m Heaven ('tw^s all he wished) a friend.
N6 farther seek hfe merits to disclose.
Or draw hfe frailties from their dread abode,
(There they alike In trembling hope repose^,
The b6s6m of hfe Father and hfe God.
It was Wolfe, the hero of Quebec, on the eve of that
decisive battle, gliding down the St. Lawrence in the dark-
ness of midnight with his fellow officers in a boat, who re-
peated the elegy to them. At the close of the recitation
said he : ** Now, gentlemen, I would rather be the author
of that poem than take Quebec !*' In a few hours after-
wards Wolfe had taken Quebec. Yet the path of glory led
but to the grave.
The elegy properly speaking may be classed as lyric
poetry. Many other beautiful elegies might be given.
Shelley* s '* Adonais *' on the death of his friend and brother
bard, John Keats, is one of the finest in the English language.
John Milton's '*Lycidas,'* commemorative of the virtues of
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278 THE ART OF FOE TR Y.
his friend, Edmund King ; Collins' * * Dirge in Cymbeline, ' '
and Burns' ** Man Was Made To Mourn," are all fine speci-
mens of elegiac verse. The elegy is one of the grandest of
all departments in the realm of poetical literature.
THE EPITAPH.
An Epitaph is an inscription on a monument in honor or
memory of the dead. Many of these inscriptions were
formerly written in quaint and curious verse. Our ancestors
were given to epitaphic writing more than the writers of the
present day. Another definition given is, a eulogy in prose
or verse composed without any intent to be engraven on a
monument ; hence an epitaph may be termed a brief de-
scriptive poem commemorative of the virtues of the dead.
An epitaphic stanza in iambics :
£re sin cotlld blight 6r s6rr5w fade,
D^ath came with friendlj^ care ;
Th^ opentng bud t6 Heaven c5nveyed,
And bade U bloss6m there.
Samuel Taylor Coleridge — **EpUaph On An Infant."
The following epitaph is also in iambic rhythm :
St6p, mortal ! Here thy brother lies —
The Poet of the Poor.
His books were rivers, woods, and skies.
The mead6w and the moor ;
Hts teachers were the torn heart's wail,
The tyrant and the slave,
The street, the factory, the gaol,
The palace — and the grave !
S!n met thj^ brother everywhere !
And is thj^ brother blamed ?
Fr6m passi5n, danger, doubt, and care,
He no exempti6n claimed.
Ebenezer Elliott--'' A Poet's Epitaph."
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OF THE VARIOUS KINDS OF POETRY, 279
The following is an elegant epitaph in trochaic rhythm :
tTnd^meath thts marblS hearse
Lies th^ subj^t of ^11 verse,
Sydney's sistSr, — Pembr6ke*s mother.
Death, ^re thou h^t slain ^noth^r
Fair ^nd wise ^nd good ^s she,
Time shall throw a dart at thee !
Marble piles l^t no m^n raise
To h^r name in aft^r days ;
Some kind wom^n, born ^s she,
Reading this, like Ni6be
Shall ttim marble, and become
Both h^r moumSr and h^r tomb.
Benjonson — ** Epitaph on the Countess of Pembroke." .
The stanzas following are in iambic rhythm :
Is there a whim-inspired fool,
6wre fast fbr thought, 6wre hot fbr rule,
6wre blate t5 seek, 6wre proud t6 snool ;
Let him draw near,
And owre this grassy heap sing dool,
And drap a tear.
Is there a bard 5f rustic song,
Wh6, noteless, steals the crowd among.
That weekly this area throng ;
0, pass n5t by ;
Btit, with a frater-feeling strong,
Here heave a sigh !
Is there a man wh6se judgment clear
can others teach the course t5 steer.
Yet runs himself life 's mad career,
Wild as the wave ;
Here pause, and, through the starting tear,
Stirvey this grave.
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28o THE ART OF POETRY,
The poor XnhabUant b^low
was quick t6 learn ^nd wise t6 know,
And keenly felt thS friendly glow,
And sober flame ;
Btit thoughtless follies laid him low,
And stained his name !
Reader, attend, — whether thy soul
Sttars fancy's flights beyond the pole,
Or darkly grubs this earthly hole,
In low ptirsuit ;
Kn6w, prudent, cautiotls self-c6ntr6l
Is wisd5m's root.
Robert Bums — " A Bard's Epitaph.
The lines following, in iambic rhythm, were written
August 2oth, 1755 :
Beneath the stone br^ve Bradd6ck lies,
Wh6 always hated c6wardi<ie,
Btit fell a savage sacrifice ;
Amidst his Indian foes.
I charge yoti, her6es, of the ground,
•T5 guard his dark p^vilibn round,
And keep dflfall iibtrudlng sound.
And cherish his repose.
Sleep, sleep, 1 say, br^ve, valiant man,
B61d death, at last, has bid thee stand.
And to resign thy great c6mmand,
And cancel thy c6mmissi5n ;
Although th6u didst n6t much Incline,
Thy post and h6n5rs to resign,
N6w ir6n slumber doth c6nfine ;
N6ne envies thy c6nditi5n.
Tilden—' • An Epitaph for Braddock. "
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OF THE VARIOUS KINDS OF POETRY. 28 1
*THE PASTORAL.
Pastoral poetry, strictly speaking, is that which celebrates
rustic or rural life or deals with the objects of external
nature. • In times gone by pastoral poetry was used to
depict shepherd life by means of narratives, songs and dia-
logues. The pastoral poems of Virgil were called Ec-
logues. An Eclogue is a pastoral in which shepherds are
represented as conversing. Theocritus wrote pastoral poems
termed Idyls. An Idyl is a short descriptive pastoral.
The term Idyllic poetry is now applied to the pastoral.
This variety of poetry is very popular, and meets with a
just appreciation by the public. Pastoral poetry depicts all
the beauties of rural life, — mountain scenery, lowland vales,
majestic rivers, expansive lakes, rifting clouds, birds, beasts,
insects, flowers, and rural scenes ; and rural sports in all their
various phases, are subjects of this kind of poetry. Poems
of nature are classed under this head, as the following iambic
lines :
(I).
H5w beautlftll is th^ rain !
After the dust ^nd heat,
In the broad ^nd fiery street,
in the narr5w lane,
H6w beauttftll is the rain !
H5w it clatters along the roofs,
Like the tramp 6f hoofs !
H6w It gushes and struggles out
Fr6m the throat 6f the overflowing spout !
*For The Sonnet, see page 107. The Epigram, see page 203.
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282 THE AR T OF FOE TR Y.
Across thS windttw-pane
It pours ^nd pours ;
And swift ^nd wide,
Wfth a muddy tide,
LKke a riv^r down th^ gutter roars
ThS rain, thS welcome rain !
ThS sick man frttm hfe chamber looks
At th^ twists brooks ;
He c^ feel th^ cool
Breath 5f Sach little pool ;
Hfe fevered brain
Gr5ws calm ^gain,
And hS breathes ^ blessing on th^ rain.
Henry Wadsworth Longfellow — ** Rain in Summer.'*
(2).
G6ne, gone, s6 soon !
N5 more my half-crazed fancy there
can shape ^ gl^nt in thS air,
N5 more I see hfe streaming hair,
ThS writhing portent of his form ; —
ThS pale ^nd quiSt moon
Makes her c^lm forehead bare.
And the l^st fragments of thS storm,
Like shattered rigging from a fight at sea.
Silent and few, are drifting ov6r me.
James Russell Lowell^'* Summer Storm.**
(3).
H6w sweet, at set 5f sun, t5 view
Thy golden mirr5r spreading wide,
And see th^ mist 6f mantling blue
Flttat round thS distant mountain's side.
James Gates Percival—^'^ To Seneca Lake. '*
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OF THE VARIOUS KINDS OF POETRY, 283
(4).
. Wh!ch is thS wind that brings the flowers ?
The west-wKnd, Bessie ; ^nd soft ^nd low
The birdKes sing !n the summer hours
When the west begins t5 blow.
Edmund Clarence Stedman—'^'W^QX. the Winds Bring."
(5).
Lithe and long as the serpent train,
Springing and clinging fr6m tree t6 tree,
N6w darting upward, n6w down again,
With a twist and a twirl that are strange t6 see ;
Never to5k serpent a deadlier hold,
Never the cougar a wilder spring.
Strangling the oak with the boa*s fold.
Spanning the beach with the c6nd5r*s wing.
William Gilmore Simms — "The Grape- Vine Swing."
(6).
" Wh6 planted this 6ld apple-tree ? "
The children of that distant day
Thtis to s6me aged man shall say ;
And, gazing on Its mossy stem.
The gray-haired man shall answer them :
"A poet of the land was he,
B6m in the riide btit good 51d times ;
*Tls said he made s6me quaint 61d rhymes
6n planting the apple-tree."
William Cullen Bryant-^-'' The Planting of the Apple-Tree."
(7).
A song f5r the plant 6f my 6wn native West,
Where nattire and freed6m reside,
By plenty still crowned, and by peace ever blest,
T6 the corn ! the green corn 6f her pride !
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284 ^^^ ^^^ ^^ POETRY,
In climes 6f th^ East h^s the oUve be^n sung,
And the grape beSn the theme 5f their lays ;
Btit fbr thee sh^ll ^ harp 6f the backwo6ds be strung,
Thoti bright, ever beauttfiil maize !
William W, Fosdick—^'The Maize."
(8).
Bttt look ! 6'er the fall see the angler stand,
Swinging his rod with skillftll hand ;
The fly at the end 6f his gossamer line
Swims through the sun like ^ summer moth,
Till, dropt with ^ careftil precision fine,
It touches the pool beyond the froth.
A-sudden, the speckled hawk 6f the brook
Darts from his covert and seizes the hook.
Swift spins the reel ; with easy slip
The line pays out, and the rdd, like a whip,
Lithe and arr5wy, tapering, slim,
Is bent t6 a bow 5'er the brooklet's brim,
Till the trout leaps up in the sun, and flings
The spray fr6m the flash 6f his f innj^ wings ;
Then falls 5n his side, and, drunken with fright.
Is towed t6 the shore like a staggering barge.
Till beached at last 6n the sandj marge,
Where he dies with the hues 6f the morning light.
While his sides with a cluster 6f stars are bright.
The angler in his basket lays
The consteilati6n, and goes his ways.
Thomas Buchanan Read—'' The Angler."
(9).
0, fruit 16ved 6f b6yho6d ! the 61d days recalling ;
When wood-grapes were purpling and brown ntits were falling !
When wild, uglj faces we carved in its skin.
Glaring out throtigh the dark with a candle within !
When we laughed r6und the corn-heap, with hearts all in tune,
Oiir chair a br6ad pumpkin, otir lantern the moon.
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OF THE VARIOUS KINDS OF POETRY, 285
Telltog tales 6f th^ fair? wh6 traveled l!ke steam
In a pumpkln-shSll coach, with tw6 rats f6r h^r team !
ThSn thanks fbr thy present ! — n6ne sweeter 6r better
fi'er smoked fr6m ^n ovfin 6r circled ^ platter !
Fairer hands nev^r wrought it a pastry m6re fine,
Brighter ^yes nev^r watched 6'er its baking, than thine !
And th^ prayer, which mj mouth is to6 full t5 express,
Swells my heart that thy shad6w may nev^r b^ less.
That the days 5f thy lot may be lengthened below,
And the fame 5f thy worth like a pumpkin-vine grow,
And thy life be as sweet, and its last sunset sky
Golden-tinted and fair as thy own pumpkin-pie !
John Greenleaf Whiitier—^'ThQ Pumpkin."
Tennyson' s * * Idyls of the King, ' ' Burns' s * ' Cotter's Satur-
day Night," Allan Ramsay's ** Gentle Shepherd," Shen-
stone's *' Pastoral Ballads," are fine examples of pastoral
poetry; while Wordsworth, Cowper, and Swinburne abound
in this excellent verse. Of our American poets, Longfellow,
Whittier, Bryant, John Hay, James Whitcomb Riley, Bret
Harte, and Joaquin Miller have poems that will rank with
the best of English productions.
THE DIDACTIC.
It has been said no subject is so unpromising it has not
been selected by some one as a beautiful theme. Didactic
poetry ha^ been oftenest employed in the presentation of the
various themes thus selected ; for, differing from other
poetry, its chief aim and object is instruction. Poetry of this
species is accompanied with poetic reflection, illustrations
and episodes.
Didactic poems are often seemingly dry and prosaic ;
they are, however, many of them full of interest, filled with
noble thoughts, and when considered as poetical essays,
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286 THE ART OF FOE TR V.
may be classed among our finest literature — considered from
a purely moral and didactic standpoint. Many didactic
poems, however, are highly ornamental in figurative
language and metrical beauty :
The ** Essay on Criticism" and ** Essay on Man'* by
Alexander Pope, Cowper's **Task,'' Wordsworth's ** Ex-
cursion,'* Dryden*s **Hind and Panther," Campbell's
** Pleasures of Hope."
PHILOSOPHICAL.
Far from mf dearest friend, 'tfe mine t5 rove
Throtigh bare gr^y dell, hXgh wood, ^nd pastoral cove,
Hfe wizard course whSre hoary Derw^nt takes,
Thr6* crags, and forest glooms and opentag lakes,
Staying his silent waves, t6 hear the roar
That stuns the tremtilotts cliflfe 6f high L5d6re,
Where peace t5 Grasmere's lonely island leads
T6 wifiowy hedgr6ws, and t6 emerald meads ;
Leads to her bridge, rtide church, and cottaged grounds.
Her rocky sheep walks, and her woodland bounds ;
Where, b6s6m'd deep, the shy Wlnander peeps
'Mid clustering isles,, and holy sprinkled steeps ;
Where twilight glens endear my Esthwaite's shore,
And memory of departed pleastires, more.
Fair scenes ! erewhile I taught, a happy child.
The ech6es of yotir rocks my car61s wild ;
Then did n6 ebb 6f cheerfulness demand
sad tides 6f joy frttm Melancholy's hand ;
In youth's wild eye the livel6ng day was bright,
The sun at morning, and the stars at night.
Alike, when first the valves the bittern fills
Or the first wo6dc6cks roamed the moonlight hills.
In thoughtless gayety I course the plain,
And hope Itself was all I knew 6f pain ;
F6r then, even then, the little heart wotild beat
At times, while young C6ntent fBrsook her seat,
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OF THE VARIOUS KINDS OF POETRY. 287
And wild Impatience, pointing upward, showed,
Where, tipped wUh gold, the mountain summtts glowed.
Alas ! the idle tale 5f man is found
Depicted in the dial's morSl round ;
With hope Reflecti6n blends her social rays
T5 gild the total tablet of his days ;
Yet still, the sport 5f some malignant power,
He knows btit from its shade the present hour.
Wordsworth— ' * An Evening Walk. ' *
Six years had passed, and forty ere the six,
When Time began t6 play his ustlal tricks :
The locks 6nce comel5^ in a virgin's sight,
Locks 6f ptlre brown, displayed th' encroaching white ;
The blood, 6nce fervid, now t6 cool began,
And Time's str6ng presstlre to stibdiie the man.
I rode 6r walked as 1 was wont before,
Btit now the bounding spirit was n5 more ;
A moderate pace wotild now mj bod 5^ heat,
A walk 6f moderate length distress my feet.
I showed my stranger guest th6se hills stiblime,
Btit said, "The view is poor, we need n6t climb.'*
At a friend's mansi5n I began t5 dread
The cold neat parl6r and the gay glazed bed ;
At home I felt a more decided taste,
And must have all things in m^ order placed.
I ceased t5 hunt ; my horses pleased me less, —
My dinner more ; I learned t5 play at chess.
I took my dog and gun, btit saw the brute
was disappointed that I did n5t shoot. .
My morning walks 1 now cotild bear t5 lose,
And blessed the shower that gave me not t5 choose.
In fact, 1 felt a langu6r stealing on ;
The active arm, the agile hand, were gone ;
Small daily acti5ns int6 habits grew.
And new dislike t6 forms and fashions new.
I loved my trees in order to dispose ;
I niimbered peaches, looked h5w stocks arose ;
Told the same story 6ft,— in short, began t5 prose.
George Crabbe—' * Tales of the Hall . ' *
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288 THE AR T OF POE TR V.
MEDITATIVE.
1 was a Stricken deer, that left th^ herd
L6ng since ; wtth many Sn arr6w deep Infixed
MJ^ panting side w^s charged, wh^n I withdrew,
Td seek ^ tranquil death hi distant shades.
Thfire was I found bj one wh6 had himself
Be^n hurt by thfi archCrs. In his side hS bore,
And in his hands ^nd feet, th^ cru^l scars.
With gentle force s61icUing the darts,
He drew them forth, ^nd healed, and bade me live.
Since then, with few Associates, in remote
And silent woods 1 wander, far fr6m those
My former partners of the peopled scene ;
With few associates, and n6t wishing more.
Here much 1 ruminate, as much I may,
With other views 5f men and manners now
Than once, and others of a life t5 come.
1 see that all are wanderers, gone astray
fiach in his own deiusi5ns ; they are lost
In chase 6f fancied happiness, still wooed
And never won. Dream after dream ensues ;
And still they dream, that they shall still sticceed ;
And still are disappointed. Rings the world
With the vain stir. I siim tip half mankind.
And add tw6-thirds 6f the remaining half.
And find the total of their hopes and fears
Dreams, empty dreams.
IVilliam Cowper—'' The Task."
THE EPIC.
The epic or heroic poem is the longest of all poetical
compositions, consisting of a recital of great and heroic
events. These events are represented as being told by the
hero or some participant in the scenes. There should be a
plot of interest and many actors therein ; added to which
are numerous episodes, incidents, stories, scenes, pomp and
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OF THE VARIOUS KINDS OF POETRY. 289
machinery. This latter term signifies the introduction of
supernatural beings, or, as Mr. Pope said, ' ' a term invented
by the critics to signify that' part which the deities, angels
or demons are made to act in a poenij without which no
poem can be admitted as an epic." Fiction, invention and
imagination are all used, to an unlimited extent, and all re-
counted in the most elevated style and language..
Epic poetry is subdivided into two classes, — the
Great Epic and the Mock Epic. The Great Epic poem has
for its subject some grand heroic action. English literature
possesses the greatest of all epics — Milton's ^'Paradise Lost;"
the Greek literature furnishes the ** Iliad " of Homer, while
Roman literature gives us the "^neid" of Virgil, and
modern Italian literature gives us Dante's * ' Divine Comedy. "
None of our poets of late years have attempted a great epic
poem, and few civilized races have produced more than one.
Milton's ** Paradise Lost," by many of our men of letters,
is considered noble in style, unrivaled in language, artistic
in construction. Ages have come and gone, yet Milton's
grand epic is still considered a work of consummate art.
All was false ^nd h6I15w; though hfe tongue
I)r5pped mann^, and cottld make th^ worse Appear
The better reason, to perplex and dash
Matur^st counsels ; for his thoughts w^re low ;
T6 vice Industrious, btlt t6 nobler deeds
Timorotis Snd slothfUl : yet h^ pleased thS ear,
And with persuasive accent thus began.
Milton—'' Paradise Lost."
THE MOCK EPIC.
The Mock Epic is a caricature of the Great Epic. Pope's
**Rape of the Lock," and **The Battle of the Frogs and
Mice," from an unknown Greek original, attributed to Homer,
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290 THE ART OF POETRY.
are notable examples familiar to the reader. Mr. Pope says
of the * ' Rape of the Lock. * ' * * It will be in vain to deny that
I have some regard for this piece, yet you may bear me
witness it was intended only to divert a few young ladies
who have good sense and good humor enough to laugh not
only at their sex's little, unguarded follies, but at their own.'*
And now, tlnveiled, the toilet stands displayed,
£ach silver vase in mystic ordSr laid.
^First, robed in white, thS nymph intent, adores,
With head tlncovSred, the c5smetic powers.
A heavenly im^ge in thS glass Appears,
T<i that she bends, t5 that hSr eyes sh^ rears ;
Th' Jnferibr priestfes, at hSr altar's side,
TrSmbling begins thS sacrM rites 5f pride.
tJnnumbgred treastlres ope at once, and here
The variotis offerings of the world appear ;
Fr6m each she nicely culls with cunotis toil,
And decks the goddess with the glittering spoil.
This casket India's glowing gems tinlocks,
And all Arabia breathes frfim yonder box.
The tortoise here and elephant tinite.
Transformed t6 combs, the speckled and the white.
Here files 5f pins extend their shining rows,
Ptiffs, powders, patches. Bibles, billet-doux.
N6w awftil beauty puts 6n all its arms ;
The fair each moment rises in her charms.
Repairs her smiles, awakens every grace,
And calls f5rth all the wonders of her face ;
Sees by degrees a purer blush arise,
And keener lightnings quicken in her eyes.
The busy sylphs stirround their darling care,
These set the head, and those divide the hair,
S6me fold the sleeve, whilst others plait the gown ;
And Betty *s praised fbr labors not her own.
Pope—''T\\^ Rape of the Lock."
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OF THE VARIOUS KINDS OF POETR Y. 29 1
METRICAL ROMANCE.
The Romance is a narrative of love and heroic adventure.
It possesses many of the qualities of the Epic poem and
ranks next in the order ofpoetry. It is a tale in verse but
little less elevated than the Epic. The passion of love
which does not appear in the Grand Epic is usually the lead-
ing feature of the Romance, and instead of the machinery of
the Epic we have ghosts, witches, elves, fairies, fire worship-
ers, veiled prophets, and the peri. Metrical romances, for
the mere pleasure of reading, give greater delight than any
other species. We have many romances in rhyme, both
ancient and modern, and it is not difficult to find examples.
The *• Fairy Queen'* by Spenser, written in that peculiar
stanza which now bears his name — the Spenserian — is an
elegant romance, the ' * Canterbury Tales ' ' by Geoffrey
Chaucer, Scott's "Lady of the Lake" and **Marmion,"
Keats' *• Eve of St. Agnes," Thomas Moore's '^Lalla
Rookh," Lord Lytton's **Lucile," and Longfellow's
' * Evangeline ' ' are among the best romances . and metrical
tales.
They glide, Itke phant6ms, int5 the wide hall !
Like phant5ms to thS ir6n porch thfiy glide,
WhSre lay thS porter in tineas^ sprawl,
With a htlge empty flag5n by his side :
The wakefiil bloodhotlnd rose and shook his hide,
Btit his s^gaciotis eye an inmate owns ;
Bj^ one, and one, the bolts fttll easy slide ;
The chains lie silent on the fo6tw6rn stones ;
The key ttims, and the door tipon Its hinges groans.
Keats—'' The Eve of St. Agnes. "
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292
THE ART OF POETRY.
A metrical tale of exquisite beauty is one of Mr. Charles
Algernon Swinburne's latest productions — a story of Ar-
thurian days, entided *' Tale of Balen.** It is preeminently
melodious, being wonderful in musical expressions, and
harmonious in words, and withal a singular grace and rare
simplicity of style. Notice the beautiful rhythm of the follow-
ing stanza:
Sw!ft from his place Ifiapt Bal^n, smote
The liar Across his face, ^nd wrote
His wrath In blood tipon the bloat
Brtite cheek th&t challenged shame fbr note
H5w vile ^ king b5rn knave m^y be.
F5rth sprang their swords, ^nd Baien slew
The knave ere well 5ne witness drew
Of all that round them stood, 6r knew
What sight was there t5 see.
The following is another beautiful stanza from the poem.
It is a nine line stanza, composed of a quatrain and a five
line stanza. The first four lines of the stanza are fourfold
rhymes, the fifth and ninth lines rhyme, while the sixth,
seventh and eighth lines of the stanza are threefold or triple
rhymes. It is an elegant stanza, brisk and spirited in style
— iambic measure :
As thought fr5m thought takes wing and flies.
As month 6n month with sunlit eyes
Tramples and tritimphs in Its rise.
As wave smites wave t5 death and dies,
S6 chance 6n hurtling chance like steel
Strikes, flashes, and Is quenched, ere fear
can whisper hope, 6r hope can hear.
If s6rr6w 6r joy be far 6r near
F5r time t6 hurt 6r heal.
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OF THE VARIOUS KINDS OF POETRY. 293
METRICAL HISTORY.
The Historical poem is a narrative of public events.
Dryden's * 'Annus Mirabilis '* is a noble example. Macau-
lay's *' Lays of Ancient Rome'' may also be classed under
this head ; so, too, ballads descriptive of battles may be
classed as metrical history.
THE DRAMA.
It is to Greece we must give praise for the invention of
the Drama. It was first invented and exhibited at the festi-
vals of the god Dionysus. The ancient Greek writers tell
us that the drama originated in the choral song. Aristotle
tells us it had its origin in the singers of dithyramb. While
the drama had its origin in pantomimic dances and choral
singing, it was slowly purified from its extraneous mixtures.
While lyric poetry by means of musical expression by
language of mental emotions aims to represent human
actions, the drama consists of an impersonal representation
by the dramatist or an animated conversation of various
individuals from whose speech the movements of the story
is to be gathered ; thus it is constructed on the one hand
with dialogue, and on the other with every other species of
poetry. The movements and thoughts of the drama are so
lively and the expectation of the issue so vivid that this class
of poetry surpasses all others in interest and intensity. The
drama from Greece was introduced into Rome and from
there mto other parts of Europe, where after years of decline,
change, and struggle, with the vicissitudes of the age, about
the middle of the sixteenth century it extricated itself from
its ancient fetters. In the early years of Christianity actors
were denied baptism, and the decree of the church was
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followed by an edict of the Emperor Julian. The drama,
however, was finally appropriated by the clergy, and plays
known as Miracle Plays and Moralities followed as a result.
The Passion Plays of Germany had their origin in this
manner. **The Passion of Our Saviour" is still in exist-
ence and played at Ammergau and is said to be the only
miracle play which has survived. It is played by about five
hundred peasants instructed by the village priest, who con-
ducts it morally and reverently, and it is largely attended
by the peasants of Bavaria and all parts of Tyrol. These
plays originated in Europe about the beginning of the elev-
enth century and most of them had their ending about the
middle of the fifteenth century, and with their decline the
drama proper began to flourish.
The drama is divided into two classes, the Tragedy, and
Comedy. The first known tragedy of England was the
joint production of Mrs. Norton and Lord Buckhurst, and
was known variously as * * Ferrex and Porrex " or as * * Gor-
budoc." It was written about 1562. The first comedy was
written about the middle of the sixteenth century, 1551, by
Nicholas Udall, and was entitled ** Ralph Roister Doister."
Blank verse was first introduced into dramatic composition
in *' Ferrex and Porrex," but the play was dull and heavy
and not a success. Between this time and the advent of
Shakespeare, Christopher Marlowe was the best-known
writer of the drama. The plays of * * Edward II. " and * * Dr.
Faustus ' ' were said to contain passages unsurpassed by even
Shakespeare. It was Marlowe who first introduced blank
verse upon the public stage. We pass Shakespeare's prede-
cessors, Lyle, Kyd, Marlowe, Peele, Greene, Lodge, Nash,
Chettle and Munday, who were all writers of more or less
note in their day and time ; the drama in their time, though
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OF THE VARIOUS KINDS OF POETRY.
295
far from being in a crude state, lacked much of being in a
state of full development. Shakespeare was a man of
broad vision ; his genius as the pOet of the drama was then,
as it has remained since, unsurpassed. At first he began to
retouch and rewrite some of the old plays of his prede-
cessors. Described as an actor and unknown as a writer,
with times and conditions favorable to the development of
the English drama he was quick to discover the material at
hand, which soon made his fame — a fame that still shines
brighter than that of any other poet living or dead. He
devoted himself to English and Roman, history, and as a
result his historic dramas reached a perfection that has never
before nor since been attained. Shakespeare was a great
poetical genius ; he used blank verse with the skill of the
consummate master that he was, and his tragedies and his
comedies established themselves for all time to come as ex-
amples of the highest type. His historic themes became
the perennial models of the modern historic drama. The
influence of the dictioil and versification of Shakespeare can-
not be overrated ; in his characterizations he has never been
equaled, while his plays furnish models in every phase of
human life and are a mirror of humanity. Goethe and
Schiller contributed to the German drama. Goethe's
* * Faust, ' ' * ' Ipigenia ' ' and * * Tasso ' ' are masterpieces of
the art of dramatic poetry. Schiller contributed * * Don
Carlos," **Wallenstein'' and ** William Tell " as master-
pieces of his genius, a genius bright as electric light, illumin-
ating the pathway of those to follow who seek the field of
literature. Sir Edward Bulwer-Lytton contributed to the
modern English drama the * ' Lady of Lyons " and * 'Rich-
elieu," both of which found great favor. Sheridan gave
an impulse to the genteel comedy that is felt to the present
day.
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296 THE AR T OF POE TR V.
THE TRAGEDY.
Tragedy is earnest and serious, and deals with the great
and sublime actions of Hfe. It is generally written in blank
heroic verse. Its diction should be elevated. The calam-
itous side of life with tragic events is placed before the public
gaze with a view to arouse pity, fear, or indignation, or it
may be of noble deeds in connection with life's events. The
subjects of tragedy are various. Shakespeare has given to
the world ' ' King Lear, ' ' ' ^Othello, " * * Macbeth, ' ' * ' Hamlet, ' '
'* Julius Caesar,'* ** Romeo and Juliet," and many other
plays of great merit which the reader may well refer to with
profit. *• Virginius" is a fine example of the tragedy.
THE COMEDY.
Directly the opposite of tragedy is comedy, which seeks
to represent all the follies and foibles of human life, and has
only an eye to the ridiculous and ludicrous. Its humor,
however, should always be refined and its ending be ever
happy. Comedy deals largely in satire, and its caricatures
are often grotesque.
THE DIVISIONS OF THE DRAMA.
These constitute acts, which are in turn subdivided into
scenes. The regular drama is limited to five acts. The
first should present the intrigue, the second should develop
it, the third should be filled with incidents forming its com-
plication, the fourth should prepare the means of unraveling,
the fifth should unravel the plot.
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OF THE VARIOUS KINDS OF POETRY. 297
THE FARCE.
It is a short play in which ridiculous qualities and actions
are greatly exaggerated for the purpose of exciting laughter.
The dialogues and characters are usually taken from inferior
ranks.
THE TRAVESTY, OR BURLESQUE.
It is a humorous dramatic composition where things high
and low are commingled. Common thoughts and topics are
invested with artificial dignity, and the forms and express-
ions of serious drama are imitated in language of a ludicrous
character.
THE MELODRAMA.
The melodrama is a combination of the tragic and comic
interspersed with song and music and gorgeous scenery. Its
drama is genteel comedy and is perhaps more popular with
the theater-going world than any other species of drama.
Oliver Goldsmith's "She Stoops to Conquer,'* Sheridan's
"Critic" and Jefferson's " Rip Van Winkle" are excellent
illustrations.
THE BURLETTA.
It is a musical drama of a comic nature.
THE PROLOGUE.
An introduction in verse to be recited before the represen-
tation of the drama.
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298 THE AR T OF FOE TR Y.
Imagine yotirself* then, go6d Sir, In ^ wig,
Either grizzle 6r bob — nSver mind, yoti lo6k big.
YotiVe a sword ^t yotlr side, In yo&r shoes thfire &re buckles,
And the folds 6f fine lin^n fl*1p over yoiir knuckles.
Yotl have come with light heart, ^nd with eyes that are brighter,
Frfim a pint 6f red Port, and a steak at the Mitre ;
Yoti have strolled fr5m the Bar and the purlietis fif Fleet,
And yotl turn fr5m the Strand Int6 Catherine Street ;
Thence climb t6 the law-16vlng summits 6f Bow,
Till yotl stand at the Portal all play-g6ers know.
See, here are the 'prentice lads laughing and pushing,
And here are the seamstresses shrinking and blushing.
And here are the urchins wh6, just as t6-day, Sir,
Btizz at yoti like flies with their ''Bill 6' the Play, Sir ? '»
Yet yotl take 6ne, n6 less, and yotl squeeze by the chairs,
With their freights 6f fine ladies, and mount tip the staif^ ;
S6 isstie at last 6n the House In Its pride.
And pack yotirself snug In a box at the side.
Austin Dobson — Prologue to Abbey's Edition of ''She Stoops to
Conquer."
THE EPILOGUE.
An address in verse to the audience at the conclusion of
the drama. It is usually intended to recapitulate the chief
incidents, and draws a moral from them.
THE ENVOY.
It is a sort of postscript appended to poetical compositions
to enforce or recommend them.
Go5d-bye t6 yoti, Keliey, yotir fetters are broken
Go6d-bye t5 yoti, Cumberland, Goldsmith has spoken ! *"
Go6d-bye t5 sham Sentiment, moping and mumming,
F6r Goldsmith has spoken and Sheridan's coming ;
And the frank Mtlse 6f Comedj^ laughs In free air
As she laughed with the Great Ones, with Shakespeare, M61iere !
Austin Dobson— 'Exiyjoy to Abbey's Edition of "She Stoops to
Conquer."
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OF THE VARIOUS KINDS OF POETRY,
THE SUBJECTIVE DRAMA.
299
The drama of the human soul, teaching the lessons of
human struggle to the higher stages of life. Goethe's mas-
terpiece, '* Faust,*' is a high type of this species of the
drama. Life is made up of incessant toils and struggles to
nobler ends. This poem is grand, bringing together as it
does, the tragedies and the comedies of human life into a
perfect state of reconciliation.
THE OPERA.
The opera is a dramatic composition set to music and
sung on the stage, accompanied with musical instruments
and enriched with magnificent dresses, machinery, dancing,
and songs. Thus made up of music, dancing, decoration,
and poetry, it is intended to please the sight, and must be
judged more from the standpoint of its being able to secure
popular applause and favor than fi-om any real intrinsic
literary merit. To the opera of the present day more of its
success frequently lies in its decorations and pantomimic
character than to the parts sung or spoken. The opera of
today is patterned after the French, Italian, and German.
THE SATIRE.
The satire in character is allied to the didactic, and is
intended to reform the abuses it attacks. The satirical
poem is a composition in which wickedness or folly is ridi-
culed, censured, and held up to reprobation ; hence it is an
invective poem. Satirical poetry is divisible into three
classes, Moral, Personal and Political. Of the first class,
Pope's ** Moral Essays" and the satires of Horace furnish
fine examples.
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300 T^fi^ ART OF POE TR Y.
T6 rest, the cushi6n and s6ft dean Knvite,
Wh6 nev^r menti6ns hell t6 ears p61ite.
/V^— "Moral Essays."
*Tts edticatittn forms th^ commfin mind ;
Jtist as the twig Ks bent th6 tree's Jnclined.
Idem,
Satirical poetry is also used for the purpose of exposing
the weaknesses, the absurdities or vices of men. Derision,
irony, mockery, sarcasm, or burlesque may be employed. Of
these personal satires, excellent examples may be found in
Dryden's ** MacFlecknoe, " it being a personal attack on a
rival dramatist. * * English Bards and Scotch Reviewers,* ' by
Lord Byron, is perhaps the greatest of all personal satires.
Being attacked by critics and held up to ridicule, he replied
in a way that gave evidence of his mighty genius and in turn
ridiculed nearly all critics and poets of the author's day and
time.
Still must 1 hear ? — shall hoarse Fitzgerald bawl
His creeking couplets in a tavern hall.
And I n6t sing, Ifet, haply, Scotch reviews
Shotild dub me scribbler, and denounce my muse?
Prepare f6r rhyme — ^1*11 publish, right 5r wrong :
Fo61s are my theme, let satire be my song.
Byron — ** English Bards and Scotch Reviewers."
S5 the strtick eagle, stretched tlpon the plain,
N6 more throtigh rolling clouds t6 soar again,
Viewed his 5wn feather on the fatal dart,
And winged the shaft that quivered in hfe heart.
Idem.
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OF THE VARIOUS KINDS OF POETRY, 301
As soon
Se^k ros^ In D^embSr, — ice In June ;
H6pe constancy \xi wind, 5r corn !n chaff.
Believe & wom^n, or ^n epitaph,
6r any othSr thing that's false, before
Yoti trust \n critks.
Idem,
The ** Dunciad," by Alexander Pope, is an excellent
satire of this kind, one in which he vilifies all writers by
whom he had been vilified. Under the same head we may
be allowed to class James Russell Lowell's "A Fable for
the Critics," one of the finest productions of its kind in the
English language, of a very different nature, however, from
the satires of Dryden, Byron and Pope. Lowell's satire
was written for the purpose of provoking friendly rivalry,
and not for the purpose of giving offense. His portraits and
caricatures were, however, droll, and the colors were laid on
with no sparing hand ; yet the tone of * * A Fable for the
Critics ' ' was so good-natured that no one ought to have
taken offense, although some of his thrusts left embittered
memories.
There c6mes Foe with his Ravfin, like Barnaby Rudge,
Three-fifths 5f hXm genitis and two-fifths she^r fudge,
Wh6 talks like a book 5f )(ambs ^nd pentameters,
In a way t6 mSke people 6f c6mm5n sense damn meters,
Wh5 hfe written s5me things qutte the best 6f their kind,
Biit the heart s6meh5w seems all squeezed out by the mind,
Wh6— btit hey-day ! What's this ? Messietirs Matthews and Poe,
Yoti must n6t fling mud-balls at L6ngfeil6w so, ^
D6es it make a man worse that his character's such
As t6 make his friends love him (as you think) to6 much?
Why, there is n6t a bard at this moment alive
M6re willing than he that his fell6ws shotild thrive ;
While you are abusing him thus, even now
He wotild help either one 5f yoti out 5f a slough ;
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302
THE ART OF POETRY.
Yoti may say that he's smooth and all that till yoti're hoarse,
Bttt remember that elegance als6 fe force ;
After polishing granite as much as yoti will,
The heart keeps Its tough 61d persistencjr still ;
Deduct an yoti can that still keeps yoti at bay, —
Why, he'll live till men wear^ 6f Collins and Gray.
I'm not 6ver-fond 6f Greek meters In English,
T6 me rhyme's a gain, s6 It be n5t to6 jingllsh,
And yotir modem hexameter verses are no m6re
Like Greek 5nes than sleek Mr. Pope Is like Homer ;
As the roar 6f the sea t6 the coo 6f a pige6n Is,.
S6, c6mpared t6 yotir modems, sotinds old Meiesigenes ;
I may be to6 partial, the reason, perhaps, 6't Is
That I've heard the 61d blind man recite his 6wn rhaps5dles,
And my ear with that music Impregnate may be,
Like the poor exiled shell with the soul 6f the sea,
Or as one can't bear Strauss when his nattire Is cloven
T6 Its deeps within deeps by the stroke 6f Beethoven ;
Btit, set that aside, and 'tis truth that I speak,
Had Theocrltiis written In English, n5t Greek,
I believe that his exquisite sense wotild scarce change a line
In that rare, tender, virgin-like pastoral, Evangeline.
Lowell—'' A Fable for the Critics. '
Satires of apolitical nature are written in the interest of some
great political party, or its candidates. Dryden^s "Absalom
Achitophel,'* Butler's" Hudibras," and Lowell's " What
Mr. Robinson Thinks," are all first-class political satires.
The satire of Lowell is from his " Bigelow Papers." It was
not an ephemeral production, as such satires usually are, but
was well received then and has ever since been appreciated
by a reading public. Mr. Lowell has written this satire in
the Yankee dialect, and has thus helped to preserve this
quaint type of New England speech.
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OF THE VARIOUS KINDS OF POETRY. 303
GuvSnSr B. Is ^ sensible man ;
H6 stays t6 hfe home ^n' Io6ks artSr hfe folks ;
H^ draws hfe furr^r ^z strait ^z h6 can, —
And intSr nttbodj^'s tatSr-p^tch pokes ; —
Biit J6hn F.
Robins6n he
S€z he wtlnt vote fSr GuvSn^r B.
James Russell Lowell— ^^ What Mr. Robinson Thinks."
THE DIALECTIC.
People of the same country do not always speak the same
language. In our own country we have many varieties
or peculiar forms of the English. These peculiarities of
speech may be termed dialectics. America having a more
diversiloquent population than any other race on the globe,
there are necessarily more dialectics. These varieties are
found in all parts of the country. In New England we have
the Yankee dialect ; in the South we have the Negro dialect ;
on the Western plains we have a dialect peculiar to the cow-
boy, the mountaineer and the miner ; in the interior we have
a dialect peculiar to a large class of Westerners which
has received the euphonious name of the Hoosier dialect.
**Unzer Fritz*' in America has produced what is known
as the German dialect, while Patrick has given to us a
mixture of his brogue, which is known as the Irish dialect ;
on our western coast John Chinaman has given us a mixture
of his tongue, and we have what is known as the Chinese
dialect. Is it a wonder America is a land where dialectic
poetry flourishes? England has dialects peculiar to her
own province. So, too, the Welsh and the Scotch. The
Scotch dialect Burns has immortalized, and beauty teems in
every line of his Lowland Scotch. The peculiar charm
which attaches to the dialect of the Irish- American, and the
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304
THE ART OF POETRY.
native talent and wit possessed by the Irish people, together
with the "bulls" and mistakes that necessarily happen in
conversations, has made the Irish dialect quite a favorite in
this country, and much excellent as well as amusing poetry
is the result. Our German cousin has ever furnished amuse-
ment for men like Charles FoUen Adams, a Massachusetts
poet, who has made a decided success with his favorite
dialect — the German. Riley's poems in Hoosier dialect are
inimitable, unsurpassable and never-dying. The provincial-
isms of our Western folk are as indelibly fixed by Riley as
was- the Scottish by Burns. James Russell Lowell was the
author of good dialectic poetry, and many others of our bright-
est and best authors have indulged in the temptation. Bret
Harte is still another one of those peculiar geniuses that
have touched the chord-strings of the human heart ; and his
dialectic poems are the best of their kind, describing the
dialect of the far West and the peculiarities of its multigen-
erous inhabitants. Dialectic poetry has gained so great
a prominence in the literature of today that we have con-
cluded to classify it under a distinct head, although it em-
braces many species or varieties of poetry.
GERMAN DIALECT.
Charles Follen Adams has furnished some Anglo-Teutonic
verse that will ever be appreciated by the reading public.
Adams is a Boston business man who has, during his leisure
moments, for recreation and pastime, written of the troubles
and trials of the Strauss family. He has demonstrated
himself a master of the art.
I don'd v^s preaching vomSn's righdts,
6r anj^ding like dot,
tJnd 1 likes t5 see ^11 beopl^s
Shust gbndentSd mit dhSir lot ;
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OF THE VARIOUS KINDS OF POETR Y.
305
Bttdt I vants t6 g6ndr^dict d6t shap
D6t made dYs leedl^ shoke :
"A vom^n vas d^r glingKng vine,
tJnd man dfir shturdy oak."
Adams — *'Der Oak und der Vine."
Yoti vouldn't dink mine frau,
If you shtist look at h^r now,
Vhfire dSr wrinkles on hfir prow
Long haf been,
V^s dSr fraul^in blump tind fair,
MKt 6&X wafj^ flaxen hair,
Wh6 did vonce mine heart ^nshnare —
Mine Katrine.
Adams — " Mine Katrine.
Dhfire v^s manj qvefir dings, In dis land 6ff d6r free,
I neflfer cotild qvite tind^rstand ;
D^r beopl€s dh6y all se6m s6 deefr^nt t6 me
As dhose in mine own fildSrland.
Dh6y gets blSndj^ droubl&, tind ind6 mishaps,
MTtoiidt d^r l^ast bit 6ff a cause ;
tJnd, vould yoti p^lief Kd ? dh5se mean YSnge^ chaps,
DhSy fights mtt dh^ir modSr-In-laws !
Adams— * * Mine Moder-in-Law. "
I'm a prok^n-hearted DeutschSr,
V6t's vill'd mit crief tind shame.
I dells yoti vot dSr drouplfi ish :
I doosn't know mf name.
Yoti dinks dis fery vunnj, eh ?
VSn you dSr schtory hear,
Yoti vill n6t vondSr den s6 mooch,
tt vas s5 schtrange tind queer.
Mine modSr had dw6 leedl^ twins ;
D^y vas mS und mine brod^r :
V^ lookt s5 fery mooch alike,
N6 von kn^w vich vr6m tod^r.
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3o6 THE AR T OF POE TR Y.
V6n off d^r poys wSs " Yawc6b,"
tJnd ** Hans ** dfir 6d^r*s name :
Biit den It made n5 tiflf^r^nt ;
VS both g6t called d^r same.
VSll ! von 6ffus g6t tead, —
Y2lw, Mynheer, dot Ish so !
Bttt vedd^r Hans 6r Yawc6b,
Mine mod^r she d6n'd know.
tTnd so 1 am !n drouplfis :
I gan't kit droo mine hed
VeddSr I'm Hans v6t's liflfng,
6r Yawc6b vot ts tead !
Adams— ''i:\\^ Puzzled Dutchman.'*
IRISH DIALECT.
Poems in this dialect are very popular with the reading
world. They are usually very droll, yet full of pith and
point. One by Charles Follen Adams will serve to illus-
trate our meaning.
'*The greatest burd t6 foight," s^ys Pat,
" Barring th^ aglS, is thS duck ;
He has ^ foine l^rge bill t6 peck,
And plinty of rSle Irish pluck.
"And, thin, d'y^ moind thS fut h^ has?
Fall as br6ad ov^r as ^ cup ;
Sh6w me th^ fowl iipon tw6 ligs
That's able fer t6 thrip htm up ! "
"Pat's Logic."
" ArrSh, boys, it's myself that will tell yS,
And that 1 c^n do pretty soon,
Of the incidents strange that befell me,
When 1 traveled up t6 the moon.
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307
OF THE VARIOUS KINDS OF POETRY.
1 heard that qu^re sowls did r^ide th^re,
S6 I in a balloon wlnt 6ne day,
And as swift as a race-httrse dW ride th^re,
Fr6ni earth disappearing away.
CHORUS.
'• 1 tell yoii th^ truth 6n mjr hon6r,
H6w 1 traveled tip in a balloon ;
Fttr sure It's myself, Paddy Conn6r,
That journeyed smack up t6 th^ moon."
Anonymous — ** Paddy *s Balloon Ascension.'*
"Oh, 'twas Norah M'FriskJ^ I met 6n th^ road
T6 the Fair 6f Traiee, as I trotted away ;
6n her breast, a gdssoon^ a m6st beautlftil load.
And the image 6f Paddj^, each gossip did say.
*'Arrah, Norah, mj honey, Is It you I see there? *'
" 'Tls, Murt5ch, avic, I'm off t5 the Fair."
" If that's what yoti're at, N6rah, faith Its all right ;
we'll set 6ff t5gether, we'll be there at night.
And we'll drink t6 the Lynches,
The beautlfai Clinches,
The Murph5^s, 6'Ryans,
The Duff^s, the Brians,
The Careys and Learns,
The Laughllns, 6'Shaughllns,
The Wheians. the Pheians,
6'C6nneils, O'Donneils,
The Fogartj^s, Doughertys,
The Burkes and M'Gurks,
The Nolans and Foians,
The Kiernans and Tiemans,
The Rogans and Brogans,
The Lac^s and Caseys,
That keep tip the fun and the frollck galore."
"The Fun at the Fair.'
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3o8 THE ART OF POETR Y.
\
" WW all cttnd&cinshin, I'd turn yoiir attinshJn
T5 what I wotild minshtin 6v Ertn s5 green ;
An' wKdout h&ftash!n I'd show httw that nashln
Became 5v cr^ashTn thS gem And th^ queen."
"The Origin of Ireland."
Oh ! Erin, mj countrjr, th6ugh strangers m^y roam
The hills ^nd th^ valleys I once called my home,
Thy lakes Snd thy mountains n5 longer I see,
Y^t warmly ^s evSr my heart b^ats f5r thee,
6h ! coush la mSchree ! my heart bSats fbr thee,
Er!n, Erin, my heart b^ats fbr thee.
Charles Jeffreys— '' 0\i ! Erin, My Country."
Tr6th, Nora! I'm wadln'
The grass an' paradin'
The dews at yotir dure, wid my swate sSrenadKn',
Alone and fbrsaken.
Whilst yoti're nevSr wakin'
T6 tell me yoti're wTd me an' I am mistaken !
James Whitcomb Riley — "Serenade — To Nora."
WESTERN DIALECT.
Some very excellent poems have been written in this
dialect by Francis Bret Harte. Mr. Harte is a master of the
art of versification.
It was Augtist the third.
And quite soft was the skies ;
Which it might be inferred
That Ah Sin was likewise ;
Yet he played it that day tip6n William
And me in a way I despise.
Bret Harte — " Plain Language from Truthful James."
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OF THE VARIOUS KINDS OF POETRY. 309
say there! P'r'aps
S6me on yoti chaps
Might know JKm Wild?
W^ll, no 6flfense :
Thftr ain't n6 sense
In gltttn' riled !
BreiHarie—'']\m.''
I've seen & grizzly show his teeth ;
I've seen Kentucky Pete
Dr^w out his shooter *n* Advise
A '^tenderfoot " t^r treat ;
Btit nuthin' ev^r tuk m^ down,
'N' made my benders shake,
Like that sign about the doughntits
Oke my mother used ter make.
Charles Fallen Adams—'' Mother's Doughnuts."
Western dialect is still further exemplified by what is
termed Hoosier dialect, a speech peculiar to the people of
some of the western states, yet of a little different type from
those beyond the Rockies. Many excellent poems are
written in this dialect. We have made a few selections :
" 'Scurioiis-like," said the tree-t6ad,
"I've twittered f^r rain all day ;
And 1 g6t tip soon,
And hollered tHl noon —
Btit the sun, hft blazed away,
Ttll I jest cltimb down !n a crawftsh-hole,
Weary at heart, and sick at soul !
James Whitcomb Riley— ''Th^ Tree-Toad."
A thing *at's 'bout as tryln' as a healthy man kin meet
Is some po6r feller's funeral a-j6ggin' 'long the street ;
The slow hearse and the hosses— slow enough, t5 say the least,
Fer t6 even tax the patience of the gentleman deceased !
^ OF THK ^'T^^
UNIVERSITY >
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3IO THE ART OF POETRY.
ThS slow scrtinch of thS gravel — and thS slow grind of th^ wheels, -
ThS slow, slttw go 6f ev'ry woe *at ev'rj^body feels !
S6 I ruthSr like th^ contrast when I hear thfi whiplash crack
A quickstep fer thS hoss^,
When thS
Hearse
C6mes
Back!
James Whitcomb Riley—'' When the Hearse Comes Back."
** P6ur iis out another, Daddy," says thS fellSr, warmln' up,
A-speakin' *cr6st a saucSrful, as tjncl^ tuck his cup, —
** When I seed y^r sign 6ut yand^r," he wSnt on, ttt tjncl^ Jake^-
*' * C5me in ^nd git s6nie coffe^ like y^r mother used t6 make ' —
1 thought 6f my 61d mother, and thS Pos^y county farm,
And me ^ little kid ^gin, JL-hangln' in h^r arm,
As she set the pot S-billn', broke th^ eggs ^nd poured *Sm in "—
And the feller kind 6* halted, with ^ trimbie in his chin.
James Whitcomb Riley—'' Like His Mother Used to Make."
He's fer the pore mSn ever' time ! And in the last campaign
He stumped 61d Morgan Countj^, through thesiinshlne and the rain,
And helt the banner up'^rds from S-trailln' in the dust.
And cut lo6se on m6n6p61ies ^nd cuss'd ^nd cuss'd and cuss'd !
He'd tell s6me funny storj^ ever' now ^nd then, yoti know,
Tel, blame It ! it wtiz better 'n a jack-6' -lantern show !
And I'd g6 furder, yit, t5-day, t6 hear 61d Jap n6rate
Than any high-t6ned orator 'at ever stumped the State !
James Whitcomb Riley — **Jap Miller."
Nothln' ever made we madder
Than fer Pap t6 stomp In, layln'
On a' extra fore-stick, sayln'
*'Groun'h5g's out and seed his shadder ! "
James Whitcomb Riley — "Old Winters on the Farm."
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OF THE VARIOUS KINDS OF POETRY. 311
Rfic'lect thfi wortSr drappTn*
In the tr6ffs6 still 'nd clair,
'Nd wS'd hunker down 'nd drink %
Still ^ drappYn' in 5ur hair ;
RSc'lect ytt how tt tast^,
S5rter so6th!n* like *nd sweet,—
fif a feller jest cotild buy ft
Yoii cotild tap m6 f er a treat
Joe 5*. Reed"'' Stirrin' Off."
CHINESE DIALECT.
Mr. Harte has given us a specimen of this dialect in "The
Latest Chinese Outrage," a poem in anapestic rhythm of
unusual merit in descriptive resources, metrical beauty and
amusing incidents. We select the fourth stanza.
ThSn w^ axed fbr a parley. Wh^n out 6f th^ din
T6 the front c6mes a-r6ckKn» that heathgn. Ah Sin !
" Yoti owe fl5wtj^ dolled — va^ washed yoti camp,
Yoti catcher my washed— mfi catcher n6 stamp ;
One dollar h^p dozfin, m^ n6 catcher yet,
N6w that fl6wty dolled— n6 hab ? — h6w cSn get ?
Mfi catcher yoti piggeS — m^ seller f5r cash,
It catcher m^ lice^ — yoti catcher n6 * hash ' ;
M6 belly go6d Sheltff— me lebbe^ when can,
Me allee s^me halp pYn ^s Meltc^n man !
Btit MeUc^n man,
He washee him pan
6n b6tt6m side hillee
x\nd catchee — h6w can ? "
SOUTHERN DIALECT.
The dialect peculiar to the South is known as the Negro
dialect. Many excellent poems are written in this dialect,
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312
THE AR T OF POE TR K
many of them quaint and laughable. We have selected an
admirable poem and give it entire, entitled " De *Speri-
ence of de Reb'rend Quacko Strong " :
Swing dat gate wide, 'P6stl6 Petfer,
Ring d^ big b^ll, beat dS gong,
Saints Snd martyrs den will meet dSr
Brudd^r, Reb'rend Quack5 Strong !
Sound dat bugle, Angfil Gabr'61 !
Tell de elders loud Sn' long,
Cl'ar 6ut dem high seats 5b heaben,
Here c5mes Reb'rend Quack6 Strong !
Turn de guard 6ut, Gen'rSl Michael,
Arms present, de line ^long,
Let de band play " Conk'rin Her6 "
For de Reb'rend Quack6 Strong.
Den bid Moses bring de crown, an'
Palms, an' weddin' gown along !
Wid pr5cessi5n to de landin',
Here's de Reb'rend Quack5 Strong.
Joseph, march d6wn wid yotir bred'ren,
Tribes, an' banners miisterin' strong ;
Speech. 6f welc5me from 61e Abram,
Answer, Reb'rend Quack6 Strong.
Tiine yotir harp-strings tight, King David,
Sing yotir good Ole Hundred song,
Let de ser6phs dance wid cymbals
'Round de Reb'rend Quack6 Strong.
Angels hear me yell H6sanner,
Hear va^ diilcem sperito6l song ;
Halieiuyer ! I'm a-c6mln',
I'm de Reb'rend Quack6 Strong.
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OF THE VARIOUS KINDS OF POETRY,
Make d^t white r5be raddfir spaciotis,
And th^ waist b^lt strordn'ry long,
'Cause 'twill take sttme room In glory
For d6 Reb'rSnd Quack6 Strong.
What ! No 6ne at d^ landKn' !
'Pears like suff n* 'nuddSr's wrong ;
Guess I'll gib dat sleepy PetSr
Fits— fr6m Reb'r^nd Quack5 Strong.
What a narr^r little gateway !
My ! dat gate &m hard t6 move,
*' Who am dat ? " sSys 'PostlS Pet^r
From d^ parapet above.
UnclS Pet^r, don't yoti know m^—
Me a shinln' light s6 long ?
Why dfr berry niggers call m^
Good 61e Reb'r^nd Quack6 Strong.
Dun'n6 me ! why ! I've c6nvart^d
Hundreds 6' darktes in a song,
Dun'n6 me ! n6r yet my massft !
I'm de Reb'rSnd Quack6 Strong !
Ole Nick's comin* ! I c^n feel it
Gettin' warmer all about.
Oh, my good, kind Kernel Pet^r,
Let mS in, I'm all to6 stout
To g6 'long wid Maj6r Satan
Int6 dat warm climate 'mong
Fire an' brimst5ne. Hear m^ knockin*,
Ole chtirch member, Qjack6 Strong.
Dat 16ud noise am comin' nearer,
Dreffl^ smell like powder smoke ;
'Nudd^r screech ! Go5d heab^n help mS —
Lord, fttrgib dis poor 61e moke.
313
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3^4
• THE ART OF POETRY.
Allers was s6 berry holj^,
Singtn* and prayin' -extra long ;
Now dfi debblS's gwine t6 catch mS,
Poor 61e niggSr, Quack6 Strong.
Hi ! dat gate swings back a little,
Might j^ squeezin' to g^t froo 1
Ole ApoUyttn howUn' louder,
Everything around am blue.
Bang dS gate g6es ! an* B6elz6btib,
Bunch 6b wool tipon hts prong,
Goes along wtdout d^ soul 6b
Missabtil sinner, name 6b Strong.
Anonymous.
Few prettier selections can be made than the following :
A PLANTATION LULLABY.
Mammj^'s little pickaninny gwine t6 go t6 sleep-
Hush a by- by, hiish a by.
Doan' y6' hear d^ co6n-d6g bayKn' loud an' deep?
Hush a by-by, hush a by.
Mock-btrds* notes a-callln', doan* y6' hear '6m sing?
Pappy's gone a huntin*, an' a posstim home'll bring.
There's w6tSrmel6ns cooWn' in thS shaddSrs 6' de spring.
Hush a pickaninny, an' a by-by.
There's sweet p^rtatfirs bilKn' an' a ham bone t6 boot,
Hush a by-by, hush a by.
Pappy's got a graveyard rabbit's left Wnd foot,
Hush a by-by, hush a by.
S6 hush a pickaninny while d6 sout' winds moan.
Go t6 sleep s6 mammy can g6 lieb y6* all alone,
Fer she's goin' t6 make y6'r pappy a big c6'n pone.
Hush a pickaninny, an a by-by.
Roy Farrell Greene.
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OF THE VARIOUS KINDS OF FOE THY. 315
YANKEE DIALECT.
The Yankee dialect is peculiar to our New England States.
It has a quaintness about it that makes it very pleasant read-
ing. James Russell Lowell has given to the world the finest
specimens of this dialect. We select a poem entitled * ' The
Courtin' , ' ' which in the excellence of its description is not
exceeded :
G6d makes s^ch nights, ^11 white ^n' still
Ftir 'z yoii cSn look 6r listen,
MoonsMne ^n* snow 6n field ^n' hill,
All silence an' ^11 glisten.
Zekl^ cr^p* up quite unbeknown,
An' peeked In thru' thS winder,
An' there s6t Huldjr all alone,
'Ith no 6ne nigh X.6 hend^r.
A fireplace filled thS room's 6ne side
With half a cord 6' wood \n —
There warn't n6 stoves (tell comfort died)
T6 bake yS to ^ puddin'.
The wa'ntit logs sh5t sparkles out
Towards the pootiest, bless her !
An' leetle flames dSnced all about
The chiny on the dresser.
Agin the chimbiey crook-necks hung,
An' in amongst 'em rusted
The ole queen's arm thet Gran'ther Young
Fetched back fr5m Conc6rd busted.
The ver>^ room, c6^ she w^s in,
Seemed warm fr5m floor t5 ceinn'.
An' she lo6ked full Ss r6s5r Sgin
£z the apples she w^s peelln'.
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3i6 THE ART OF POETRY.
'Tw^s kin' 6' kingcl6m-c6me t6 look
On sech a blessM cre'tiir*,
A dogr6se blushKn' to ^ brook
Ain't mod^ster n5r sweeter.
HS w^ a six foot 6' man, A i,
Clfian grit Sn' hiim^n nattir';
N6ne couldn't quicker pitch ^ ton
N6r dror ^ furr^r straight^r.
H^'d sparked it with ftlll twenty gals,
HS'd squired 'Sm, danced 'Sm, druv *^m,
Ftist this 6ne, an* th^n thet, by spells, —
All is, he coiildn't love 'Sni.
Btit 'long 6' her hts veins 'otild run
All crinklj^ like ctirled maple,
The side she breshed felt full 5' sun
£z a sotith slope Kn Ap'tl.
She thought n6 Vice hed sech a swing
£z his'n in the choir ;
MJ' ! when he made Ole Hundred ring
She knbwed the Lord w^s nigher.
An' she'd bltish scarlU, right In prayer,
When her new meet!n'-bunnet
Felt s6meh6w thru' its crown ^ pair
0' bliie e5^es sot tipon it.
Thet night ; I tell ye, she lo6ked some!
She seemed tft've gut ^ new s6ul,
F6r she felt sartin-sure he'd come,
D6wn to her verj^ shoe-s5le.
She heered 51 foot, Sn' knowed it, lu,
A-raspin' on the scraper, —
All ways t5 once her feelin's flew
Like sparks in burnt-tip paper.
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OF THE VARIOUS KINDS OF POETRY. 317
HS k!n* 6' rit^red on the mat,
S6me doubtfle 6' th^ sekl^ ;
His heart k^p* g6!n* p!t^-pat,
Btit her'n w^nt pity Zekl^.
An' yit she gin h^r cheer a jerk
fiz though she wished htm f urder,
An* on her apples kep* t6 work,
Partn' ^way like murder.
" Yoti want t6 see my Pa, I s'pose ? "
'* W^l — no — I come d^signin' " —
** T5 see mj^ Ma ? She's sprinkltn' clo'es
Agin t5-morrer*s i'nin'.**
T6 say why gals Set so 6r so,
Or don't, 'otild be presumln' ;
Mebby t5 meanjv^j an' sSy no
C6mes nateral t6 women.
He stood a spell 6n one fo6t fust,
Then stood a spell on t'other,
An' on which one he felt the wust
He couldn't ha' told ye, nuther.
says he, " I'd better call agin ";
says she, *' Think likelj^ Mister " :
Thet last w5rd pricked him like a pin.
An' — wal, he up an' kist her.
When Ma bimeby tipon 'em slips,
HuldJ s5t pale ez ashes.
All kin* 6* smil)^ roun' the lips
An' tearj? roun' the lashes.
F6r she was jes' the quiet kind
\Vh6se nattirs never vary.
Like streams that keep a summer mind
Snftw-hid in Jeno^arJ"'-
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3i8 THE ART OF POETRY,
ThS blood cl6st roun' hSr heart ftlt glued
To5 tight fbr all fixpressln*,
T6I1 mother see h6w mett^rs stood,
An* gin '6m both h^r blesstn'.
ThSn her rSd come b^ck like the tide
D6wn to the Bay 6' Fund J,
An* all 1 know ts, they w^ cried
In meetKn* come nSx* Sunday.
James Russell Lowell.
THE SCOTCH DIALECT.
The Scotch is a very popular dialect. From the time it
was first brought into general notice and rendered ever-
enduring by the sweetest of Scotland's singers, Robert
Burns, it has always been read with delight by the public.
We give the following selections.
Thoti hast sworn b>r thy God, m^ JeaniS,
B5^ that pretty white hand 6' thine,
And by a* the lowing stars In heaven,
That thou wad aye be mine !
And I hae sworn by my God, my Jean!e,
And by that kind heart 6* thine,
By a' the stars s6wn thick 6wre heaven,
That thou shait aye be mine !
Allan Cunningham — " Thou Hast Sworn by Thy God, My
Jeanie."
He was a gash and faithftil tyke.
As ever lap a sheugh 6r dike.
Hts honest, sonste, baws'nt face,
Aye gat him friends in ilka place.
His breast was white, his touzie back
Weei clad wi' coat 6* glossy black ;
His gaucy tail, wi' iipward curl,
Hting o'er his hurdies wi' a swirl.
Burns — * * T wa Dogs . ' '
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OF THE VARIOUS KINDS OF POETRY. 319
My heid !s like t6 rend, WTllle,
My heart te like t6 break ;
I'm wearin' aff my feet, Willie,
I*m dy!n' for yotir sake !
0, lay yotir cheek t5 mine, WilWe,
Yotir hand 6n my briSst-bane, —
0, say y€\\ think 6n me, WillKe,
Wh^n i Sm deid ^nd gane !
William Motherwell—'' My Heid is Like to Rend, Willie."
Shotild auld acquaintance be f5rg6t.
And nev^r brought t6 min' ?
Shotild auld Acquaintance be fbrgot.
And days 6' lAng syne ?
CHORUS.
F6r auld l^ng syne, my dear,
F6r auld l^ng syne,
W^'U tak a cup 6' kindness yet,
F5r auld iSng syne.
Robert Burns— '' KvX^ Lang Syne."
CHILD DIALECT.
Listening to the dialect of children has ever furnished us
some of our happiest hours, as well as most pleasing affec-
tions. Simple and artless, it is nevertheless engaging to
both old and young. Mr. Riley's ''Rhymes of Child-
hood" and ''A Child World'* are rare, grand gifts to
mankind. A selection from ''Maymie's Story of Red
Riding Hood *' is here given :
An' nfin Riding Hood
Sh^ say **6h-me-5h-my ! Dran'm^ ! wh^t big
White long shSrp teeth yoti dot! "
N6n old W61fsays:
" Y^s — an' they're that^way "— ^n' drowled —
" They're thatSway,'* hS says, " t6 eat yoti wiv ! "
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320 T^^^' ^^^ ^^' POETRY.
An' nen h€ 1st jump at her,—
But shS scream' —
An' scream', shfi did — s6 's 'at thfi Man
'At wuz a-choppKn' wood, yoti know, — hS hear.
An' come S-runnln' in thfire wiv hfe ax ;
An', 'fore the old W61f know, what he 's about,
He split his old brains out an' killed h!m s' quick
It make' h!s head swim ! — An' R^d Riding Hood
She wttzn't hurt at all !
An' the Wg Man
He looked her all safe home, he did, an' tell
Her Ma she's all right an' ain't hurt at all
An' old W6irs dead an' killed — and ever'thing ! —
S6 her Ma wtiz s6 tickled an' s6 proud.
She gived him all the good things t' eat they wuz
' At's in the basket, an' she tell him 'at
She 's much 6blige', an' say t6 "call adin."
An' story's honest truth — an' all s6, too !
James Whitcomb Riley.
Mjr Pa he 1st fished an' fished !
An' mj^ Ma she said she wished
Me an' her was home ; an' Pa
said he wished s6 worse *n Ma.
James Whitcomb Riley— ''Th^ Fishing Party.
NONSENSE.
" A little nonsense now and then
Is relished by the wisest men."
The writing of a nonsensical verse is a pleasure indulged
in by some of our most excellent writers. The rhymes of
our childhood — Mother Goose's Melodies — are familiar to
almost every one, and it made very little difference what the
wording of them was so that the measure and rhythm were
perfect ; in fact, Mother Goose has some of the most com-
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OF THE VARIOUS KINDS OF POETRY. 321
plex lines to be found in poetry.* Where, however, the
measure and rhythm are perfect, words make but very little
difference in writing what are termed nursery rhymes, and
nonsensical songs. *' The Owl and the Pussy Cat,'' one of
Lear's ** Nonsense Songs," is one of the best of its kind
extant. Lear has a book in which many good songs of this
species may be found. They will repay the reading where
one has any desire for the quaint. Billowy are the metrical
waves of this nonsensical song ; leaping and bounding,
billow upon billow, leaping higher on the middle or line
rhymes, the waves surge and lash each other in beautiful
sounds to the end of the stanza ; all nonsense, it is true,
and yet pleasing in the highest degree to the ear.
Th^ owl ^nd thS pussj^-c^t went 6ut t6 sea
In ^ beautXftil pea-gre^n boat ;
ThSy took s6me hon^y, ^nd lots 6f mon^y
Wrapped up in a fi ve-p5und note.
Th^ owl lo5ked up t5 th^ moon above,
And sang t6 hfe light gtiitar, ,
**6 pussy, 6 pussy, pussy, my love,
What a beautXftil pussy yoti are, yoti are ! —
What a beaut!ftll pussy yoti are ! "
/
- Ptissy said t6 th^ owl, " Yoti elegant fowl,
H6w charmingly sweet yoti sing !
C6me, let tis b^ marriM — to6 long w6 have tarried ;
Btit what shall w^ do f6r a ring? "
S6 thfiy sailed away f6r a year and a day,
T5 th^ land wh^re th^ bong-tre^ grows,
And there \w th€ wood a piggy- wig stood,
With a ring !n th^ end 5f hts nose, hfe nose —
A ring in th^ end 6f his nose.
* Mary Goose, wife of Isaac Goose, the author of " Mother Goose's Melodies,"
lived and died in Boston, Massachusetts, and was buried in Old Christ's Church
Cemetery.
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322 THE ART OF POETRY.
' * D€ar pig, are yott wilUng t6 sell fbr 6ne shilling
Yotir ring ? " Said thS piggj, * 'I will '' ;
S6 they took It away, and w^re married n^xt day,
By the turkey wh6 lives 6n the hill.
They dined tip6n mince, and slices 6f quince,
Whtch they ate wUh a runclbie spoon,
And hand \x\ hand 6n the golden sand
They danced by the light 6f the moon, the moon —
They danced by the light 6f the moon.
Edward Lear— ** The Owl and the Pussy Cat.
James Whitcomb Riley has some excellent verses of this
species. Mr. Riley delights in amusing mankind, and few
authors have been more prolific in writing poems that cause
men to forget troubles and laugh heartily at the eccentricities
of life. We make two selections :
A little D6g-W6ggy
Once walked rotind the World :
S6 he shut tip hfe house ; and, forgetting
His two ptippy-children
Lacked in there, he curled
Cp his tail in pink bombazine netting,
And set out
T6 walk round
The World.
James Whitcomb Riley— *' The Little Dog-Woggy."
Dainty Baby Austin !
Yotir Daddy's gone t6 B6st6n
T6 see the King
6f06-RinkttimJing
And the whale he rode acrost 6n !
James Whitcomb Riley — **The King of Oo-Rinktum-Jing.'
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OF THE VARIOUS KINDS OF POETRY. 323
THE VERSICLE.
A little verse, a metrical toy. Poets of all ages — past as
well as present, have taken delight in writing these momen-
tary thoughts suggested by the occasion of passing incidents.
Many of them, however, are very bright and deserve a place
in the household of poetry. Our magazines and news-
papers furnish a never-ending amount of them. We make
the following selections :
WHAT SHE didn't KNOW.
** That darltng girl kn^w everything,
Kn^w Hebrew, Latin, Greek —
YSs, several othfir languages
WUh fluency cotild speak.
**6f mustc, art, ^mbroidSry,
She had a thorotigh knowledge.
And many othSr things besides
That girls are taught at college.
"The onlj^ thing she didn't know
(N6r could the maid c6nceal
Her ignttfance 6f that) was how
T5 cook a decent meal.
" Btit did that make the maiden less
Desirable t6 me ?
N6, she was rich, and could afford
T6 hire a cook, yoti see."
YOUTH AT CHRISTMAS.
" 6h, would 1 were young," the old man sighs
When the Christmas songs are sung.
The 51d woman never a word replies —
She still claims she is young.'*
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324 ^^^ ^^^ ^^ POETRY.
tommie's girl.
*' ShS te cheerftil, warm-hearted and triie,
And is kind t6 h^r father and mother ;
She studies h6w much she c^n do
F5r her sweet l!tde sister and brother.
** If yoti want a c5mpani6n fbr life,
T6 c6mf6rt, enliven, and bless,
She fe just the right sort 5f a wife,
My girl wUh a cal!c6 dress."
A SURPRISE.
" I met her strolling on the street,
we walked t5gether up the hill,
She was a maiden very neat,
\Vh6 made my heart stand^still.
When in a manner hard t6 beat
She shyly said, * 1 know yoti're sweet.*
*' Stich words I knew n6t how t6 meet.
She was n6t wont t6 talk that way,
Btit happiness I found was fleet
F6r very soon 1 heard her say,
'I think !t faces toward the street.'
And then I knew she meant my suite.".
IN COLLEGE CAP AND GOWN.
" My sweetheart is a stiident in a famotis female college.
And though I do n6t think she'll win partictilar renown
In any special stiidy, or be noted for her knowledge, .
I'm certain that she's charming in her college cap and gown.
That the costiime's fascinating there's n6 reas6n for c6ncealing,
1 think my love m5st beautiful when in it she appears,
Btit when 1 steal a kiss fr6m her, h6w funny is the feeling
When the edges of the mortar board are tickling my ears."
Digitized by VjOOQIC
OF THE VARIOUS KINDS ur I'ur.iKY. 325
Jennte kissed m^ when w6 met,
Jumping from thS chair sh^ sat tn ;
Time, yoti thief, wh6 love t6 get
Secrets int6 yotir list, ptit that !n.
Say I'm wear^, say I'm sad,
Say th^t heakh ^nd wealth h^ve missed m^ ;
Say I'm growmg old, btit add—
Jenn!e kissed m^.
Leigh Hunt.
The law 16cks up thS man 6r wom^n
VVh6 steals S goose fr6m off the c6mm6n ;
Btit lets the greater^illian loose,
Wh6 steals the commbn from the goose.
E, Elliott.
When first Kn Celia's ear I poured
A yet tinpractKced prayer.
My trembling tongue sincere ignored
The aids 6f ' ' sweet " Snd ' * fair. ' '
I only said, as in me lay,
I'd strive her ** worth " t6 reach ;
She frowned ^nd turned her eyes Sway —
S6 much f6r truth tn speech.
Then Delia came. I changed m5^ plan ;
I praised her to her face ;
I praised her feattires, — praised her fan,
Her lap-d5g and her lace ;
I swore that not tfll Time were dead
My passi5n should decay ;
She, smiling, gave her hand, and said
'Twill last, then, for a Day.
Austin Dob son — ** A Love Song." ,
Yoti sleep tipon yotir mother's breast.
Yotir race begun,
A welc6me, long a wished-fbr Guest,
Wh5se age !s One.
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326 THE ART OF POETRY.
A baby-boy, yoti wondfir why
Yoti cann6t run ;
Yott try t6 talk — h6w hard yoti try !
Yoti' re onlj^ One.
£re long yoti won't b€ such a dunce ;
Yoti'U eat yotir bun,
And fly yotir kite, like folk, wh5 once
W^re only One.
Yoti'U rhyme ^nd woo, and fight Snd joke,
perhaps yoti* 11 pun !
Stich feats Sre nev^r done by folk
Before they're One.
S6me day, to5, you mSy have yotir joy,
And envy none ;
Yes, you, yotirself, m^y own a Boy,
Wh6 isn't One.
Frederick Locker — ** A Rhyme of One."
A MEAN LOVER.
" 1 love t6 make my Mabel cry,
By jealotis taunts ^nd jeers.
F5r then I get a chance t6 try
And kiss a way her tears."
LEGAL WHISKERS.
"As o'er their wine ^nd walntits sat,
Talking 5f this and then 6f that,
Tw5 wights well learned in the law —
That is, wen skilled t5 find a flaw—
* said one c6mpani6n to the other,
' H6w is it, most respected brother.
That you have shaven away
Th6se whiskers which fbr many a day
nave ornamented much yotir cheek?
Stire, 'twas an idle, silly freak.'
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OF THE VARIOUS KINDS OF POETRY. 327
T6 whom th^ oth^r answer gave,
W!th look h^lf merry and half grave,
* Th6ugh others be by whiskers graced,
A lawyer can't b^ too barefaced.' "
CONCLUSION.
And now we bring to a close a subject full of never-ending
interest to the student of general literature — poetry, the art
divine. Endeavoring to make its study practical, we have
followed it step by step, exemplifying its measures by quo-
tations from our great authors. It is a theme inexhaustible,
and yet one may become familiar with its elements and
science.
Were you to ask how to excel, the answer would be : if
nature has endowed you with the natural gift, cultivate it by
a careful study of authors whose works are preeminent.
Longfellow, Lowell, Holmes, Whittier, and Bryant are a
galaxy of names that will ever adorn American literature,
and whose works should be read and thoroughly analyzed
by every student of literature and art. England and Scot-
land have had a long line of poets whose works are gems
of rare art.
Every one would commend the works of Tennyson and i
Burns. They were poets who possessed the faculty divine. '
The world acknowledges them as two of the grandest of |
any age. Yet there are those of our own time who are liv-
ing, toiling, struggling writers for fame, present as weH as
future, that are models of excellence and elegance. Dobson,
Lang, Gosse, and Swinburne may be cited. Read, and you ^
may find yourself in touch with some one or all of them. i
Of our present-day American authors, Stedman, Aldrich, |
Riley, Harte. Hay, Carleton, and Stoddard, have each • ^
Digitized by VjOOQIC
328 '^^^ ^^T OF POETR Y.
earned a well-deserved fame. But be not mere imitators,
read and study the works of great authors, and then mold
and fashion your talent after a style of your own. There is
a peculiar something in the writings of our poets that has a
distinctiveness of its own plainly perceptible. Spontaneity
in writing may be, and often is, genius assisting her own true
children on and on, to nobler and greater deeds, giving
them clearer vision — a direct insight. But let it not be
supposed that genius alone makes men great. The lives of
the best authors reveal the fact that men of genius are men
who are untiring workers. Great poems are not mere acci-
dents of genius. The great beehive of poetry is not inhab-
ited by drones. The honey gathered from every flower is
the result of their toil and industry. Care, precision, and
painstaking methods are the royal roads to success. How
beautifully William Cullen Bryant has expressed in these
lines the poet's art :
The secret wouldst th6u know
T5 touch the heart 6r fire the blood &t will ?
Let thine 6wn eyes 6*erfl6w ;
Let thy Vips quiver with the passionate thrill ;
seize the gre^t thought, ere yet !ts power be past,
And bind, !n words, the fleet emotittn fast.
'*The Poet/'
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INDEX OF AUTHORS.
PAGE
Adams, Charles Follen,
• 304, 305* 306, 309
Adams, John Quincy,
153
Adams, Sarah Flower,
252
Aldrich, Thomas Bailey, 140, 152,
153. 159, 179. 180, 202, 221, 222, 256
Alkaios,
171
Allston, Washington,
226
Armstrong, John,
181
Arnold, Edwin,
12
Arnold, Matthew,
90,115
Aytoun, William Edmonstoune,
216
Baer, Libbie C,
65
Baillie, Joanna,
97
Barham, Richard Harris,
188
Barlow, Joel,
225
Baxley, Isaac R.,
64
Bayly, Thomas Haynes,
159
Beaumont, Francis,
225
Beattie, James,
99, 178, 182
Beddoes, Thomas Lovell,
84
Bennett, S. Filmore,
253
Bennett, William Cox,
72
Bethune, George Washington,
.25
Bible, ....
4
Bishop, Sir Henry,
240
Blackstone, Sir William,
155
Bowles, William Lisle,
114
Bradbury, W. H.,
254
Branch, Mary Bolles,
71
Brennan, Joseph,
25, .164
Brooks, Maria Gk)wen,
82
Digitized by VjOOQIC
330
INDEX OF AUTHORS.
PAGE
Brown, Frances, ...... 249
Browning, Elizabeth Barrett, . , . 84, 195
Browning, Robert, ...... 55
Bruce, Michael, . . . • ^35
Bryant, William Cullen, 16, 81, 100, loi, 134, 155, 157, 160, 249, 263,
267, 268, 283, 285, 328.
Brydges, Samuel Egerton, .111
Buckingham, Duke of, (George Villiers), ... 82
Bums, Robert, 4, 1 1, 16, 40, 45, 46, 48, 49, 50, 79, 96, 100, 169, 197, 207,
222, 256, 263, 268, 278, 279, 285, 318, 319.
Butler, Samuel, ...... 148, 302
Byron, Lord, 13, 29, 48, 76, 98, loi, 183, 203, 204, 208, 209, 223, 255,
256, 300.
Carey, Henry, ....... 90
Gary, Alice, ....... 55
Gary, Phoebe, ....... 91
Gampbell, Thomas, 6, 10, 11, 15, 16, 19, 55, 156, 187, 188, 217, 221, 224,
226, 260, 286.
Garleton, Will,
21, 22, 163, 168
Garpenter, J. E., .
244
Gatullus,
174
Ghalkhill, John, (Izaac Walton), .
138, 166
Ghatterton, Thomas,
.... 86
Ghaucer, Geoffrey, .
11,42, 190, 291
" Ghevy Ghase,"
260
Ghurchill, Gharles,
. 156
GlariheU
244
Glark, Willis G., .
225
Gobb, Henry N.,
87
Goit, John O., .
65
Goleridge, Samuel Taylor,
13. 27, 47, 55» 73, 204, 278
GoIIins, William, .
214, 278
Gooke, Philip Pendleton,
93
Gomwall, Barry, (B. W. Proctor),
55
Gotten, Gharles,
130
Gowley, Abraham,
208
Gowper, William,
3, 168, 171, 183, 263, 285, 286, 28S
Crabbe, George,
. . . 287
Digitized by VjOOQIC
INDEX OF AUTHORS.
331
PAGE
Craik, Dinah Maria Mulock,
. 72, 88, 89, 99
Cunningham, Aljan,
. 216, 318
Dana, Richard Henry,
80, 192
Daniel, Samuel,
94
Dante, .....
. 289
Darwin, Erasmus,
200
Davies, Sir John, ....
92
Dickens, Charles,
105
Dobson, Austin, . 117,119,122,
123,
125
129, 132, 298, 325
Doddridge, Philip,
199
Drayton, Michael, ....
218
Dryden, John, . • 3»
135,
257,
286, 293, 300, 302
Durbin, Charles, ....
61
Eastman, Charles Gamage,
54
Edwards, Amelia B.,
55
Elliot, Ebenezer,
. 278, 325
Emerson, Ralph Waldo, .
212, 272
Emmett, Dan. D., .
246
Falconer, WilHam,
59
Field, Eugene,
62, 150, 152, 193
Fletcher, Giles, ....
194
Fontenelle, Bernard le Bovier,
229
Fosdick, William W.,
. 283
Foster, Stephen Collins,
^.v . 240
Franc, G., .
. 254
Gates, Ellen N.H, .
141
Gay, John, ....
. 138
Gaylord, Willis,
56
Gilder, Richard Watson, .
108
Goethe, Johann Wolfgang von, .
141, 150,256,295
Goldsmith, Oliver,
156,
182, 183, 196, 212
Gosse, Edmund,
128
Goose, Mary, ....
321
Gray, Thomas, 106,147,182,
206,
219,
224, 263, 266, 273
Greene, Roy Farrell,
314
Hale, Sarah J.,
105
Hall, Charles S., .
246
Harte, Francis Bret, . 28, 87, 90, 167,
170,
218,
285,308,309,311
Digitized by VjOOQIC
332
INDEX OF AUTHORS.
Harvey, James,
Hastings, Thomas,
Hay, John,
Heber, Reginald,
Heine, Heinrich, .
Hemans, Felicia,
Henryson, Robert,
Herbert, George,
Herrick, Robert, .
Hervey, Thomas Kibble,
Hey wood, Thomas,
Hill, Thomas,
Hogg, James,
Holmes, Oliver Wendell,
Homer,
Hood, Thomas, lo, 31, 54,
Horace,
Howe, Julia Ward,
Howells, William Dean
Hoyt, Ralph.
Hunt, Leigh,
Hunter, Anne,
Hugo,. Victor, .
Ingelow, Jean,
Jeffreys, Charles,
Johnson, Samuel, .
Jones, Sir William,
Jonson, Ben,
Josephus,
Keats, John
Keeling, Elsa D. E.,
Kingsley, Charles,
Kinney, Coates,
Knox, William,
K5mer, Charles Theodore,
Larcom, Lucy,
Landon, Letitia Elizabeth,
Lang, Andrew,
PAGE
213
254
II, 178, 257,261, 285
145, 253
256
12, 180, 213
131
50
15. 77, 148, 149, 151, 178, I90» 191
55
106
190
152, 162
51, 64, 147, 158, 201, 260, 262, 263
217, 289
55, 77, 89, 93, "3, »6i, 191, 198, 260
58, 226
247
64
55,78
325
146
149
85
308
180
203
279
4
103, III, 181, 195, 212, 277, 291
67
81,86, 144, 171, 173
25, 142, 225
28
80
140, 143, 168, 170
224
116, 125, 130, 154
Digitized by VjOOQIC
INDEX OF AUTHORS,
333
PAGE
Lanier, Sidney, . 44, 255
Lear, Edward, ....... 321
Linley, G., . . . . . . 244
Locker-Lampson, Frederick, 112,325
Lockhart, Burton W., ...... 64
Lockhart, John Gibson, . .221
Logan, Mai^aret B., . . . 122
Longfellow, Henry Wadsworih, 8, 12, 13, 14, 15, 35, 41, 44, 45, 55, 73^
74,81, no, 164, 171, 173, 194, 199.207, 220, 222, 263, 281, 285, 291
Lowell, James Russell, . 257, 263, 282, 301, 302, 303, 315, 317
Lowry, Rev. Robert, . 253
Lytton, Sir Edward Bulwer, ..... 295
Lytton, Robert Bulwer, 291
Macaulay, Lord, ...... 258, 293
Macdonald, George, . . 11, i6c
Mace, Frances Laughton, ...... 252
Mackay, Charles,
Manners, Lady Frances,
Marlowe, Christopher,
Matthews, James Newton, .
McCabe, Charles C, .
McCarthy, H.,
Marsh, Simeon B.,
Merrick, James,
Miller, Joaquin,
Milton, John,
Montgomery, -James,
Moore, Thomas,
Morris, Ida G.,
Motherwell, William, .
Moultrie, John,
Nelson, S., .
Norton, Caroline E.,
O'Conner, Joseph
Osgood, Frances Sargent,
Ossian,
Palgrave, Francis Turner,
Pamell, Thomas,
14,
104, 145
56
294
167
247
246
254
179
285
48, 104, 109, 134, 198, 201, 219, 226, 266, 277, 289
. ■ 79, 134, 248
. 72, 239, 263, 291
53
166,319
78
244
•. • • • 96, 113
179
55,68
. ^ . . . . 3
.193
213
Digitized by VjOOQIC
334
INDEX OF AUTHORS.
Parsons y Thomas W.,
Patmore, Coventry,
Payne, John Howard,
Percival, James Gates,
Perry, T. S.,
" Piers Plowman,"
Pike, Albert N., .
Pickering, Henry,
Pinkney, Edward Coate,
Poe, Edgar Allan,
Pope, Alexander, 2, j, 27, 37, 5.S, 59.
290, 300.
Powell, ...
Procter, Adelaide Anne,
Proctor, Bryan W., ( Barry Cornwall ),
Quarles, Francis,
Ramsay, Allan,
Randall, James R.,
Read, Thomas Buchanan . .
Reed, Joe S., . . . .
Riley, James Whitcomb, 67, 159, 263,
319, 320, 322.
Roberts, Sarah,
Robinson, Maria Durey,
Rogers, Alexander,
Rouget de Lisle, Claude Joseph,
Russell, Henry,
Sappho,
Saxe, John Godfrey,
Schiller, J. C. F. von,
Scott, Lady Jane,
Scott, Sir Walter, .
Sedley, Sir Charles,
Shakespeare, William, 48, 78, 103, 112,
215.
Shelley, Percy Bysshe,
Shenstone, William,
Shepherd. N. G.,
PAGE
43
55
4,240
94, 282
55
195
246
192, 223
93
10, 18, 38, 68, 76, 146, 175, 192
177, 192, 197, 202, 206, 222, 286,
54
75.95.218
104
II, 77
. 285
246
■ 4, 55, 87, 284
3»i
264, 265, 266, 285, 308, 309, 310,
79
248
94
41
242
172
. 60, 70, 95, 97, 204
256, 261, 295
242
51. 163, 169, 183, 220, 291
99
187, 192, 194, 195, 196, 206, 207,
70, 102
214, 285
14
Digitized by VjOOQIC
INDEX OF AUTHORS.
335
Shillaber, P. B., .
PAGE
75
Shirley, James,
94
Sibley, Charles, .
83
Sidney, Sir Philip,
69
Sigoumey, Lydia H.,
151
Simms, William Gilmorc,
283
Smith, Charlotte, .
71
Smith, James, .
198
Southey, Robert,
153, 161, 163, 171
, 172,207,219,225
Spenser, Edmund,
11,181,291
Stedman, Edmund Clarence,
11. 96, 143
, 179, 205,221, 283
Still, John,
196
Stoddard, Richard Henry,
55, 203
Stoddart, Thomas Tod,
88
Suckling, Sir John,
70, 189
Swinburne, Algernon Charles,
123,
124, 127, 142, 171,
172, 175, 285,291,
292.
Taylor, Bayard,
.
55
Tennyson, Alfred, 12, 15, 28,
35,
38, 43,47,55,59,
71,76,85,90, 139,
146, 159, 162, 171. 173,
'74,
202, 204, 205, 213
214, 218, 256, 262,
263, 266, 285.
Thackeray, William Makepeace,
169
Thomson, James, .
178, 182, 190, 197
Toplady, Rev. A. M., .
254
Tusser, Thomas, .
. 48,49
Udall, Nicholas,
294
Vaughan, Henry, .
194
Virgil. .
216, 289
Voiture, Vincent, .
121
Waller, Edmund,
74
Walford,Rev. W. H.,
254
Walton, Izaak,
44
Watts, Isaac,
26, 157, 172, 254
Weir, Harrison,
106
Wesley, Charles, .
251, 254
White, Joseph Blanco,
.
115
White, Henry Ki»k«,
74
Whitman, Wah,
3
Digitized by VjOOQIC
336
INDEX OF AUTHORS.
Whittier, John Greenleaf,
Wilcox, Ella Wheeler,
Willis, Nathaniel Parker,
Winner, Septimus,
Wither, George,
Wolfe, Charles,
Wolfe, James,
Wordsworth, William,
12, 14, 28, 35, 44, 72, 210, 263, 2S4, 285
. 16, no, 193, 205
35
245
57
i8c
277
■ 37,47,54,158.285,286
. J
Digitized by VjOOQIC
INDEX OF SUBJECTS
PAGE
PAGE
Accent, .
6, 19
Construction of the Stanza, 63
Acrostics,
. 56
Couplet, .
II
Alcaics, .
171
Cretic,
26
Allegory,
. 199
Dactyl, .
24
Alliteration,
42
Dactylic Dimeter,
10
Amatory Ode,
. 256
Dactylic Rhythm,
160
Amphibrach,
26
Dialect,
. 303
Amphimacer,
26
Didactic .
. 235.285
Anapest,
24
Dimeter Measure, I
38, 150, 160,
Anapestic Rhythm, .
. 165
166.
Anapestic Tetrameter,
10
Drama,
236, 293
Anaphora,
. 201
Echo, .
218
Antithesis,
202
Ecphonesis
. 206
Apheresis,
. 187
Eight Line Stanza,
92
Apocope,
188
Elegy,
. 262
Apostrophe, .
. 200
Ellipsis, .
191
Assonantal Rhyme,
44
Empire of Poetry,
. 229
Ballad,
. 258
Enallage,
193
Ballade, The
116
Envoy,
. 298
Blank Verse,
^33
Epanalepsis,
203
Burlesque,
297
Epenthesis, .
. 188
Burletta,
• 297
Epic,
. 235,288
Cento Verse,
54
Epigram,
. 203
Chant,
221
Epilogue,
298
Chant Royal,
118
Epitaph, - .
. 278
Child Dialect,
• 3'9
Epizeuxis,
204
Chinese Dialect,
3"
Erotesis,
. 205
Classification,
• 235
Farce,
297
Comedy,
296
Feminine Rhyme,
45
Consonantal Rhyme, .
• 45
Figures of Etymology
r, . 187
337
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338
INDEX OF SUBJECTS.
Figures of Rhetoric, . 199
Figures of Speech, 187
Figures of Syntax, .191
Five Line Stanza, 69
Foreign Words and Expressions, 60
German Dialect, . 304
Hearing, 208
Hendecasyllables, -174
Heptameter Measure, . 144, 158
Heroic Ode, . .257
Hexameter Measure, 143, 157, 164,
170, 172.
Hyperbaton, 197
Hyperbole, . 208
Iambic Pentameter, 11
Iambic Rhythm, 147
Iambus, ... 23
Imitation of Classical Mea.sures, 17 1
49
197
. 205
306
210
229
. 2ii
235» 237
• 45
136
. 297
18
212
293
291
46
. 289
37, 148, 165
255
• 98
Inverse Rhyme
Inversion,
Interrogation,
Irish Dialect,
Irony,
Kinds of Poetry,
Litotes,
Lyric, .
Masculine Rhyme, .
Measures Exemplified,
Melodrama, .
Meter,
Metonymy,
Metrical History,
Metrical Romance,
Middle Rhyme, .
Mock Epic, .
Monometer Measure, I
Moral Ode,
Nine Line Stanza,
Nonsense,
320
Objective Poetry,
. 236
Octometer Measure,
146, 159
Odd Rhyme, .
. 50
Ode.
254
Onomatopoeia,
. 218
Opera, .
299
Pantoum,
• 13^1
Paragoge,
189
Paraleipsis, .
. 220
Pastoral, .
235, 281
Pentameter Measure,
142. 155
Personification,
. 220
Pleonasm,
198
Poetical Licenses,
. 177
Poetry as an Art,
I
Poetic Pauses,
. 36
Prologue,
297
Prosthesis,
. 190
Quantity,
6
Quatrain,
12
Refrain, .
221
Rhythm,
• 30
Rhythmic Combinations,
65
Rhyme, .
40
Rondeau,
. 120
Rondel, .
123
Roundel,
. 124
Sacred Ode,
255
Sacred Songs,
. 248
Sapphics,
172
Satire,
236, 299
Scansion,
33
Secular Songs,
. 238
Sectional Rhyme,
48
Selection of Words, .
. 58
Sestine, .
126
Seven Line Stanza, .
82
Digitized by VjOOQIC
INDEX OF SUBJECTS.
339
PAGE
PAGK
Scotch Dialect, .
318
Triolet, .
129
Simile,
222
Triple Rhyme,
• 46
Six Line Stanza,
75
Tragedy,
296
^>«6nnet,
. 107
Travesty,
. 297
Southern Dialect,
3" '
Trimeter Measure, 139,
151,167
Spondee,
26
Triplet, .
12
Stanza, .
II
Trochaic Rhythm, .
. 136
Subjective Poetry,
236
Trochaic Tetrameter,
10
Subjective Drama,
299
Trope,
• 223
Syllepsis,
. 198
Trochee,
23
Synaeresis,
190
Verse,
ID
Synecdoche, .
. 223
Versicle, .
323
Syncope,
190
Villanelle, .
• 124
Task Rhyme,
. 50
Virelay, .
130
Ten Line Stanza,
102
Vision,
226
Tetrameter Measure, 140
, 152, 163,
Western Dialect,
308
168.
Yankee Dialect,
• 315
Tmesis,
. 191
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