Rejoice ye reames of England and of Fraunce!A braunche that sprange oute of the floure de lys,Blode of seint Edward and [of] seint Lowys,God hath this day sent in governaunce.
Rejoice ye reames of England and of Fraunce!A braunche that sprange oute of the floure de lys,Blode of seint Edward and [of] seint Lowys,God hath this day sent in governaunce.
Rejoice ye reames of England and of Fraunce!
A braunche that sprange oute of the floure de lys,
Blode of seint Edward and [of] seint Lowys,
God hath this day sent in governaunce.
God of nature hath yoven him suffisaunceLikly to atteyne to grete honure and pris.Rejoice ye reames of England and of Fraunce!A braunche hath sprung oute of the floure de lys.O hevenly blossome, o budde of all plesaunce,God graunt the grace for to ben als wiseAs was thi fader, by circumspect advise,Stable in vertue withoute variaunce.Rejoice ye reames of England and of Fraunce,A braunche hath sprung oute of the floure de lys.
God of nature hath yoven him suffisaunceLikly to atteyne to grete honure and pris.Rejoice ye reames of England and of Fraunce!A braunche hath sprung oute of the floure de lys.O hevenly blossome, o budde of all plesaunce,God graunt the grace for to ben als wiseAs was thi fader, by circumspect advise,Stable in vertue withoute variaunce.Rejoice ye reames of England and of Fraunce,A braunche hath sprung oute of the floure de lys.
God of nature hath yoven him suffisaunceLikly to atteyne to grete honure and pris.Rejoice ye reames of England and of Fraunce!A braunche hath sprung oute of the floure de lys.
God of nature hath yoven him suffisaunce
Likly to atteyne to grete honure and pris.
Rejoice ye reames of England and of Fraunce!
A braunche hath sprung oute of the floure de lys.
O hevenly blossome, o budde of all plesaunce,God graunt the grace for to ben als wiseAs was thi fader, by circumspect advise,Stable in vertue withoute variaunce.Rejoice ye reames of England and of Fraunce,A braunche hath sprung oute of the floure de lys.
O hevenly blossome, o budde of all plesaunce,
God graunt the grace for to ben als wise
As was thi fader, by circumspect advise,
Stable in vertue withoute variaunce.
Rejoice ye reames of England and of Fraunce,
A braunche hath sprung oute of the floure de lys.
Another roundel of four-foot verses, by Lydgate (Ritson, i. 129), corresponds toa ba b a ba ba b a ba b(cf.Metrik, i, § 180); some other roundels, of a looser structure, consisting, seemingly, of ten lines, are quoted in the same place (cf.Metrik, ii, § 583).
A Modern English roundel of fourteen lines, constructed of three-foot verses, by Austin Dobson, has the schemea ba b b aa ba b a ba b(quoted ib. § 583). The French roundel of thirteen lines may be looked upon as a preliminary form to the rondeau, which was developed from the roundel at the end of the fifteenth and the beginning of the sixteenth century.
§324.Therondeauis a poem consisting of thirteen lines of eight or ten syllables, or four or five measures. It has three stanzas of five, three, and five lines, rhyming on the schemea a b b a a a b a a b b a. It has, moreover, a refrain which is formed by the first words of the first line, and recurs twice, viz. after the eighth and thirteenth verses, with which it is syntactically connected. Strictly speaking it therefore has fifteen lines, corresponding to the schemea a b b a a a b+r a a b b a+r. The rondeau was much cultivated by the French poet, Clément Marot. It was introduced into English by Wyatt, from whom the rondeauComplaint for True Love unrequited(p. 23) may be quoted here:
What ’vaileth truth, or by it to take pain?To strive by steadfastness for to attainHow to be just, and flee from doubleness?Since all alike, where ruleth craftiness,Rewarded is both crafty, false, and plain.
What ’vaileth truth, or by it to take pain?To strive by steadfastness for to attainHow to be just, and flee from doubleness?Since all alike, where ruleth craftiness,Rewarded is both crafty, false, and plain.
What ’vaileth truth, or by it to take pain?
To strive by steadfastness for to attain
How to be just, and flee from doubleness?
Since all alike, where ruleth craftiness,
Rewarded is both crafty, false, and plain.
Soonest he speeds that most can lie and feign:True meaning heart is had in high disdain,Against deceit and cloaked doubleness,What ’vaileth truth?Deceived is he by false and crafty train,That means no guile, and faithful doth remainWithin the trap, without help or redress:But for to love, lo, such a stern mistress,Where cruelty dwells, alas, it were in vain.What ’vaileth truth?
Soonest he speeds that most can lie and feign:True meaning heart is had in high disdain,Against deceit and cloaked doubleness,What ’vaileth truth?Deceived is he by false and crafty train,That means no guile, and faithful doth remainWithin the trap, without help or redress:But for to love, lo, such a stern mistress,Where cruelty dwells, alas, it were in vain.What ’vaileth truth?
Soonest he speeds that most can lie and feign:True meaning heart is had in high disdain,Against deceit and cloaked doubleness,What ’vaileth truth?
Soonest he speeds that most can lie and feign:
True meaning heart is had in high disdain,
Against deceit and cloaked doubleness,
What ’vaileth truth?
Deceived is he by false and crafty train,That means no guile, and faithful doth remainWithin the trap, without help or redress:But for to love, lo, such a stern mistress,Where cruelty dwells, alas, it were in vain.What ’vaileth truth?
Deceived is he by false and crafty train,
That means no guile, and faithful doth remain
Within the trap, without help or redress:
But for to love, lo, such a stern mistress,
Where cruelty dwells, alas, it were in vain.
What ’vaileth truth?
This is the proper form of the rondeau. Other forms deviating from it are modelled on the schemes:
a a b b a b b a+r b b a a b+r(Wyatt, p. 24),a a b b a+r c c b+r a a b b a+r(ib. p. 26),a b b a a b+r a b b a+r(D. G. Rossetti, i. 179).
a a b b a b b a+r b b a a b+r(Wyatt, p. 24),a a b b a+r c c b+r a a b b a+r(ib. p. 26),a b b a a b+r a b b a+r(D. G. Rossetti, i. 179).
a a b b a b b a+r b b a a b+r(Wyatt, p. 24),
a a b b a+r c c b+r a a b b a+r(ib. p. 26),
a b b a a b+r a b b a+r(D. G. Rossetti, i. 179).
Austin Dobson, Robert Bridges, and Theo. Marzials strictly follow the form quoted above.
Another form of the rondeau entirely deviating from the above is found in Swinburne,A Century of Roundels,[208]where he combines verses of the most varied length and rhythm on the schemeA B A+b B A B A B A+bwherebdenotes part of a verse, rhyming with the second, but repeated from the beginning of the first verse and consisting of one or several words (cf.Metrik, ii, §§ 584, 585)
§325.The triolet and the villanelle are unusual forms occurring only in modern poets, e.g. Dobson and Gosse.
Thetriolet, found as early as in Adenet-le-Roi at the beginning of the thirteenth century, is a short poem of eight mostly octosyllabic verses, rhyming according to the formulaa baaa ba b, the first verse recurring as a refrain in the fourth, the first and second together in the seventh and eighth place. Two specimens have been quoted,Metrik, ii, § 586
§326.Thevillanelle(a peasant song, rustic ditty, fromvillanus) was cultivated by Jean Passerat (1534–1602); in modern poetry by Th. de Banville, L. Baulmier, &c. It mostly consists of octosyllabic verses divided into five stanzas (sometimes a larger or smaller number) of three lines plus a final stanza of four lines, the whole corresponding to the schemea1ba2+a ba1+a ba2+a ba1+a ba2+a ba1a2. Hence the first and the third verses of the first stanza are used alternately as a refrain to form the last verse of the following stanzas, while in the last stanza both verses are used in this way. A villanelle by Gosse on this model consisting of eight stanzas, perhaps the only specimen in English literature, has been quoted,Metrik, ii, § 587
§327.Theballadeis a poetical form consisting of somewhat longer stanzas all having the same rhymes. Several varieties of it existed in Old French poetry. The two most usual forms are that with octosyllabic and that with decasyllabic lines. The first form is composed of three stanzas of eight lines on the modela b a b b c b C(cf. §269). The rhymes in each stanza agree with those of the corresponding lines in the two others, the last line, which is identical in all the three, forming the refrain; this refrain-verse recurs also at the end of theenvoi, which corresponds in its structure to the second half of the main stanza, according to the formulab c b C. The decasyllabic form has three stanzas of ten verses on the schemea b a b b c c d c D(cf. §271), and anenvoiof five verses on the schemec c d c D; the same rules holding good in all other respects as in the eight-lined form. It is further to be observed that theenvoibegan, as a rule, with one of the wordsPrince,Princesse,Reine,Roi,Sire, either because the poem was addressed to some personage of royal or princely rank, or because, originally, this address referred to the poet who had been crowned as ‘king’ in the last poetical contest.
In England also the ballade had become known as early as in the fourteenth century. We have a collection of ballades composed in the French language by Gower,[209]consisting of stanzas of either eight or seven (rhyme royal) decasyllabic verses with the same rhyme throughout the poem. Similar to the French are Chaucer’s English ballades in his Minor Poems, which, however, in so far differ from the regular form, that theenvoiconsists of five, six, or seven lines; in some of the poems even there is noenvoiat all. Accurate reproductions of the Old French ballade are not found again until recent times. There are examples by Austin Dobson and especially by Swinburne(A Midsummer Holiday, London, 1884). They occur in both forms, constructed as well of four- and five-foot iambic, as ofsix-, seven-, or eight-foot trochaic or of five- and seven-foot iambic-anapaestic verses. (For specimens cf.Metrik, ii, § 588.)
§328.TheChant Royalis an extended ballade of five ten-lined ballade-stanzas (of the second form mentioned above), instead of three, together with anenvoi. In Clément Marot we meet with another form of five eleven-line stanzas of decasyllabic verses also with the same rhymes throughout; theenvoihaving five lines. The scheme isa b a b c c d d e d Ein the stanzas andd d e d Ein theenvoi.
A Chant Royal by Gosse, composed on this difficult model (perhaps the only specimen to be found in English poetry), is quotedMetrik, ii, § 589.
A more detailed discussion of these French poetical forms of a fixed character and of others not imitated in English poetry may be found in Kastner’sHistory of French Versification(Oxford, at the Clarendon Press, 1903), chapter x. Cf. also Edmund Stengel,Romanische Verslehre, in Gröber’sGrundriss der Romanischen Philologie(Strassburg, 1893), vol. ii, pp. 87 ff.
OXFORD: HORACE HART M.A.PRINTER TO THE UNIVERSITY
NOTES[1]Zur Geschichte der deutschen Sprache, zweite Ausgabe, p. 624, Berlin, 1868.[2]Metrik der Griechen, 1a, 500.[3]It should be remarked that in Sanskrit, as in the classical languages, that prominence of one of the syllables of a word, which is denoted by the term ‘accent’, was originally marked by pitch or elevation of tone, and that in the Teutonic languages the word-accent is one of stress or emphasis.[4]Handbook of Phonetics, § 263.[5]Die physiologischen Grundlagen der neuhochdeutschen Verskunst, 1871, p. 2.[6]Sweet,Handbook of Phonetics, Oxford, 1877, p. 92.[7]Cf.Transactions of the Philological Society, 1875–6, London, 1877, pp. 397 ff.;Chapters on English Metre, by Prof. J. B. Mayor, 2nd ed., pp. 5 ff.[8]Transact., p. 398.[9]They are used by Puttenham,The Arte of English Poesy, 1589, Arber’s reprint, p. 141.[10]J. Grimm’s ed. ofAndreas and Elene, 1840, pp. lv ff.[11]Cf. Lehrs,de Aristarchi studiis Homericis, 1865, p. 475.[12]Cf. J. Huemer,Untersuchungen über die ältesten lateinisch-christlichen Rhythmen, Vienna, 1879, p. 60.[13]In the Icelandic terminology this isskothending, Möbius,Háttatal, ii, p. 2.[14]Cf. Sievers,Altgermanische Metrik, § 18. 2.[15]Tacitus,Germania, cap. 2.[16]Grein-Wülker, iii. 1, p. 156.[17]The influence of the Latin system on Otfrid is clear from his own words,I.i. 21.[18]For a review of recent metrical theories see Sievers,Altgermanische Metrik, 1893, pp. 2–17, and his article on metre in Paul’sGrundriss, ii. 2.[19]Cf. Lachmann,‘Über althochdeutsche Betonung und Verskunst,’Schriften, ii. 358 ff., and‘Über das Hildebrandslied’,ib., ii. 407 ff.[20]Germania, iii, p. 7.[21]Zeitschrift für deutsches Altertum, i, p. 318, andde Carmine Wessofontano, 1861, p. 10.[22]De Anglo-Saxonum arte metrica, 1871.[23]‘Grundzüge der altgermanischen Metrik,’Zeitschrift für deutsche Philologie, ii. 114 ff.[24]Ibid., iii. 280 ff.[25]Zur althochdeutschen Alliterationspoesie, Kiel and Leipzig.[26]John Lawrence,Chapters on Alliterative Verse, London, 1893; reviewed by K. Luick,Anglia, Beiblatt iv, pp. 193, 201.[27]Möller’s own notation; Lawrence’s sign for the rest is a small point, and his sign for the end of a section is a thick point.[28]Untersuchungen zur westgermanischen VerskunstI, Leipzig, 1889;‘Zur Metrik des alts. und althochd. Alliterationsverses,’Germania, xxxvi. 139 ff., 279 ff.;‘Der altdeutsche Reimvers und sein Verhältnis zur Alliterationspoesie,’Zeitschrift für deutsches Altertum, xxxviii. 304 ff.[29]Die Metrik des westgermanischen Alliterationsverses, Marburg, 1892.[30]Paul’sGrundriss der germanischen Philologie, ed. I, ii. i. 518.[31]Der altenglische Vers: I.Kritik der bisherigen Theorien, 1894; II.Die Metrik des Beowulfliedes, 1894; III.Die Metrik der sog. Caedmonischen Dichtungen, &c., 1895. This last part is by F. Graz. These are reviewed by K. Luick,Anglia, Beiblatt iv. 294; M. Trautmann, ib., iv. 131; vi. 1–4; Saran,Zeitschrift für deutsche Philologie, xxvii. 539.[32]Geschichte der deutschen Litteratur, 1894, i. 228, andErgänzungsheft zu Band I, Die altsächsische Genesis, 1895, p. 28 ff.[33]‘Zur Kenntniss des germanischen Verses, vornehmlich des altenglischen,’inAnglia, Beiblatt v. 87 ff.[34]Z. f. d. A., xxxviii. 304.[35]Certayne notes of Instruction concerning the making of verse or ryme in English, 1575; Arber’s reprint, London, 1868, p. 34.[36]Ane Schort Treatise, conteining some Revlis and Cautelis to be obseruit and eschewit in Scottis poesie, 1585, pp. 63 ff. of Arber’s reprint. The scheme would be` ` ´ ` ` ´ ` ` ´ ` ` ´ `.[37]From Hickes’sAntiq. Literat. Septentrional., tom. i, p. 217.[38]It is now well known that this innovation was introduced much earlier.[39]From Alexander Montgomery,The Flyting, &c., l. 476.[40]‘Über den Versbau der alliterierenden Poesie, besonders der Altsachsen,’Bay. Akademie der Wissenschaften, philos.-histor. Classe, iv. 1, p. 207 ff.[41]Litteraturgeschichte, p. 45 ff., second ed., p. 57.[42]Über die germanische Alliterationspoesie, Vienna, 1872, andZum Muspilli, &c., Vienna, 1872.[43]‘Über die Verstheilung der Edda,’Zeitschr. für deutsche Phil., Ergänzungsband, p. 74.[44]Die Alt- und Angelsächsische Verskunst, Halle, 1876, reprinted fromZ. f. d. Ph., vol. vii.[45]The author’s larger work on English Metre was indebted in paragraphs 28–33 to Rieger’s essay; succeeding paragraphs (34–39) of the same work exhibited in detail the further development or rather decay of the Old English alliterative line.[46]C. R. Horn,Paul und Braune’s Beiträge, v. 164; J. Ries,Quellen und Forschungen, xli. 112; E. Sievers,Zeitschr. f. deutsche Phil., xix. 43.[47]Paul und Braune’s Beiträge, x, 1885, pp. 209–314 and 491–545.[48]Sievers, Paul’sGrundriss, ii. 1, p. 863, or ii. 2, p. 4, second ed.[49]Paul und Braune’s Beiträge, xi. 470.[50]Ph. Frucht,Metrisches und Sprachliches zu Cynewulfs Elene, Juliana und Crist, Greifswald, 1887.[51]M. Cremer,Metrische und sprachliche Untersuchung der altengl. Gedichte Andreas, Gûðlâc, Phoenix, Bonn, 1888.[52]Altgermanische Metrik, Halle, 1893.[53]Mainly by H. Möller,Das Volksepos in der ursprünglichen strophischen Form, Kiel, 1883.[54]Besides the unaccented syllables of polysyllabic words, many monosyllables, such as prepositions, pronouns, &c., are unstressed, and occur only in the theses.[55]This rule applies to modern English also, as in words likebírth-rìght.[56]If this cross alliteration is intentional. See Sievers,Altger. Metrik, p. 41.[57]See Koch,Historische Grammatik der englischen Sprache, Weimar, 1863, i. 156.[58]Compare Streitberg,Urgermanische Grammatik, 1900, § 143, p. 167, or Wilmanns,Deutsche Grammatik, 1897, i, p. 407, § 349.[59]For exceptions to these rules seeEnglische Metrik, i, pp. 43, 45.[60]Koch addswiðǽftan,wiðfóran,wiðnéoðan.[61]Sievers,Beiträge, x. 225, andAngelsächsische Grammatik3, §§ 410, 411, 415.[62]For details on these points and on the question of the treatment of forms in which vowel contraction is exhibited in the MSS. see Sievers,Altgermanische Metrik, §§ 74–77, andBeiträge, x. 475 ff.[63]‘Elements,’ Sweet,Anglo-Saxon Reader, § 365.[64]Sievers,Altgerm. Metrik, § 9, 3. 4.[65]See, for example, Rieger,Alt- und Angelsächsische Verskunst, p. 62.[66]Paul-Braune’s Beiträge, x, p. 209.[67][67] For the type –́× × | –́see below, § 29, and Sievers,Paul-Braune’s Beiträge, x, p. 262.[68]Sievers,Paul-Braune’s Beiträge, x, p. 262.[69]As Sievers calls them,Altgerm. Metrik, § 13. 2; they are marked A*, B*, &c.[70]The notation of Sievers for hemistichs with anacrusis (auftaktige Verse) is aA, aD, aE, &c.[71]Sievers,Altgermanische Metrik, pp. 33 ff.[72]It must be remembered thatea,eo, &c., are diphthongs, and have not the value of two vowels.[73]Sievers,Paul-Braune’s Beiträge, x, p. 233.[74]Herencounts as a syllable, see Sievers,Angelsächsische Gram.,§ 141, andAltgerm. Metrik, § 79.[75]See the statistics in Sievers,Paul-Braune’s Beiträge, x, p. 290.[76]Sievers,Paul-Braune’s Beiträge, x. 241 and 294.[77]Sievers,Altgerm. Metrik, § 85, 2, Anm. 3.[78]Cf. Sievers,Altgermanische Metrik, § 15, 3 c, and § 116. 9.[79]See Max Cremer,Metrische und sprachliche Untersuchungen der altenglischen Gedichte Andreas, Gūðlāc, Phoenix, &c., 1888, pp. 31 ff.; Sievers,Altgermanische Metrik, § 86; and chiefly Eduard Sokoll,‘Zur Technik des altgermanischen Alliterationsverses,’inBeiträge zur neueren Philologie, Vienna, 1902, pp. 351–65.[80]But on this last expression see Sievers,Phonetik4, § 359.[81]Edited by Grein inAnglia, ii. 141 ff.[82]The Old Norsehofuðstafr, Germ.Hauptstab. The alliterations in the first hemistich are called in Old Norsestuðlar(sing.stuðill) ‘supporters’, Germ.StollenorStützen.[83]Sievers,Altgerm. Metrik, § 20.[84]This is not very common in poetry of the more regular metrical structure, but is found in Ælfric’s lines, in which we find hemistichs without any alliterating letter, and others where the alliteration is continued in the following line; two-thirds, however, of his lines are formed quite correctly.[85]Snorri, the Icelandic metrician, permits this in the case of certain monosyllabic words, but looks on it as a licence (leyfi en eigi rétt setning, Hāttatal, p. 596).[86]The subject of the preceding paragraphs was first investigated by M. Rieger in his essayAlt- und Angelsächsische Verskunst, p. 18, where many details will be found.[87]Cf. Sievers inPaul-Braune’s Beiträge, xii. 455; K. Luick,ib., xiii. 389, xv. 441; F. Kaufmann,ib., xv. 360; Sievers, inPaul’s Grundriss, pp. 891 ff., and inAltgermanische Metrik, §§ 88–96.[88]InPaul-Braune’s Beiträge, xii, pp. 454, 455, Sievers gives a list of the undoubted regular lengthened verses occurring in OE. poetry.[89]Sievers discusses the lengthened verses of these poems inBeiträge, xii. 479.[90]Beiträge, xii. 458.[91]Beiträge, xiii. 388, xv. 445.[92]Altgermanische Metrik, § 94. 3.[93]Altgermanische Metrik, § 95.[94]See Sievers,Altgerm. Metrik, § 97.[95]For other subdivisions of rhyme see Sievers,Altgerm. Metrik, §§ 99–102, with the treatises on the subject, and Bk. II, sect. ii, ch. 1 of this work.[96]Some less important examples, of which the metrical character is not quite clear, are mentioned by Luick, Paul’sGrundriss, ed. 2, II. ii. p. 144.[97]In this passage and for the future we refrain from indicating the quantity of the vowels. The rhythmic accentuation is omitted, as being very uncertain in this passage.[98]Viz. the so-calledProverbs of King Alfred(ed. by R. Morris, E.E.T.S., vol. XLIX), and Layamon’sBrut, ed. by Sir Frederic Madden, London, 1847, 2 vols.[99]Paul’sGrundriss, ed. 2, II. ii. p. 10, andAltgermanische Metrik, p. 139.[100]On the nature of these rhymes, cf. § 53 and the author’s paper,‘Metrische Randglossen,’inEnglische Studien, x. 192 ff., chiefly pp. 199–200.[101]In Paul’sGrundriss, ed. 2, II. ii. pp. 145–7.[102]Cf. our remarks in Book I, Part II, on the Septenary Verse in combination with other metres.[103]Cf. Wissmann,King Horn, pp. 59–62, andMetrik, i, pp. 189–90.[104]Signs of DeathinOld Engl. Misc.(E. E. T. S.), p. 101.[105]Cf. Hall’s edition (Clar. Press, 1901), pp. xlv-l, where our views on the origin and structure of the metre are adopted.[106]See Paul’sGrundriss, ed. 2, II. ii. p. 156.[107]This view has been combated by the author. The stages of the discussion are to be found in articles by Einenkel,Anglia, v. Anz. 47; Trautmann,ibid.118; Einenkel’s edition ofSt. Katherine, E. E. T. S. 80; the author’s‘Metrische Randglossen’,Engl. Studien, ix. 184;ibid.368; andAnglia, viii. Anz. 246. According to our opinion Otfrid’s verse was never imitated in England, nor was it known at all in Old or Middle English times.[108]This line is inaccurately quoted by King James from the poet Alexander Montgomerie, who lived at his court. It should read asfollows:—Syne fetcht food for to feid it, | foorth fra the Pharie.Flyting 476.[109]Cf. the writer’s paper‘Zur Zweihebungstheorie der alliterierenden Halbzeile’inEnglische Studienv. 488–93.[110]Cf.Chapters on Alliterative Verseby John Lawrence, D. Litt. London: H. Frowde. 1893. 8^o (chapter iii).[111]‘Die englische Stabreimzeile im 14., 15., 16. Jahrhundert’(Anglia, xi. 392–443, 553–618).[112]Prof. Luick, in his longer treatise on the subject (Anglia, xi. 404), distinguishes between two forms of this type with anacrusis (×–́××–́) and without (–́××–́), which he calls A1and A2, a distinction he has rightly now abandoned (Paul’sGrundriss, ed. 2, II. ii. p. 165).[113]Also printed in Ritson’sAncient Songs, i, p. 12; Wright’sPol. Songs, p. 69; Mätzner’sAltenglische Sprachproben, i, p. 152; Böddeker’sAltenglische Dichtungen, Pol. Lieder, no. i.[114]Paul’sGrundriss, ed. 2, II. ii, p. 158.[115]Cf.Metrik, ii. 146; and Luick,Anglia, xii. 450, 451.[116]See G. Gascoigne,Certayne Notes of Instruction concerning the making of verse or ryme in English, 1575, in Arber’sReprints, together withThe Steele Glas, &c., London, 1868, 8vo, p. 34.[117]Bürger’s versionDer Kaiser und der Abtintroduces a regular alternation of masculine and feminine couplets not observed in the original metre which he is copying.[118]Cf. the chapter on the four-foot iambic verse.[119]Recognized by Bishop Percy (1765) as rhythmically equivalent toIn a sómer séason, | when sóft was the sónneI shópe me into shróudes, | as I a shépe wére(Piers Plowman).andHā́m and hḗahsetl | héofena rī́ces(Gen. 3ccc3).Scḗop þā and scýrede | scýppend ū̀re(ibid. 65).[120]This alliterative-rhyming long line is scanned by the contemporary metrist King James VI in the manner indicated by the accents.[121]The second of these lines is thus marked by Gascoigne as having four stresses.[122]We retain the MS. reading; see Sievers,Altgerm. Metrik, p. 17.[123]Horstmann,Altenglische Legenden,Neue Folge, p. 244.[124]Percy’sReliques, I. ii. 7.[125]Quoted inChambers’sCyclop. of Eng. Lit., i. 242.[126]Ed. by J. Schipper,Quellen und Forschungen, xx.[127]In the ‘tumbling’—or, to use the German name, the ‘gliding’ (gleitend) caesura or rhyme.[128]For the introduction and explanation of these technical terms cf. Fr. Diez,‘Über den epischen Vers,’in hisAltromanische Sprachdenkmale, Bonn, 1846, 8vo, p. 53, and the author’sEnglische Metrik, i, pp. 438, 441; ii, pp. 24–6.[129]The occurrence of this licence in Chaucer’s heroic verse has been disputed by ten Brink (Chaucer’s Sprache und Verskunst, p. 176) and others, but seeMetrik, i. 462–3, and Freudenberger,Ueber das Fehlen des Auftaktes in Chaucer’s heroischem Verse, Erlangen, 1889.[130]We therefore hold ten Brink to be wrong in asserting (Chaucer’s Sprache und Verskunst, § 307, 3. Anm.) that no redundant or hypermetrical syllable is permissible in the caesural pause of Chaucer’s iambic line of five accents, although he recognizes that in lines of four accents Chaucer admits the very same irregularity, which moreover has remained in use down to the present day. Cf. Skeat,Chaucer Canon, Oxford, 1900, pp. 31–3, and Schipper in Paul’sGrundriss, ed. 2, II. ii, pp, 217–18. On this point, as also on several others, Miss M. Bentinck Smith, the translator of ten Brink’s work, is of our opinion (cf. her Remarks on Chapter III of ten Brink’sChaucer’s Sprache und VerskunstinThe Modern Language Quarterly, vol. v, No. 1, April, 1902, pp. 13–19). A contrary view with regard to ‘extra syllables’ in the heroic and the blank-verse line (sixteenth and seventeenth centuries) is taken by A. P. van Dam and Cornelis Stoffel,Chapters on English Printing, Prosody, and Pronunciation(1550–1700), Heidelberg, 1902 (Anglistische Forschungen herausgegeben von Dr. Johannes Hoops, Heft 9), pp. 48–113.[131]Cf. the lines from Wright’sSpec. of Lyr. Poetry, p. 31, quoted on p. 98.[132]Cf.Parson’s Prologue, 42–3.[133]In the reading of the Bible and Liturgy the older syllabic pronunciation of certain endings is still common, and it is occasionally heard in sermons, where a more elevated and poetical kind of diction is admissible than would be used in secular oratory.[134]See ten Brink,Chaucer’s Sprache und Verskunst, § 260.[135]Cf. Luick,Anglia, xi. 591–2.[136]Cf. King James I,The Kingis Quair, ed. by W. W. Skeat, 1883–4.[137]Cf.Metrik, ii. 101–3note.[138]Cf. Ellis,E. E. Pr., i. 367–8.[139]A long list of the words so treated is to be found in Abbott,Shakespearian Grammar, § 460.[140]Cf. Abbott, § 477; Ellis,E. E. Pr., iii. 951–2;Metrik, ii, 117–18.[141]See ten Brink,The Language and Metre of Chaucer(English transl.), § 280, where the metrical treatment of these words is described. The German term used by ten Brink isAnlehnungen.[142]Old English Homilies, ed. R. Morris, First Series, Part I, E.E.T.S., No. 29, pp. 55–71.[143]Cf. Charles L. Crow,On the History of the Short Couplet in Middle English. Dissert., Göttingen, 1892.[144]Cf.John Heywood als Dramatiker, von Wilh. Swoboda, 1888, p. 83 ff.[145]Cf. our metrical notes (‘Metrische Randglossen’) inEngl. Studien, x, p. 192 seq.[146]InOld English Homilies, ed. R. Morris, pp. 190ff.[147]Trautmann,Anglia, v, Anz., p. 124; Einenkel, ibid., 74; Menthel,Anglia, viii, Anz., p. 70.[148]According to Guest (ii. 233) ‘because the poulterer, as Gascoigne tells us, giveth twelve for one dozen and fourteen for another’.[149]These poems are also printed in Böddeker,Altengl. Dichtungen, Geistl. Lieder, xviii, Weltl. Lieder, xiv.[150]Chaucer’s Sprache und Verskunst, § 305, note.[151]The verses he calls five-foot lines have, on the other hand, decidedly not this structure, but are four-foot lines with unaccented rhymes; for a final word in the line, such uswrécfúl, as is assumed by Ten Brink, with the omission of an unaccented syllable between the last two accents, would be utterly inconsistent with the whole character of this metre.[152]According to Ten Brink,Chaucer’s Sprache und Verskunst, § 305, the shifting character of Chaucer’s caesura was chiefly caused by his acquaintance with the Italianendecasillabo. This influence may have come in later, but even in Chaucer’s earlyCompleynt to Pitee(according to Ten Brink,Geschichte der englischen Literatur, ii. p. 49, his first poem written under the influence of the French decasyllabic verse) the caesura is here moveable, though not to the same extent as in the later poems. The liability of the caesura to shift its position was certainly considerably increased by the accentual character of English rhythm. On the untenableness of his assertion, that in Chaucer’s five-accent verse the epic caesura is unknown, cf. p. 145 (footnote),Metrik, ii. 101–3 note, and Schipper in Paul’sGrundriss, ed. 2, II. ii, pp. 217–21.[153]For the accentuation of the word cf.inter aliarhymes such asmérie: Cáunterbúry, Prol. 801–2, and Schipper, l.c., pp. 217–18.[154]This definition is also given by Milton in his introductory note on ‘The Verse’ prefixed in 1668 toParadise Lost.[155]Cf.Metrik, ii. §§ 132–5.[156]Cf.Metrik, ii. §§ 136–46.[157]Cf. on this subject the essays and treatises by T. Mommsen, Abbott, Furnivall, Ingram, Hertzberg, Fleay, A.J. Ellis (On Early English Pronunciation, iii), &c. (quotedMetrik, ii, p. 259); besides G. König,Der Vers in Shakspere’s Dramen, Strassburg, Trübner, 1888, 8^o (Quellen und Forschungen, 61);Der Couplet-Reim in Shakspere’s Dramen(Dissertation), von J. Heuser, Marburg, 1893, 8; H. Krumm,Die Verwendung des Reims in dem Blankverse des englischen Dramas zur Zeit Shaksperes, Kiel, 1889; H. Conrad,Metrische Untersuchungen zur Feststellung der Abfassungszeit von Shakspere’s Dramen(Shakespeare-Jahrbuch, xxx. 318–353);William Shakespeare, Prosody and Text, by B. A. P. van Dam and C. Stoffel, Leyden, 1900, 8^o;Chapters on English Printing Prosody, and Pronunciation(1550–1700), by B.A.P. van Dam and C. Stoffel, Heidelberg, 1902 (Anglistische Forschungen, ix).[158]I. 1587–1592; II. 1593–1600; III. 1600–1606; IV. 1606–1613; according to Dowden.[159]Cf. Furnivall, p. xxviii.[160]Cf. Mayor,Chapters on English Metre, pp. 174–7.[161]Cf.Metrik, ii, § 154.[162]Cf.Metrik, ii, § 161.[163]Cf. N. Delius,Die Prosa in Shakespeares Dramen(Jahrbuch d. deutschen Shakespeare-Gesellschaft, v. 227–73).[164]Cf. the Halle dissertations byHannemann(on Ford, Oxford, 1889);Penner(on Peele, Braunschweig, 1890);Knaut(on Greene, 1890);Schulz(on Middleton, 1892);Elste(on Chapman, 1892);Kupka(on Th. Dekker, 1893);Meiners(on Webster, 1893);Clages(on Thomson and Young, 1892); and the criticism of some of them by Boyle,Engl. Studien, xix. 274–9.[165]IV. i, p. 66, cf.Engl. Studien, v, p. 76.[166]Engl. Studien, iv-vii.[167]On the many combinations of the three kinds of caesura in the different places of the verse, cf.Metrik, ii, pp. 28–31.[168]Cf.Metrik, ii, §§ 179–185.[169]SeeEnglische Metrik, ii, §§ 188–90.[170]Cf.Metrik, ii, §§ 195–201.[171]Cf.Metrik, ii, §§ 202–6.[172]For examples seeMetrik, ii, § 218.[173]A Century of Roundels, p. 30.[174]Cf.Metrik, ii, § 232.[175]Prince Henry and Elsie, pp. 249–51.[176]Cf.Metrik, ii, § 238.[177]Cf.Metrik, ii, § 239.[178]Book of Nonsense, London, Routledge, 1843.[179]Specimens of earlier hexameter verse with detailed bibliographical information may be found in ourMetrik, ii, §§ 249–50; and especially in C. Elze’s thorough treatise on the subject,Der englische Hexameter. Programm des Gymnasiums zu Danzig, 1867. (Cf. F. E. Schelling,Mod. Lang. Notes, 1890, vii. 423–7.)[180]The word stanza is explained by Skeat,Conc. Etym. Dict., as follows:‘STANZA. Ital. stanza, O.Ital.stantia, “a lodging, chamber, dwelling, alsostanceor staffe of verses;” Florio. So called from the stop orpauseat the end of it.—Low Lat.stantia, an abode.—Lat.stant-, stem of pres. pt. ofstare.’[181]Cf. §§8,223–7.[182]Cf. §§60–2and the author’s ‘Metrische Randglossen, II.’,Engl. Stud., x, pp. 196–200.[183]Cf.Sir Thomas Wyatt, von R. Alscher, Wien, 1886 pp. 119–23.[184]By the German metrists it is calledBinnenreim, orInnenreim.[185]So called from a poet Leo of the Middle Ages (c. 1150) who wrote in hexameters rhyming in the middle and at the end. Similar verses, however, had been used occasionally in classic Latin poetry, as e.g.Quot caelum stellas, tot habet tua Roma puellas, Ovid, Ars Amat. i. 59.[186]SeeThe Oxford Dante, pp. 379–400, orOpere minori di Dante Alighieri, ed. Pietro Fraticelli, vol. ii, p. 146, Florence, 1858, and Böhmer’s essay,Über Dante’s Schrift de vulgari eloquentia, Halle, 1868.[187]See B. ten Brink,The Language and Metre of Chaucer, translated by M. Bentinck Smith. London, Macmillan & Co., 1901, 8º, § 350.[188]Stanzas of six and twelve lines formed on the same principle (a a a b b banda a b b c c d d e e f f) are very rare. For specimens seeMetrik, ii, § 363.[189]Cf. O. Wilda,Über die örtli che Verbreitung der zwölfzeiligen Schweifreimstrophe in England, Breslau Dissertation, Breslau, 1887.[190]This is a stanza of four iambic lines alternately of four and three feet with masculine endings, usually rhyminga b a b.[191]Chaucerian and other Pieces, &c., ed. Skeat, Oxford, 1897, p. 347.[192]This form of stanza is of great importance in the anisometrical ‘lays’, which cannot be discussed in this place (cf.Metrik, i, § 168). In these poems the strophic arrangement is not strictly followed throughout, but only in certain parts; a general conformity only is observed in these cases.[193]As to this form cf.Huchown’s Pistel of Swete Susan, herausgeg. von Dr. H. Köster, Strassburg, 1895 (Quellen und Forschungen, 76), pp. 15–36.[194]Cf. R. Brotanek,Alexander Montgomerie, Vienna, 1896.[195]It is worth noticing that there are also tripartite stanzas in Middle English, either allied to the bob-wheel stanza or belonging to it, both in lyric and dramatic poetry; e.g. the ten-lined stanza of a poem in Wright’sSongs and Carols(Percy Soc., 1847), p. 15, on the schemeA B A B C C C4d1D D4(quoted inMetrik, i, p. 406); one of eleven lines according to the formulaA A A4B3C C C4B3d1B D3in theTowneley Mysteries, p. 224 (quoted inMetrik, i, p. 407), and one of thirteen lines, used in a dialogue, corresponding to the schemeA B A B A A B A A B3c1B3C2, ibid., pp. 135–9 (quoted inMetrik, i, p. 408).[196]Cf. Karl Bartsch,‘Der Strophenbau in der deutschen Lyrik’(Germania, ii, p. 290).[197]For titles of books and essays on the sonnet seeEnglische Metrik, ii, pp. 836–7 note; cf. also L. Bladene,‘Morfologia del Sonetto nei secoli XIII e XIV’(Studi di Filologia Romanza, fasc. 10).[198]Cf.Étude sur Joachim du Bellay et son rôle dans la réforme de Ronsard, par G. Plötz. Berlin, Herbig, 1874, p. 24.[199]The Sonnet: Its Origin, Structure and Place in Poetry, London, 1874, 8º, p. 4.[200]For certain other varieties occasionally used by these poets seeMetrik, §§ 536 and 544–5.[201]Cf.Studien über A. M., von Oscar Hoffmann (Breslau Dissertation), Altenburg, 1894, p. 32;Engl. Studien, xx. 49 ff.; and Rud. Brotanek,Wiener Beiträge, vol. iii, pp. 122–3.[202]Cf. Wordsworth,Prose Works,ed. Grosart, 1876, vol. iii, p. 323, where he praises Milton for this peculiarity, showing thereby that he was influenced in his sonnet-writing by Milton.[203]On Wordsworth’s Sonnets see the Note on the Wordsworthian Sonnet by Mr. T. Hutchinson, in his edition ofPoems in two volumes by William Wordsworth(1807), London, 1897, vol. i, p. 208.[204]See Chaucer’s Works, edited by W. W. Skeat,Minor Poems, pp. 75–6, 310–11.[205]Cf. the essay by Gosse inThe Cornhill Magazine, No. 211, July, 1877, pp. 53–71.[206]Französische Verslehre, Berlin, 1879, p. 388.[207]Ritson’sAncient Songs, i. 128, written, it is true, in five-foot verses; the repetition of the two refrain-verses in the proper place, however, is not indicated in the edition, and a slight emendation of the text is also required by the sense, viz.hath sprunginstead ofthat sprangin the last line.[208]London, Chatto & Windus, 1833.[209]The Works of John Gower, ed. G. C. Macaulay, Oxford, 1899, vol. i, pp. 335 ff.
[1]Zur Geschichte der deutschen Sprache, zweite Ausgabe, p. 624, Berlin, 1868.[2]Metrik der Griechen, 1a, 500.[3]It should be remarked that in Sanskrit, as in the classical languages, that prominence of one of the syllables of a word, which is denoted by the term ‘accent’, was originally marked by pitch or elevation of tone, and that in the Teutonic languages the word-accent is one of stress or emphasis.[4]Handbook of Phonetics, § 263.[5]Die physiologischen Grundlagen der neuhochdeutschen Verskunst, 1871, p. 2.[6]Sweet,Handbook of Phonetics, Oxford, 1877, p. 92.[7]Cf.Transactions of the Philological Society, 1875–6, London, 1877, pp. 397 ff.;Chapters on English Metre, by Prof. J. B. Mayor, 2nd ed., pp. 5 ff.[8]Transact., p. 398.[9]They are used by Puttenham,The Arte of English Poesy, 1589, Arber’s reprint, p. 141.[10]J. Grimm’s ed. ofAndreas and Elene, 1840, pp. lv ff.[11]Cf. Lehrs,de Aristarchi studiis Homericis, 1865, p. 475.[12]Cf. J. Huemer,Untersuchungen über die ältesten lateinisch-christlichen Rhythmen, Vienna, 1879, p. 60.[13]In the Icelandic terminology this isskothending, Möbius,Háttatal, ii, p. 2.[14]Cf. Sievers,Altgermanische Metrik, § 18. 2.[15]Tacitus,Germania, cap. 2.[16]Grein-Wülker, iii. 1, p. 156.[17]The influence of the Latin system on Otfrid is clear from his own words,I.i. 21.[18]For a review of recent metrical theories see Sievers,Altgermanische Metrik, 1893, pp. 2–17, and his article on metre in Paul’sGrundriss, ii. 2.[19]Cf. Lachmann,‘Über althochdeutsche Betonung und Verskunst,’Schriften, ii. 358 ff., and‘Über das Hildebrandslied’,ib., ii. 407 ff.[20]Germania, iii, p. 7.[21]Zeitschrift für deutsches Altertum, i, p. 318, andde Carmine Wessofontano, 1861, p. 10.[22]De Anglo-Saxonum arte metrica, 1871.[23]‘Grundzüge der altgermanischen Metrik,’Zeitschrift für deutsche Philologie, ii. 114 ff.[24]Ibid., iii. 280 ff.[25]Zur althochdeutschen Alliterationspoesie, Kiel and Leipzig.[26]John Lawrence,Chapters on Alliterative Verse, London, 1893; reviewed by K. Luick,Anglia, Beiblatt iv, pp. 193, 201.[27]Möller’s own notation; Lawrence’s sign for the rest is a small point, and his sign for the end of a section is a thick point.[28]Untersuchungen zur westgermanischen VerskunstI, Leipzig, 1889;‘Zur Metrik des alts. und althochd. Alliterationsverses,’Germania, xxxvi. 139 ff., 279 ff.;‘Der altdeutsche Reimvers und sein Verhältnis zur Alliterationspoesie,’Zeitschrift für deutsches Altertum, xxxviii. 304 ff.[29]Die Metrik des westgermanischen Alliterationsverses, Marburg, 1892.[30]Paul’sGrundriss der germanischen Philologie, ed. I, ii. i. 518.[31]Der altenglische Vers: I.Kritik der bisherigen Theorien, 1894; II.Die Metrik des Beowulfliedes, 1894; III.Die Metrik der sog. Caedmonischen Dichtungen, &c., 1895. This last part is by F. Graz. These are reviewed by K. Luick,Anglia, Beiblatt iv. 294; M. Trautmann, ib., iv. 131; vi. 1–4; Saran,Zeitschrift für deutsche Philologie, xxvii. 539.[32]Geschichte der deutschen Litteratur, 1894, i. 228, andErgänzungsheft zu Band I, Die altsächsische Genesis, 1895, p. 28 ff.[33]‘Zur Kenntniss des germanischen Verses, vornehmlich des altenglischen,’inAnglia, Beiblatt v. 87 ff.[34]Z. f. d. A., xxxviii. 304.[35]Certayne notes of Instruction concerning the making of verse or ryme in English, 1575; Arber’s reprint, London, 1868, p. 34.[36]Ane Schort Treatise, conteining some Revlis and Cautelis to be obseruit and eschewit in Scottis poesie, 1585, pp. 63 ff. of Arber’s reprint. The scheme would be` ` ´ ` ` ´ ` ` ´ ` ` ´ `.[37]From Hickes’sAntiq. Literat. Septentrional., tom. i, p. 217.[38]It is now well known that this innovation was introduced much earlier.[39]From Alexander Montgomery,The Flyting, &c., l. 476.[40]‘Über den Versbau der alliterierenden Poesie, besonders der Altsachsen,’Bay. Akademie der Wissenschaften, philos.-histor. Classe, iv. 1, p. 207 ff.[41]Litteraturgeschichte, p. 45 ff., second ed., p. 57.[42]Über die germanische Alliterationspoesie, Vienna, 1872, andZum Muspilli, &c., Vienna, 1872.[43]‘Über die Verstheilung der Edda,’Zeitschr. für deutsche Phil., Ergänzungsband, p. 74.[44]Die Alt- und Angelsächsische Verskunst, Halle, 1876, reprinted fromZ. f. d. Ph., vol. vii.[45]The author’s larger work on English Metre was indebted in paragraphs 28–33 to Rieger’s essay; succeeding paragraphs (34–39) of the same work exhibited in detail the further development or rather decay of the Old English alliterative line.[46]C. R. Horn,Paul und Braune’s Beiträge, v. 164; J. Ries,Quellen und Forschungen, xli. 112; E. Sievers,Zeitschr. f. deutsche Phil., xix. 43.[47]Paul und Braune’s Beiträge, x, 1885, pp. 209–314 and 491–545.[48]Sievers, Paul’sGrundriss, ii. 1, p. 863, or ii. 2, p. 4, second ed.[49]Paul und Braune’s Beiträge, xi. 470.[50]Ph. Frucht,Metrisches und Sprachliches zu Cynewulfs Elene, Juliana und Crist, Greifswald, 1887.[51]M. Cremer,Metrische und sprachliche Untersuchung der altengl. Gedichte Andreas, Gûðlâc, Phoenix, Bonn, 1888.[52]Altgermanische Metrik, Halle, 1893.[53]Mainly by H. Möller,Das Volksepos in der ursprünglichen strophischen Form, Kiel, 1883.[54]Besides the unaccented syllables of polysyllabic words, many monosyllables, such as prepositions, pronouns, &c., are unstressed, and occur only in the theses.[55]This rule applies to modern English also, as in words likebírth-rìght.[56]If this cross alliteration is intentional. See Sievers,Altger. Metrik, p. 41.[57]See Koch,Historische Grammatik der englischen Sprache, Weimar, 1863, i. 156.[58]Compare Streitberg,Urgermanische Grammatik, 1900, § 143, p. 167, or Wilmanns,Deutsche Grammatik, 1897, i, p. 407, § 349.[59]For exceptions to these rules seeEnglische Metrik, i, pp. 43, 45.[60]Koch addswiðǽftan,wiðfóran,wiðnéoðan.[61]Sievers,Beiträge, x. 225, andAngelsächsische Grammatik3, §§ 410, 411, 415.[62]For details on these points and on the question of the treatment of forms in which vowel contraction is exhibited in the MSS. see Sievers,Altgermanische Metrik, §§ 74–77, andBeiträge, x. 475 ff.[63]‘Elements,’ Sweet,Anglo-Saxon Reader, § 365.[64]Sievers,Altgerm. Metrik, § 9, 3. 4.[65]See, for example, Rieger,Alt- und Angelsächsische Verskunst, p. 62.[66]Paul-Braune’s Beiträge, x, p. 209.[67][67] For the type –́× × | –́see below, § 29, and Sievers,Paul-Braune’s Beiträge, x, p. 262.[68]Sievers,Paul-Braune’s Beiträge, x, p. 262.[69]As Sievers calls them,Altgerm. Metrik, § 13. 2; they are marked A*, B*, &c.[70]The notation of Sievers for hemistichs with anacrusis (auftaktige Verse) is aA, aD, aE, &c.[71]Sievers,Altgermanische Metrik, pp. 33 ff.[72]It must be remembered thatea,eo, &c., are diphthongs, and have not the value of two vowels.[73]Sievers,Paul-Braune’s Beiträge, x, p. 233.[74]Herencounts as a syllable, see Sievers,Angelsächsische Gram.,§ 141, andAltgerm. Metrik, § 79.[75]See the statistics in Sievers,Paul-Braune’s Beiträge, x, p. 290.[76]Sievers,Paul-Braune’s Beiträge, x. 241 and 294.[77]Sievers,Altgerm. Metrik, § 85, 2, Anm. 3.[78]Cf. Sievers,Altgermanische Metrik, § 15, 3 c, and § 116. 9.[79]See Max Cremer,Metrische und sprachliche Untersuchungen der altenglischen Gedichte Andreas, Gūðlāc, Phoenix, &c., 1888, pp. 31 ff.; Sievers,Altgermanische Metrik, § 86; and chiefly Eduard Sokoll,‘Zur Technik des altgermanischen Alliterationsverses,’inBeiträge zur neueren Philologie, Vienna, 1902, pp. 351–65.[80]But on this last expression see Sievers,Phonetik4, § 359.[81]Edited by Grein inAnglia, ii. 141 ff.[82]The Old Norsehofuðstafr, Germ.Hauptstab. The alliterations in the first hemistich are called in Old Norsestuðlar(sing.stuðill) ‘supporters’, Germ.StollenorStützen.[83]Sievers,Altgerm. Metrik, § 20.[84]This is not very common in poetry of the more regular metrical structure, but is found in Ælfric’s lines, in which we find hemistichs without any alliterating letter, and others where the alliteration is continued in the following line; two-thirds, however, of his lines are formed quite correctly.[85]Snorri, the Icelandic metrician, permits this in the case of certain monosyllabic words, but looks on it as a licence (leyfi en eigi rétt setning, Hāttatal, p. 596).[86]The subject of the preceding paragraphs was first investigated by M. Rieger in his essayAlt- und Angelsächsische Verskunst, p. 18, where many details will be found.[87]Cf. Sievers inPaul-Braune’s Beiträge, xii. 455; K. Luick,ib., xiii. 389, xv. 441; F. Kaufmann,ib., xv. 360; Sievers, inPaul’s Grundriss, pp. 891 ff., and inAltgermanische Metrik, §§ 88–96.[88]InPaul-Braune’s Beiträge, xii, pp. 454, 455, Sievers gives a list of the undoubted regular lengthened verses occurring in OE. poetry.[89]Sievers discusses the lengthened verses of these poems inBeiträge, xii. 479.[90]Beiträge, xii. 458.[91]Beiträge, xiii. 388, xv. 445.[92]Altgermanische Metrik, § 94. 3.[93]Altgermanische Metrik, § 95.[94]See Sievers,Altgerm. Metrik, § 97.[95]For other subdivisions of rhyme see Sievers,Altgerm. Metrik, §§ 99–102, with the treatises on the subject, and Bk. II, sect. ii, ch. 1 of this work.[96]Some less important examples, of which the metrical character is not quite clear, are mentioned by Luick, Paul’sGrundriss, ed. 2, II. ii. p. 144.[97]In this passage and for the future we refrain from indicating the quantity of the vowels. The rhythmic accentuation is omitted, as being very uncertain in this passage.[98]Viz. the so-calledProverbs of King Alfred(ed. by R. Morris, E.E.T.S., vol. XLIX), and Layamon’sBrut, ed. by Sir Frederic Madden, London, 1847, 2 vols.[99]Paul’sGrundriss, ed. 2, II. ii. p. 10, andAltgermanische Metrik, p. 139.[100]On the nature of these rhymes, cf. § 53 and the author’s paper,‘Metrische Randglossen,’inEnglische Studien, x. 192 ff., chiefly pp. 199–200.[101]In Paul’sGrundriss, ed. 2, II. ii. pp. 145–7.[102]Cf. our remarks in Book I, Part II, on the Septenary Verse in combination with other metres.[103]Cf. Wissmann,King Horn, pp. 59–62, andMetrik, i, pp. 189–90.[104]Signs of DeathinOld Engl. Misc.(E. E. T. S.), p. 101.[105]Cf. Hall’s edition (Clar. Press, 1901), pp. xlv-l, where our views on the origin and structure of the metre are adopted.[106]See Paul’sGrundriss, ed. 2, II. ii. p. 156.[107]This view has been combated by the author. The stages of the discussion are to be found in articles by Einenkel,Anglia, v. Anz. 47; Trautmann,ibid.118; Einenkel’s edition ofSt. Katherine, E. E. T. S. 80; the author’s‘Metrische Randglossen’,Engl. Studien, ix. 184;ibid.368; andAnglia, viii. Anz. 246. According to our opinion Otfrid’s verse was never imitated in England, nor was it known at all in Old or Middle English times.[108]This line is inaccurately quoted by King James from the poet Alexander Montgomerie, who lived at his court. It should read asfollows:—Syne fetcht food for to feid it, | foorth fra the Pharie.Flyting 476.[109]Cf. the writer’s paper‘Zur Zweihebungstheorie der alliterierenden Halbzeile’inEnglische Studienv. 488–93.[110]Cf.Chapters on Alliterative Verseby John Lawrence, D. Litt. London: H. Frowde. 1893. 8^o (chapter iii).[111]‘Die englische Stabreimzeile im 14., 15., 16. Jahrhundert’(Anglia, xi. 392–443, 553–618).[112]Prof. Luick, in his longer treatise on the subject (Anglia, xi. 404), distinguishes between two forms of this type with anacrusis (×–́××–́) and without (–́××–́), which he calls A1and A2, a distinction he has rightly now abandoned (Paul’sGrundriss, ed. 2, II. ii. p. 165).[113]Also printed in Ritson’sAncient Songs, i, p. 12; Wright’sPol. Songs, p. 69; Mätzner’sAltenglische Sprachproben, i, p. 152; Böddeker’sAltenglische Dichtungen, Pol. Lieder, no. i.[114]Paul’sGrundriss, ed. 2, II. ii, p. 158.[115]Cf.Metrik, ii. 146; and Luick,Anglia, xii. 450, 451.[116]See G. Gascoigne,Certayne Notes of Instruction concerning the making of verse or ryme in English, 1575, in Arber’sReprints, together withThe Steele Glas, &c., London, 1868, 8vo, p. 34.[117]Bürger’s versionDer Kaiser und der Abtintroduces a regular alternation of masculine and feminine couplets not observed in the original metre which he is copying.[118]Cf. the chapter on the four-foot iambic verse.[119]Recognized by Bishop Percy (1765) as rhythmically equivalent toIn a sómer séason, | when sóft was the sónneI shópe me into shróudes, | as I a shépe wére(Piers Plowman).andHā́m and hḗahsetl | héofena rī́ces(Gen. 3ccc3).Scḗop þā and scýrede | scýppend ū̀re(ibid. 65).[120]This alliterative-rhyming long line is scanned by the contemporary metrist King James VI in the manner indicated by the accents.[121]The second of these lines is thus marked by Gascoigne as having four stresses.[122]We retain the MS. reading; see Sievers,Altgerm. Metrik, p. 17.[123]Horstmann,Altenglische Legenden,Neue Folge, p. 244.[124]Percy’sReliques, I. ii. 7.[125]Quoted inChambers’sCyclop. of Eng. Lit., i. 242.[126]Ed. by J. Schipper,Quellen und Forschungen, xx.[127]In the ‘tumbling’—or, to use the German name, the ‘gliding’ (gleitend) caesura or rhyme.[128]For the introduction and explanation of these technical terms cf. Fr. Diez,‘Über den epischen Vers,’in hisAltromanische Sprachdenkmale, Bonn, 1846, 8vo, p. 53, and the author’sEnglische Metrik, i, pp. 438, 441; ii, pp. 24–6.[129]The occurrence of this licence in Chaucer’s heroic verse has been disputed by ten Brink (Chaucer’s Sprache und Verskunst, p. 176) and others, but seeMetrik, i. 462–3, and Freudenberger,Ueber das Fehlen des Auftaktes in Chaucer’s heroischem Verse, Erlangen, 1889.[130]We therefore hold ten Brink to be wrong in asserting (Chaucer’s Sprache und Verskunst, § 307, 3. Anm.) that no redundant or hypermetrical syllable is permissible in the caesural pause of Chaucer’s iambic line of five accents, although he recognizes that in lines of four accents Chaucer admits the very same irregularity, which moreover has remained in use down to the present day. Cf. Skeat,Chaucer Canon, Oxford, 1900, pp. 31–3, and Schipper in Paul’sGrundriss, ed. 2, II. ii, pp, 217–18. On this point, as also on several others, Miss M. Bentinck Smith, the translator of ten Brink’s work, is of our opinion (cf. her Remarks on Chapter III of ten Brink’sChaucer’s Sprache und VerskunstinThe Modern Language Quarterly, vol. v, No. 1, April, 1902, pp. 13–19). A contrary view with regard to ‘extra syllables’ in the heroic and the blank-verse line (sixteenth and seventeenth centuries) is taken by A. P. van Dam and Cornelis Stoffel,Chapters on English Printing, Prosody, and Pronunciation(1550–1700), Heidelberg, 1902 (Anglistische Forschungen herausgegeben von Dr. Johannes Hoops, Heft 9), pp. 48–113.[131]Cf. the lines from Wright’sSpec. of Lyr. Poetry, p. 31, quoted on p. 98.[132]Cf.Parson’s Prologue, 42–3.[133]In the reading of the Bible and Liturgy the older syllabic pronunciation of certain endings is still common, and it is occasionally heard in sermons, where a more elevated and poetical kind of diction is admissible than would be used in secular oratory.[134]See ten Brink,Chaucer’s Sprache und Verskunst, § 260.[135]Cf. Luick,Anglia, xi. 591–2.[136]Cf. King James I,The Kingis Quair, ed. by W. W. Skeat, 1883–4.[137]Cf.Metrik, ii. 101–3note.[138]Cf. Ellis,E. E. Pr., i. 367–8.[139]A long list of the words so treated is to be found in Abbott,Shakespearian Grammar, § 460.[140]Cf. Abbott, § 477; Ellis,E. E. Pr., iii. 951–2;Metrik, ii, 117–18.[141]See ten Brink,The Language and Metre of Chaucer(English transl.), § 280, where the metrical treatment of these words is described. The German term used by ten Brink isAnlehnungen.[142]Old English Homilies, ed. R. Morris, First Series, Part I, E.E.T.S., No. 29, pp. 55–71.[143]Cf. Charles L. Crow,On the History of the Short Couplet in Middle English. Dissert., Göttingen, 1892.[144]Cf.John Heywood als Dramatiker, von Wilh. Swoboda, 1888, p. 83 ff.[145]Cf. our metrical notes (‘Metrische Randglossen’) inEngl. Studien, x, p. 192 seq.[146]InOld English Homilies, ed. R. Morris, pp. 190ff.[147]Trautmann,Anglia, v, Anz., p. 124; Einenkel, ibid., 74; Menthel,Anglia, viii, Anz., p. 70.[148]According to Guest (ii. 233) ‘because the poulterer, as Gascoigne tells us, giveth twelve for one dozen and fourteen for another’.[149]These poems are also printed in Böddeker,Altengl. Dichtungen, Geistl. Lieder, xviii, Weltl. Lieder, xiv.[150]Chaucer’s Sprache und Verskunst, § 305, note.[151]The verses he calls five-foot lines have, on the other hand, decidedly not this structure, but are four-foot lines with unaccented rhymes; for a final word in the line, such uswrécfúl, as is assumed by Ten Brink, with the omission of an unaccented syllable between the last two accents, would be utterly inconsistent with the whole character of this metre.[152]According to Ten Brink,Chaucer’s Sprache und Verskunst, § 305, the shifting character of Chaucer’s caesura was chiefly caused by his acquaintance with the Italianendecasillabo. This influence may have come in later, but even in Chaucer’s earlyCompleynt to Pitee(according to Ten Brink,Geschichte der englischen Literatur, ii. p. 49, his first poem written under the influence of the French decasyllabic verse) the caesura is here moveable, though not to the same extent as in the later poems. The liability of the caesura to shift its position was certainly considerably increased by the accentual character of English rhythm. On the untenableness of his assertion, that in Chaucer’s five-accent verse the epic caesura is unknown, cf. p. 145 (footnote),Metrik, ii. 101–3 note, and Schipper in Paul’sGrundriss, ed. 2, II. ii, pp. 217–21.[153]For the accentuation of the word cf.inter aliarhymes such asmérie: Cáunterbúry, Prol. 801–2, and Schipper, l.c., pp. 217–18.[154]This definition is also given by Milton in his introductory note on ‘The Verse’ prefixed in 1668 toParadise Lost.[155]Cf.Metrik, ii. §§ 132–5.[156]Cf.Metrik, ii. §§ 136–46.[157]Cf. on this subject the essays and treatises by T. Mommsen, Abbott, Furnivall, Ingram, Hertzberg, Fleay, A.J. Ellis (On Early English Pronunciation, iii), &c. (quotedMetrik, ii, p. 259); besides G. König,Der Vers in Shakspere’s Dramen, Strassburg, Trübner, 1888, 8^o (Quellen und Forschungen, 61);Der Couplet-Reim in Shakspere’s Dramen(Dissertation), von J. Heuser, Marburg, 1893, 8; H. Krumm,Die Verwendung des Reims in dem Blankverse des englischen Dramas zur Zeit Shaksperes, Kiel, 1889; H. Conrad,Metrische Untersuchungen zur Feststellung der Abfassungszeit von Shakspere’s Dramen(Shakespeare-Jahrbuch, xxx. 318–353);William Shakespeare, Prosody and Text, by B. A. P. van Dam and C. Stoffel, Leyden, 1900, 8^o;Chapters on English Printing Prosody, and Pronunciation(1550–1700), by B.A.P. van Dam and C. Stoffel, Heidelberg, 1902 (Anglistische Forschungen, ix).[158]I. 1587–1592; II. 1593–1600; III. 1600–1606; IV. 1606–1613; according to Dowden.[159]Cf. Furnivall, p. xxviii.[160]Cf. Mayor,Chapters on English Metre, pp. 174–7.[161]Cf.Metrik, ii, § 154.[162]Cf.Metrik, ii, § 161.[163]Cf. N. Delius,Die Prosa in Shakespeares Dramen(Jahrbuch d. deutschen Shakespeare-Gesellschaft, v. 227–73).[164]Cf. the Halle dissertations byHannemann(on Ford, Oxford, 1889);Penner(on Peele, Braunschweig, 1890);Knaut(on Greene, 1890);Schulz(on Middleton, 1892);Elste(on Chapman, 1892);Kupka(on Th. Dekker, 1893);Meiners(on Webster, 1893);Clages(on Thomson and Young, 1892); and the criticism of some of them by Boyle,Engl. Studien, xix. 274–9.[165]IV. i, p. 66, cf.Engl. Studien, v, p. 76.[166]Engl. Studien, iv-vii.[167]On the many combinations of the three kinds of caesura in the different places of the verse, cf.Metrik, ii, pp. 28–31.[168]Cf.Metrik, ii, §§ 179–185.[169]SeeEnglische Metrik, ii, §§ 188–90.[170]Cf.Metrik, ii, §§ 195–201.[171]Cf.Metrik, ii, §§ 202–6.[172]For examples seeMetrik, ii, § 218.[173]A Century of Roundels, p. 30.[174]Cf.Metrik, ii, § 232.[175]Prince Henry and Elsie, pp. 249–51.[176]Cf.Metrik, ii, § 238.[177]Cf.Metrik, ii, § 239.[178]Book of Nonsense, London, Routledge, 1843.[179]Specimens of earlier hexameter verse with detailed bibliographical information may be found in ourMetrik, ii, §§ 249–50; and especially in C. Elze’s thorough treatise on the subject,Der englische Hexameter. Programm des Gymnasiums zu Danzig, 1867. (Cf. F. E. Schelling,Mod. Lang. Notes, 1890, vii. 423–7.)[180]The word stanza is explained by Skeat,Conc. Etym. Dict., as follows:‘STANZA. Ital. stanza, O.Ital.stantia, “a lodging, chamber, dwelling, alsostanceor staffe of verses;” Florio. So called from the stop orpauseat the end of it.—Low Lat.stantia, an abode.—Lat.stant-, stem of pres. pt. ofstare.’[181]Cf. §§8,223–7.[182]Cf. §§60–2and the author’s ‘Metrische Randglossen, II.’,Engl. Stud., x, pp. 196–200.[183]Cf.Sir Thomas Wyatt, von R. Alscher, Wien, 1886 pp. 119–23.[184]By the German metrists it is calledBinnenreim, orInnenreim.[185]So called from a poet Leo of the Middle Ages (c. 1150) who wrote in hexameters rhyming in the middle and at the end. Similar verses, however, had been used occasionally in classic Latin poetry, as e.g.Quot caelum stellas, tot habet tua Roma puellas, Ovid, Ars Amat. i. 59.[186]SeeThe Oxford Dante, pp. 379–400, orOpere minori di Dante Alighieri, ed. Pietro Fraticelli, vol. ii, p. 146, Florence, 1858, and Böhmer’s essay,Über Dante’s Schrift de vulgari eloquentia, Halle, 1868.[187]See B. ten Brink,The Language and Metre of Chaucer, translated by M. Bentinck Smith. London, Macmillan & Co., 1901, 8º, § 350.[188]Stanzas of six and twelve lines formed on the same principle (a a a b b banda a b b c c d d e e f f) are very rare. For specimens seeMetrik, ii, § 363.[189]Cf. O. Wilda,Über die örtli che Verbreitung der zwölfzeiligen Schweifreimstrophe in England, Breslau Dissertation, Breslau, 1887.[190]This is a stanza of four iambic lines alternately of four and three feet with masculine endings, usually rhyminga b a b.[191]Chaucerian and other Pieces, &c., ed. Skeat, Oxford, 1897, p. 347.[192]This form of stanza is of great importance in the anisometrical ‘lays’, which cannot be discussed in this place (cf.Metrik, i, § 168). In these poems the strophic arrangement is not strictly followed throughout, but only in certain parts; a general conformity only is observed in these cases.[193]As to this form cf.Huchown’s Pistel of Swete Susan, herausgeg. von Dr. H. Köster, Strassburg, 1895 (Quellen und Forschungen, 76), pp. 15–36.[194]Cf. R. Brotanek,Alexander Montgomerie, Vienna, 1896.[195]It is worth noticing that there are also tripartite stanzas in Middle English, either allied to the bob-wheel stanza or belonging to it, both in lyric and dramatic poetry; e.g. the ten-lined stanza of a poem in Wright’sSongs and Carols(Percy Soc., 1847), p. 15, on the schemeA B A B C C C4d1D D4(quoted inMetrik, i, p. 406); one of eleven lines according to the formulaA A A4B3C C C4B3d1B D3in theTowneley Mysteries, p. 224 (quoted inMetrik, i, p. 407), and one of thirteen lines, used in a dialogue, corresponding to the schemeA B A B A A B A A B3c1B3C2, ibid., pp. 135–9 (quoted inMetrik, i, p. 408).[196]Cf. Karl Bartsch,‘Der Strophenbau in der deutschen Lyrik’(Germania, ii, p. 290).[197]For titles of books and essays on the sonnet seeEnglische Metrik, ii, pp. 836–7 note; cf. also L. Bladene,‘Morfologia del Sonetto nei secoli XIII e XIV’(Studi di Filologia Romanza, fasc. 10).[198]Cf.Étude sur Joachim du Bellay et son rôle dans la réforme de Ronsard, par G. Plötz. Berlin, Herbig, 1874, p. 24.[199]The Sonnet: Its Origin, Structure and Place in Poetry, London, 1874, 8º, p. 4.[200]For certain other varieties occasionally used by these poets seeMetrik, §§ 536 and 544–5.[201]Cf.Studien über A. M., von Oscar Hoffmann (Breslau Dissertation), Altenburg, 1894, p. 32;Engl. Studien, xx. 49 ff.; and Rud. Brotanek,Wiener Beiträge, vol. iii, pp. 122–3.[202]Cf. Wordsworth,Prose Works,ed. Grosart, 1876, vol. iii, p. 323, where he praises Milton for this peculiarity, showing thereby that he was influenced in his sonnet-writing by Milton.[203]On Wordsworth’s Sonnets see the Note on the Wordsworthian Sonnet by Mr. T. Hutchinson, in his edition ofPoems in two volumes by William Wordsworth(1807), London, 1897, vol. i, p. 208.[204]See Chaucer’s Works, edited by W. W. Skeat,Minor Poems, pp. 75–6, 310–11.[205]Cf. the essay by Gosse inThe Cornhill Magazine, No. 211, July, 1877, pp. 53–71.[206]Französische Verslehre, Berlin, 1879, p. 388.[207]Ritson’sAncient Songs, i. 128, written, it is true, in five-foot verses; the repetition of the two refrain-verses in the proper place, however, is not indicated in the edition, and a slight emendation of the text is also required by the sense, viz.hath sprunginstead ofthat sprangin the last line.[208]London, Chatto & Windus, 1833.[209]The Works of John Gower, ed. G. C. Macaulay, Oxford, 1899, vol. i, pp. 335 ff.
[1]Zur Geschichte der deutschen Sprache, zweite Ausgabe, p. 624, Berlin, 1868.
[2]Metrik der Griechen, 1a, 500.
[3]It should be remarked that in Sanskrit, as in the classical languages, that prominence of one of the syllables of a word, which is denoted by the term ‘accent’, was originally marked by pitch or elevation of tone, and that in the Teutonic languages the word-accent is one of stress or emphasis.
[4]Handbook of Phonetics, § 263.
[5]Die physiologischen Grundlagen der neuhochdeutschen Verskunst, 1871, p. 2.
[6]Sweet,Handbook of Phonetics, Oxford, 1877, p. 92.
[7]Cf.Transactions of the Philological Society, 1875–6, London, 1877, pp. 397 ff.;Chapters on English Metre, by Prof. J. B. Mayor, 2nd ed., pp. 5 ff.
[8]Transact., p. 398.
[9]They are used by Puttenham,The Arte of English Poesy, 1589, Arber’s reprint, p. 141.
[10]J. Grimm’s ed. ofAndreas and Elene, 1840, pp. lv ff.
[11]Cf. Lehrs,de Aristarchi studiis Homericis, 1865, p. 475.
[12]Cf. J. Huemer,Untersuchungen über die ältesten lateinisch-christlichen Rhythmen, Vienna, 1879, p. 60.
[13]In the Icelandic terminology this isskothending, Möbius,Háttatal, ii, p. 2.
[14]Cf. Sievers,Altgermanische Metrik, § 18. 2.
[15]Tacitus,Germania, cap. 2.
[16]Grein-Wülker, iii. 1, p. 156.
[17]The influence of the Latin system on Otfrid is clear from his own words,I.i. 21.
[18]For a review of recent metrical theories see Sievers,Altgermanische Metrik, 1893, pp. 2–17, and his article on metre in Paul’sGrundriss, ii. 2.
[19]Cf. Lachmann,‘Über althochdeutsche Betonung und Verskunst,’Schriften, ii. 358 ff., and‘Über das Hildebrandslied’,ib., ii. 407 ff.
[20]Germania, iii, p. 7.
[21]Zeitschrift für deutsches Altertum, i, p. 318, andde Carmine Wessofontano, 1861, p. 10.
[22]De Anglo-Saxonum arte metrica, 1871.
[23]‘Grundzüge der altgermanischen Metrik,’Zeitschrift für deutsche Philologie, ii. 114 ff.
[24]Ibid., iii. 280 ff.
[25]Zur althochdeutschen Alliterationspoesie, Kiel and Leipzig.
[26]John Lawrence,Chapters on Alliterative Verse, London, 1893; reviewed by K. Luick,Anglia, Beiblatt iv, pp. 193, 201.
[27]Möller’s own notation; Lawrence’s sign for the rest is a small point, and his sign for the end of a section is a thick point.
[28]Untersuchungen zur westgermanischen VerskunstI, Leipzig, 1889;‘Zur Metrik des alts. und althochd. Alliterationsverses,’Germania, xxxvi. 139 ff., 279 ff.;‘Der altdeutsche Reimvers und sein Verhältnis zur Alliterationspoesie,’Zeitschrift für deutsches Altertum, xxxviii. 304 ff.
[29]Die Metrik des westgermanischen Alliterationsverses, Marburg, 1892.
[30]Paul’sGrundriss der germanischen Philologie, ed. I, ii. i. 518.
[31]Der altenglische Vers: I.Kritik der bisherigen Theorien, 1894; II.Die Metrik des Beowulfliedes, 1894; III.Die Metrik der sog. Caedmonischen Dichtungen, &c., 1895. This last part is by F. Graz. These are reviewed by K. Luick,Anglia, Beiblatt iv. 294; M. Trautmann, ib., iv. 131; vi. 1–4; Saran,Zeitschrift für deutsche Philologie, xxvii. 539.
[32]Geschichte der deutschen Litteratur, 1894, i. 228, andErgänzungsheft zu Band I, Die altsächsische Genesis, 1895, p. 28 ff.
[33]‘Zur Kenntniss des germanischen Verses, vornehmlich des altenglischen,’inAnglia, Beiblatt v. 87 ff.
[34]Z. f. d. A., xxxviii. 304.
[35]Certayne notes of Instruction concerning the making of verse or ryme in English, 1575; Arber’s reprint, London, 1868, p. 34.
[36]Ane Schort Treatise, conteining some Revlis and Cautelis to be obseruit and eschewit in Scottis poesie, 1585, pp. 63 ff. of Arber’s reprint. The scheme would be` ` ´ ` ` ´ ` ` ´ ` ` ´ `.
[37]From Hickes’sAntiq. Literat. Septentrional., tom. i, p. 217.
[38]It is now well known that this innovation was introduced much earlier.
[39]From Alexander Montgomery,The Flyting, &c., l. 476.
[40]‘Über den Versbau der alliterierenden Poesie, besonders der Altsachsen,’Bay. Akademie der Wissenschaften, philos.-histor. Classe, iv. 1, p. 207 ff.
[41]Litteraturgeschichte, p. 45 ff., second ed., p. 57.
[42]Über die germanische Alliterationspoesie, Vienna, 1872, andZum Muspilli, &c., Vienna, 1872.
[43]‘Über die Verstheilung der Edda,’Zeitschr. für deutsche Phil., Ergänzungsband, p. 74.
[44]Die Alt- und Angelsächsische Verskunst, Halle, 1876, reprinted fromZ. f. d. Ph., vol. vii.
[45]The author’s larger work on English Metre was indebted in paragraphs 28–33 to Rieger’s essay; succeeding paragraphs (34–39) of the same work exhibited in detail the further development or rather decay of the Old English alliterative line.
[46]C. R. Horn,Paul und Braune’s Beiträge, v. 164; J. Ries,Quellen und Forschungen, xli. 112; E. Sievers,Zeitschr. f. deutsche Phil., xix. 43.
[47]Paul und Braune’s Beiträge, x, 1885, pp. 209–314 and 491–545.
[48]Sievers, Paul’sGrundriss, ii. 1, p. 863, or ii. 2, p. 4, second ed.
[49]Paul und Braune’s Beiträge, xi. 470.
[50]Ph. Frucht,Metrisches und Sprachliches zu Cynewulfs Elene, Juliana und Crist, Greifswald, 1887.
[51]M. Cremer,Metrische und sprachliche Untersuchung der altengl. Gedichte Andreas, Gûðlâc, Phoenix, Bonn, 1888.
[52]Altgermanische Metrik, Halle, 1893.
[53]Mainly by H. Möller,Das Volksepos in der ursprünglichen strophischen Form, Kiel, 1883.
[54]Besides the unaccented syllables of polysyllabic words, many monosyllables, such as prepositions, pronouns, &c., are unstressed, and occur only in the theses.
[55]This rule applies to modern English also, as in words likebírth-rìght.
[56]If this cross alliteration is intentional. See Sievers,Altger. Metrik, p. 41.
[57]See Koch,Historische Grammatik der englischen Sprache, Weimar, 1863, i. 156.
[58]Compare Streitberg,Urgermanische Grammatik, 1900, § 143, p. 167, or Wilmanns,Deutsche Grammatik, 1897, i, p. 407, § 349.
[59]For exceptions to these rules seeEnglische Metrik, i, pp. 43, 45.
[60]Koch addswiðǽftan,wiðfóran,wiðnéoðan.
[61]Sievers,Beiträge, x. 225, andAngelsächsische Grammatik3, §§ 410, 411, 415.
[62]For details on these points and on the question of the treatment of forms in which vowel contraction is exhibited in the MSS. see Sievers,Altgermanische Metrik, §§ 74–77, andBeiträge, x. 475 ff.
[63]‘Elements,’ Sweet,Anglo-Saxon Reader, § 365.
[64]Sievers,Altgerm. Metrik, § 9, 3. 4.
[65]See, for example, Rieger,Alt- und Angelsächsische Verskunst, p. 62.
[66]Paul-Braune’s Beiträge, x, p. 209.
[67][67] For the type –́× × | –́see below, § 29, and Sievers,Paul-Braune’s Beiträge, x, p. 262.
[68]Sievers,Paul-Braune’s Beiträge, x, p. 262.
[69]As Sievers calls them,Altgerm. Metrik, § 13. 2; they are marked A*, B*, &c.
[70]The notation of Sievers for hemistichs with anacrusis (auftaktige Verse) is aA, aD, aE, &c.
[71]Sievers,Altgermanische Metrik, pp. 33 ff.
[72]It must be remembered thatea,eo, &c., are diphthongs, and have not the value of two vowels.
[73]Sievers,Paul-Braune’s Beiträge, x, p. 233.
[74]Herencounts as a syllable, see Sievers,Angelsächsische Gram.,§ 141, andAltgerm. Metrik, § 79.
[75]See the statistics in Sievers,Paul-Braune’s Beiträge, x, p. 290.
[76]Sievers,Paul-Braune’s Beiträge, x. 241 and 294.
[77]Sievers,Altgerm. Metrik, § 85, 2, Anm. 3.
[78]Cf. Sievers,Altgermanische Metrik, § 15, 3 c, and § 116. 9.
[79]See Max Cremer,Metrische und sprachliche Untersuchungen der altenglischen Gedichte Andreas, Gūðlāc, Phoenix, &c., 1888, pp. 31 ff.; Sievers,Altgermanische Metrik, § 86; and chiefly Eduard Sokoll,‘Zur Technik des altgermanischen Alliterationsverses,’inBeiträge zur neueren Philologie, Vienna, 1902, pp. 351–65.
[80]But on this last expression see Sievers,Phonetik4, § 359.
[81]Edited by Grein inAnglia, ii. 141 ff.
[82]The Old Norsehofuðstafr, Germ.Hauptstab. The alliterations in the first hemistich are called in Old Norsestuðlar(sing.stuðill) ‘supporters’, Germ.StollenorStützen.
[83]Sievers,Altgerm. Metrik, § 20.
[84]This is not very common in poetry of the more regular metrical structure, but is found in Ælfric’s lines, in which we find hemistichs without any alliterating letter, and others where the alliteration is continued in the following line; two-thirds, however, of his lines are formed quite correctly.
[85]Snorri, the Icelandic metrician, permits this in the case of certain monosyllabic words, but looks on it as a licence (leyfi en eigi rétt setning, Hāttatal, p. 596).
[86]The subject of the preceding paragraphs was first investigated by M. Rieger in his essayAlt- und Angelsächsische Verskunst, p. 18, where many details will be found.
[87]Cf. Sievers inPaul-Braune’s Beiträge, xii. 455; K. Luick,ib., xiii. 389, xv. 441; F. Kaufmann,ib., xv. 360; Sievers, inPaul’s Grundriss, pp. 891 ff., and inAltgermanische Metrik, §§ 88–96.
[88]InPaul-Braune’s Beiträge, xii, pp. 454, 455, Sievers gives a list of the undoubted regular lengthened verses occurring in OE. poetry.
[89]Sievers discusses the lengthened verses of these poems inBeiträge, xii. 479.
[90]Beiträge, xii. 458.
[91]Beiträge, xiii. 388, xv. 445.
[92]Altgermanische Metrik, § 94. 3.
[93]Altgermanische Metrik, § 95.
[94]See Sievers,Altgerm. Metrik, § 97.
[95]For other subdivisions of rhyme see Sievers,Altgerm. Metrik, §§ 99–102, with the treatises on the subject, and Bk. II, sect. ii, ch. 1 of this work.
[96]Some less important examples, of which the metrical character is not quite clear, are mentioned by Luick, Paul’sGrundriss, ed. 2, II. ii. p. 144.
[97]In this passage and for the future we refrain from indicating the quantity of the vowels. The rhythmic accentuation is omitted, as being very uncertain in this passage.
[98]Viz. the so-calledProverbs of King Alfred(ed. by R. Morris, E.E.T.S., vol. XLIX), and Layamon’sBrut, ed. by Sir Frederic Madden, London, 1847, 2 vols.
[99]Paul’sGrundriss, ed. 2, II. ii. p. 10, andAltgermanische Metrik, p. 139.
[100]On the nature of these rhymes, cf. § 53 and the author’s paper,‘Metrische Randglossen,’inEnglische Studien, x. 192 ff., chiefly pp. 199–200.
[101]In Paul’sGrundriss, ed. 2, II. ii. pp. 145–7.
[102]Cf. our remarks in Book I, Part II, on the Septenary Verse in combination with other metres.
[103]Cf. Wissmann,King Horn, pp. 59–62, andMetrik, i, pp. 189–90.
[104]Signs of DeathinOld Engl. Misc.(E. E. T. S.), p. 101.
[105]Cf. Hall’s edition (Clar. Press, 1901), pp. xlv-l, where our views on the origin and structure of the metre are adopted.
[106]See Paul’sGrundriss, ed. 2, II. ii. p. 156.
[107]This view has been combated by the author. The stages of the discussion are to be found in articles by Einenkel,Anglia, v. Anz. 47; Trautmann,ibid.118; Einenkel’s edition ofSt. Katherine, E. E. T. S. 80; the author’s‘Metrische Randglossen’,Engl. Studien, ix. 184;ibid.368; andAnglia, viii. Anz. 246. According to our opinion Otfrid’s verse was never imitated in England, nor was it known at all in Old or Middle English times.
[108]This line is inaccurately quoted by King James from the poet Alexander Montgomerie, who lived at his court. It should read asfollows:—
Syne fetcht food for to feid it, | foorth fra the Pharie.
Flyting 476.
[109]Cf. the writer’s paper‘Zur Zweihebungstheorie der alliterierenden Halbzeile’inEnglische Studienv. 488–93.
[110]Cf.Chapters on Alliterative Verseby John Lawrence, D. Litt. London: H. Frowde. 1893. 8^o (chapter iii).
[111]‘Die englische Stabreimzeile im 14., 15., 16. Jahrhundert’(Anglia, xi. 392–443, 553–618).
[112]Prof. Luick, in his longer treatise on the subject (Anglia, xi. 404), distinguishes between two forms of this type with anacrusis (×–́××–́) and without (–́××–́), which he calls A1and A2, a distinction he has rightly now abandoned (Paul’sGrundriss, ed. 2, II. ii. p. 165).
[113]Also printed in Ritson’sAncient Songs, i, p. 12; Wright’sPol. Songs, p. 69; Mätzner’sAltenglische Sprachproben, i, p. 152; Böddeker’sAltenglische Dichtungen, Pol. Lieder, no. i.
[114]Paul’sGrundriss, ed. 2, II. ii, p. 158.
[115]Cf.Metrik, ii. 146; and Luick,Anglia, xii. 450, 451.
[116]See G. Gascoigne,Certayne Notes of Instruction concerning the making of verse or ryme in English, 1575, in Arber’sReprints, together withThe Steele Glas, &c., London, 1868, 8vo, p. 34.
[117]Bürger’s versionDer Kaiser und der Abtintroduces a regular alternation of masculine and feminine couplets not observed in the original metre which he is copying.
[118]Cf. the chapter on the four-foot iambic verse.
[119]Recognized by Bishop Percy (1765) as rhythmically equivalent to
In a sómer séason, | when sóft was the sónneI shópe me into shróudes, | as I a shépe wére(Piers Plowman).
In a sómer séason, | when sóft was the sónneI shópe me into shróudes, | as I a shépe wére(Piers Plowman).
In a sómer séason, | when sóft was the sónne
I shópe me into shróudes, | as I a shépe wére
(Piers Plowman).
and
Hā́m and hḗahsetl | héofena rī́ces(Gen. 3ccc3).Scḗop þā and scýrede | scýppend ū̀re(ibid. 65).
Hā́m and hḗahsetl | héofena rī́ces(Gen. 3ccc3).Scḗop þā and scýrede | scýppend ū̀re(ibid. 65).
Hā́m and hḗahsetl | héofena rī́ces(Gen. 3ccc3).
Scḗop þā and scýrede | scýppend ū̀re(ibid. 65).
[120]This alliterative-rhyming long line is scanned by the contemporary metrist King James VI in the manner indicated by the accents.
[121]The second of these lines is thus marked by Gascoigne as having four stresses.
[122]We retain the MS. reading; see Sievers,Altgerm. Metrik, p. 17.
[123]Horstmann,Altenglische Legenden,Neue Folge, p. 244.
[124]Percy’sReliques, I. ii. 7.
[125]Quoted inChambers’sCyclop. of Eng. Lit., i. 242.
[126]Ed. by J. Schipper,Quellen und Forschungen, xx.
[127]In the ‘tumbling’—or, to use the German name, the ‘gliding’ (gleitend) caesura or rhyme.
[128]For the introduction and explanation of these technical terms cf. Fr. Diez,‘Über den epischen Vers,’in hisAltromanische Sprachdenkmale, Bonn, 1846, 8vo, p. 53, and the author’sEnglische Metrik, i, pp. 438, 441; ii, pp. 24–6.
[129]The occurrence of this licence in Chaucer’s heroic verse has been disputed by ten Brink (Chaucer’s Sprache und Verskunst, p. 176) and others, but seeMetrik, i. 462–3, and Freudenberger,Ueber das Fehlen des Auftaktes in Chaucer’s heroischem Verse, Erlangen, 1889.
[130]We therefore hold ten Brink to be wrong in asserting (Chaucer’s Sprache und Verskunst, § 307, 3. Anm.) that no redundant or hypermetrical syllable is permissible in the caesural pause of Chaucer’s iambic line of five accents, although he recognizes that in lines of four accents Chaucer admits the very same irregularity, which moreover has remained in use down to the present day. Cf. Skeat,Chaucer Canon, Oxford, 1900, pp. 31–3, and Schipper in Paul’sGrundriss, ed. 2, II. ii, pp, 217–18. On this point, as also on several others, Miss M. Bentinck Smith, the translator of ten Brink’s work, is of our opinion (cf. her Remarks on Chapter III of ten Brink’sChaucer’s Sprache und VerskunstinThe Modern Language Quarterly, vol. v, No. 1, April, 1902, pp. 13–19). A contrary view with regard to ‘extra syllables’ in the heroic and the blank-verse line (sixteenth and seventeenth centuries) is taken by A. P. van Dam and Cornelis Stoffel,Chapters on English Printing, Prosody, and Pronunciation(1550–1700), Heidelberg, 1902 (Anglistische Forschungen herausgegeben von Dr. Johannes Hoops, Heft 9), pp. 48–113.
[131]Cf. the lines from Wright’sSpec. of Lyr. Poetry, p. 31, quoted on p. 98.
[132]Cf.Parson’s Prologue, 42–3.
[133]In the reading of the Bible and Liturgy the older syllabic pronunciation of certain endings is still common, and it is occasionally heard in sermons, where a more elevated and poetical kind of diction is admissible than would be used in secular oratory.
[134]See ten Brink,Chaucer’s Sprache und Verskunst, § 260.
[135]Cf. Luick,Anglia, xi. 591–2.
[136]Cf. King James I,The Kingis Quair, ed. by W. W. Skeat, 1883–4.
[137]Cf.Metrik, ii. 101–3note.
[138]Cf. Ellis,E. E. Pr., i. 367–8.
[139]A long list of the words so treated is to be found in Abbott,Shakespearian Grammar, § 460.
[140]Cf. Abbott, § 477; Ellis,E. E. Pr., iii. 951–2;Metrik, ii, 117–18.
[141]See ten Brink,The Language and Metre of Chaucer(English transl.), § 280, where the metrical treatment of these words is described. The German term used by ten Brink isAnlehnungen.
[142]Old English Homilies, ed. R. Morris, First Series, Part I, E.E.T.S., No. 29, pp. 55–71.
[143]Cf. Charles L. Crow,On the History of the Short Couplet in Middle English. Dissert., Göttingen, 1892.
[144]Cf.John Heywood als Dramatiker, von Wilh. Swoboda, 1888, p. 83 ff.
[145]Cf. our metrical notes (‘Metrische Randglossen’) inEngl. Studien, x, p. 192 seq.
[146]InOld English Homilies, ed. R. Morris, pp. 190ff.
[147]Trautmann,Anglia, v, Anz., p. 124; Einenkel, ibid., 74; Menthel,Anglia, viii, Anz., p. 70.
[148]According to Guest (ii. 233) ‘because the poulterer, as Gascoigne tells us, giveth twelve for one dozen and fourteen for another’.
[149]These poems are also printed in Böddeker,Altengl. Dichtungen, Geistl. Lieder, xviii, Weltl. Lieder, xiv.
[150]Chaucer’s Sprache und Verskunst, § 305, note.
[151]The verses he calls five-foot lines have, on the other hand, decidedly not this structure, but are four-foot lines with unaccented rhymes; for a final word in the line, such uswrécfúl, as is assumed by Ten Brink, with the omission of an unaccented syllable between the last two accents, would be utterly inconsistent with the whole character of this metre.
[152]According to Ten Brink,Chaucer’s Sprache und Verskunst, § 305, the shifting character of Chaucer’s caesura was chiefly caused by his acquaintance with the Italianendecasillabo. This influence may have come in later, but even in Chaucer’s earlyCompleynt to Pitee(according to Ten Brink,Geschichte der englischen Literatur, ii. p. 49, his first poem written under the influence of the French decasyllabic verse) the caesura is here moveable, though not to the same extent as in the later poems. The liability of the caesura to shift its position was certainly considerably increased by the accentual character of English rhythm. On the untenableness of his assertion, that in Chaucer’s five-accent verse the epic caesura is unknown, cf. p. 145 (footnote),Metrik, ii. 101–3 note, and Schipper in Paul’sGrundriss, ed. 2, II. ii, pp. 217–21.
[153]For the accentuation of the word cf.inter aliarhymes such asmérie: Cáunterbúry, Prol. 801–2, and Schipper, l.c., pp. 217–18.
[154]This definition is also given by Milton in his introductory note on ‘The Verse’ prefixed in 1668 toParadise Lost.
[155]Cf.Metrik, ii. §§ 132–5.
[156]Cf.Metrik, ii. §§ 136–46.
[157]Cf. on this subject the essays and treatises by T. Mommsen, Abbott, Furnivall, Ingram, Hertzberg, Fleay, A.J. Ellis (On Early English Pronunciation, iii), &c. (quotedMetrik, ii, p. 259); besides G. König,Der Vers in Shakspere’s Dramen, Strassburg, Trübner, 1888, 8^o (Quellen und Forschungen, 61);Der Couplet-Reim in Shakspere’s Dramen(Dissertation), von J. Heuser, Marburg, 1893, 8; H. Krumm,Die Verwendung des Reims in dem Blankverse des englischen Dramas zur Zeit Shaksperes, Kiel, 1889; H. Conrad,Metrische Untersuchungen zur Feststellung der Abfassungszeit von Shakspere’s Dramen(Shakespeare-Jahrbuch, xxx. 318–353);William Shakespeare, Prosody and Text, by B. A. P. van Dam and C. Stoffel, Leyden, 1900, 8^o;Chapters on English Printing Prosody, and Pronunciation(1550–1700), by B.A.P. van Dam and C. Stoffel, Heidelberg, 1902 (Anglistische Forschungen, ix).
[158]I. 1587–1592; II. 1593–1600; III. 1600–1606; IV. 1606–1613; according to Dowden.
[159]Cf. Furnivall, p. xxviii.
[160]Cf. Mayor,Chapters on English Metre, pp. 174–7.
[161]Cf.Metrik, ii, § 154.
[162]Cf.Metrik, ii, § 161.
[163]Cf. N. Delius,Die Prosa in Shakespeares Dramen(Jahrbuch d. deutschen Shakespeare-Gesellschaft, v. 227–73).
[164]Cf. the Halle dissertations byHannemann(on Ford, Oxford, 1889);Penner(on Peele, Braunschweig, 1890);Knaut(on Greene, 1890);Schulz(on Middleton, 1892);Elste(on Chapman, 1892);Kupka(on Th. Dekker, 1893);Meiners(on Webster, 1893);Clages(on Thomson and Young, 1892); and the criticism of some of them by Boyle,Engl. Studien, xix. 274–9.
[165]IV. i, p. 66, cf.Engl. Studien, v, p. 76.
[166]Engl. Studien, iv-vii.
[167]On the many combinations of the three kinds of caesura in the different places of the verse, cf.Metrik, ii, pp. 28–31.
[168]Cf.Metrik, ii, §§ 179–185.
[169]SeeEnglische Metrik, ii, §§ 188–90.
[170]Cf.Metrik, ii, §§ 195–201.
[171]Cf.Metrik, ii, §§ 202–6.
[172]For examples seeMetrik, ii, § 218.
[173]A Century of Roundels, p. 30.
[174]Cf.Metrik, ii, § 232.
[175]Prince Henry and Elsie, pp. 249–51.
[176]Cf.Metrik, ii, § 238.
[177]Cf.Metrik, ii, § 239.
[178]Book of Nonsense, London, Routledge, 1843.
[179]Specimens of earlier hexameter verse with detailed bibliographical information may be found in ourMetrik, ii, §§ 249–50; and especially in C. Elze’s thorough treatise on the subject,Der englische Hexameter. Programm des Gymnasiums zu Danzig, 1867. (Cf. F. E. Schelling,Mod. Lang. Notes, 1890, vii. 423–7.)
[180]The word stanza is explained by Skeat,Conc. Etym. Dict., as follows:
‘STANZA. Ital. stanza, O.Ital.stantia, “a lodging, chamber, dwelling, alsostanceor staffe of verses;” Florio. So called from the stop orpauseat the end of it.—Low Lat.stantia, an abode.—Lat.stant-, stem of pres. pt. ofstare.’
[181]Cf. §§8,223–7.
[182]Cf. §§60–2and the author’s ‘Metrische Randglossen, II.’,Engl. Stud., x, pp. 196–200.
[183]Cf.Sir Thomas Wyatt, von R. Alscher, Wien, 1886 pp. 119–23.
[184]By the German metrists it is calledBinnenreim, orInnenreim.
[185]So called from a poet Leo of the Middle Ages (c. 1150) who wrote in hexameters rhyming in the middle and at the end. Similar verses, however, had been used occasionally in classic Latin poetry, as e.g.Quot caelum stellas, tot habet tua Roma puellas, Ovid, Ars Amat. i. 59.
[186]SeeThe Oxford Dante, pp. 379–400, orOpere minori di Dante Alighieri, ed. Pietro Fraticelli, vol. ii, p. 146, Florence, 1858, and Böhmer’s essay,Über Dante’s Schrift de vulgari eloquentia, Halle, 1868.
[187]See B. ten Brink,The Language and Metre of Chaucer, translated by M. Bentinck Smith. London, Macmillan & Co., 1901, 8º, § 350.
[188]Stanzas of six and twelve lines formed on the same principle (a a a b b banda a b b c c d d e e f f) are very rare. For specimens seeMetrik, ii, § 363.
[189]Cf. O. Wilda,Über die örtli che Verbreitung der zwölfzeiligen Schweifreimstrophe in England, Breslau Dissertation, Breslau, 1887.
[190]This is a stanza of four iambic lines alternately of four and three feet with masculine endings, usually rhyminga b a b.
[191]Chaucerian and other Pieces, &c., ed. Skeat, Oxford, 1897, p. 347.
[192]This form of stanza is of great importance in the anisometrical ‘lays’, which cannot be discussed in this place (cf.Metrik, i, § 168). In these poems the strophic arrangement is not strictly followed throughout, but only in certain parts; a general conformity only is observed in these cases.
[193]As to this form cf.Huchown’s Pistel of Swete Susan, herausgeg. von Dr. H. Köster, Strassburg, 1895 (Quellen und Forschungen, 76), pp. 15–36.
[194]Cf. R. Brotanek,Alexander Montgomerie, Vienna, 1896.
[195]It is worth noticing that there are also tripartite stanzas in Middle English, either allied to the bob-wheel stanza or belonging to it, both in lyric and dramatic poetry; e.g. the ten-lined stanza of a poem in Wright’sSongs and Carols(Percy Soc., 1847), p. 15, on the schemeA B A B C C C4d1D D4(quoted inMetrik, i, p. 406); one of eleven lines according to the formulaA A A4B3C C C4B3d1B D3in theTowneley Mysteries, p. 224 (quoted inMetrik, i, p. 407), and one of thirteen lines, used in a dialogue, corresponding to the schemeA B A B A A B A A B3c1B3C2, ibid., pp. 135–9 (quoted inMetrik, i, p. 408).
[196]Cf. Karl Bartsch,‘Der Strophenbau in der deutschen Lyrik’(Germania, ii, p. 290).
[197]For titles of books and essays on the sonnet seeEnglische Metrik, ii, pp. 836–7 note; cf. also L. Bladene,‘Morfologia del Sonetto nei secoli XIII e XIV’(Studi di Filologia Romanza, fasc. 10).
[198]Cf.Étude sur Joachim du Bellay et son rôle dans la réforme de Ronsard, par G. Plötz. Berlin, Herbig, 1874, p. 24.
[199]The Sonnet: Its Origin, Structure and Place in Poetry, London, 1874, 8º, p. 4.
[200]For certain other varieties occasionally used by these poets seeMetrik, §§ 536 and 544–5.
[201]Cf.Studien über A. M., von Oscar Hoffmann (Breslau Dissertation), Altenburg, 1894, p. 32;Engl. Studien, xx. 49 ff.; and Rud. Brotanek,Wiener Beiträge, vol. iii, pp. 122–3.
[202]Cf. Wordsworth,Prose Works,ed. Grosart, 1876, vol. iii, p. 323, where he praises Milton for this peculiarity, showing thereby that he was influenced in his sonnet-writing by Milton.
[203]On Wordsworth’s Sonnets see the Note on the Wordsworthian Sonnet by Mr. T. Hutchinson, in his edition ofPoems in two volumes by William Wordsworth(1807), London, 1897, vol. i, p. 208.
[204]See Chaucer’s Works, edited by W. W. Skeat,Minor Poems, pp. 75–6, 310–11.
[205]Cf. the essay by Gosse inThe Cornhill Magazine, No. 211, July, 1877, pp. 53–71.
[206]Französische Verslehre, Berlin, 1879, p. 388.
[207]Ritson’sAncient Songs, i. 128, written, it is true, in five-foot verses; the repetition of the two refrain-verses in the proper place, however, is not indicated in the edition, and a slight emendation of the text is also required by the sense, viz.hath sprunginstead ofthat sprangin the last line.
[208]London, Chatto & Windus, 1833.
[209]The Works of John Gower, ed. G. C. Macaulay, Oxford, 1899, vol. i, pp. 335 ff.