Abraham and Isaac(Mystery Play),112*.Accents, arbitrary variation of,400;conflict of,7-11;deficiency in,55,56;degrees of,3-5;excess of55,57;hovering,9-11;inversion of,7,8,55,56,57f.;kinds of,3,6;relation of different kinds,7;relation to quantity,405f.;secondary,3,5,156,409;time-intervals of,11,393-396;wrenched,8-11.Addison:Campaign,199*;Cato,236*;on verse of Butler,167f.Ælfric, verse of,116f.Akenside:Pleasures of the Imagination,238;Virtuoso,104.Alamanni, influence on Wyatt,65.Alberti, classical metres of,330.Alcaic stanza,77.Alexandrine,252-259;developed by Browning,258;French,18;in five-stress verse,195,208,258;in sonnet,272f.;in Spenserian stanza,103;unrimed,255;used at end of stanzas other than Spenserian,107.Alliteration,113,116-121;in mediæval Latin,117;sporadic,135."Alliterative long line,"119,156.Alscher, on Wyatt,11.Anacrusis,25.Anapest,24;substituted for iambus,58f.Anapestic verse, two-stress,28f.;three-stress,34-36;four-stress,39f.;five-stress,42;six-stress,43;seven-stress,45;eight-stress,48;invers de société,39.Anderson, M. B.:Inferno,68f.*.Anderson, R., on verse of Joseph Hall,182.Anglo-Saxon verse, alliteration in,116f.;relation of accent and quantity in,405f.;rime in,124,125f.;stanzas in,62n.;two theories of,151-154;types of,152f.Archer, W., on Watson's sonnets,290.Areopagus,332f.Aristophanes, Swinburne on verse of,45f.Aristotle, his theory of metre,413-416.Arnold, M.:East London,286*;Empedocles on Ætna,325-327*;Forsaken Merman,5*,22f.*,53f.*;Future,115*;on Chapman's septenary,262;on English hexameters,351-353;on Longfellow's hexameters,348;Sohrab and Rustum,58*,249f.*.Arnaut, the troubadour, sestina of,383."Ascending rhythm,"24.Ascham:Schoolmaster,330,341.Asclepiadean verse,331.Assonance,113-115;in Celtic verse,115;in verse of Romance languages,113f.Atterbury, on Dryden's influence,197;on Waller,188f.Aurora lucis rutilat,160*.Bacon, F., on significant sounds,136.Baïf, de, A., classical metre of,331.Ballade,360-367.Ballads, stanza of,70,264;verse of,10,157.Banville, de, T.,358,359.Barbour:Bruce,162f*.Barclay:Ship of Fooles,94.Barnes:Parthenophil,273.Baston,83.Beaumont, F.:Knight of the Burning Pestle,263*.Beaumont, J., on heroic couplet,190f.;verse of,191n.Beers, on heroic stanza,73.Bentley, on Milton's verse,58.Beowulf,13*.Bernard (St.):De Nativitate Domini,80*.Bernart, de Ventadorn,110.Best, J. R.:Bon Rondeau,373*.Bestiary,118*.Bewick and Grahame(ballad),157*.BLAIR:Grave,236f.*.Blank verse,213-251;abandoned in Restoration drama,196-199;early use of term,215;in lyrical poems,246;its decadence,230,234;revival in 18th century,238;unpopular in 18th century,204f.Blow, northern wind,78*.Bob-wheel,110n.Böddeker:Altenglische Dichtungen, cited,14,69,78,84,86,110,111,175.Bolton, T. L., on nature of rhythm,393n.Bowles, W. L.:Sonnet,277*;sonnets of,278.Bright, J. W., on "pitch-accent,"5f.;theory of metrical accent,401n.Brome, R., blank verse of,230.Bronson, on Greek and English ode,300;on odes of Collins,305.Browning, E. B.:Cowper's Grave,264*;Rhyme of the Duchess May,80*;Sonnets from the Portuguese,283*;sonnets of,284.BROWNING, R.:Abt Vogler,50*;Agamemnon,327f.*;blank verse of,247-249;Caliban upon Setebos,31f.*,57*,145f.*;Cavalier Tunes,40*;Epistle of Karshish,248*;Fifine at the Fair,257f.*;Flight of the Duchess,129*;Fra Lippo Lippi,249*;Guardian Angel,95*;Heretic's Tragedy,145*;In a Balcony,248*;Love among the Ruins,90*;Misconceptions,37*;One Word More,41*;Pacchiarotto,128f.*;Paracelsus,8*,59*,145*;Prospice,29*,50*;Ring and the Book,57*,59*,247*;Saul,42*;sonnets of,286,287;Sordello,211*;Statue and the Bust,67*;Why I am a Liberal,287*.Bücher, K.:Labor and Rhythm,436n.BURNS:Auld Lang Syne,21*;Birks of Aberfeldy,78*;Bonnie Doon,70*;Chevalier's Lament,39*;Cotter's Saturday Night,104*;Duncan Gray,79*;Tam O'Shanter,171*;To a Louse,87*.Butcher, S. H., on Aristotle's view of metre,413-416.Butler:Hudibras,137*,167*.Byron:Childe Harold,105*;Destruction of Sennacherib,39*;Don Juan,100*,128*;double rimes of,128,129;English Bards and Scotch Reviewers,206*;Farewell, if ever,97*;Francesca of Rimini,68*;Prisoner of Chillon,171*;She Walks in Beauty,92*;Song of Saul,40*;Stanzas for Music,44*;use ofottava rima,101.Campion, T.:Anacreontics,27*;Iambic Dimeter,334f.*;Observations in the Art of English Poesie,335f.;Trochaic Dimeter,335*.Canning:Rovers,131*.Canning(andFrere):Sapphics,337*.Canzone, influence of, on the sonnet,267.Carew:In Praise of his Mistress,89*.Carey, P.:Triolet,382f.*.Catalexis,22,25;in the ode,319.Catullus, metres of, imitated,339.Caudated sonnet,276.Celtic verse, alliteration in,117;assonance in,115;rime in,124.Cesura,17-19;in alexandrine,253,258;kinds of,19.Chant Royal,367f.Chapman:All Fools,215*;Hymn to Cynthia,343*;Iliad,262*.Chatterton:Ælla,79*,107f.*;his variant of Spenserian stanza,108.Chaucer:Balade de bon conseyl,360f.*;Balade on Gentilesse,362;Balade to Rosemound,362;Complaint to his Empty Purse,362;Compleynt of Venus,362;Compleynte unto Pite,93*,177,178;decasyllabic verse of,177-179;Fortune,362;free cesura in verse of,17;French lyrical forms used by,362;House of Fame,165f.*;influence on form of Spenserian stanza,103;Knights Tale,138f.*;Lak of Stedfastnesse,362;Legend of Good Women,176* (ballade in,362);Monk's Tale,97*;octosyllabic couplet of,166;omission of opening syllable in verse of,20;on alliteration,120;Parlement of Foules,369*;perfect rime in,121n.;Prologue,20*,176*;Proverb,71*;"rime royal" introduced by,94;Sir Thopas,84*.Chevy Chase(ballad),70*.Choral odes,323-328.Choriambus,408.Cid, Poema del,114*.Classical metres, imitations of,330-357.Clough, A. H.:Bothie of Tober-na-Vuolich,350*;hexameter of,351;his analysis of a line of blank verse,403.Coleridge:Ancient Mariner,133*,263*;Christabel,15*,401*;Fancy in Nubibus,296*;hexameters of,346;his theory of metre,420-422;Hymn before Sunrise,241*;Hymn to the Earth,345f.*;Kubla Khan,138*,147*;Ode on the Departing Year,311*;on sonnet of White,281;on sonnets of Bowles,278;sonnets of,296;To a Friend,75*.Collins:Ode to Evening,246;Ode to Liberty,170*,303f.*;on verse of Skelton,32;Passions,310*."Common metre,"261f.Confessio Goliae,259*.Congreve:Discourse on Pindaric Ode,302f.;Pindaric Ode,301f.*.Consonants, as lengthening English syllables,396-399.Constable:Diana,273.Corson, on blank verse of Browning,247f.;on double rime,129f.;onIn Memoriamstanza,76f.;on Mrs. Browning's sonnets,284;onottava rima,98,99;on rime,122;on Spenserian stanza of Keats,105;on variety in verse movement,61;on verse of Cowper,240;on Wordsworth's Immortality Ode,313f.Cotton, C.:Rondeau,372f.*;Virelai of,385.Couplet (see under Decasyllabic and Octosyllabic).Courthope, on Aristotle's view of metre,415;on the sonnet,268,272;on verse-form in poetry,429-432;on verse of Pope,201;on verse of Surrey,216.Cowley, Congreve on the odes of,303;introduction of irregular ode by,308;Resurrection,307f.*;Solitude,88*.Cowleyan ode,298,307-323.Cowper:Alexander Selkirk,34*;anapests of,35;blank verse of,240f.;John Gilpin,264;My Mary,79*;on Milton's verse,58f.;Sonnet to Mrs. Unwin,278*;Table Talk,205*;Task,239f.*.Crabbe:Borough,206f.*.Crashaw:Wishes for the Supposed Mistress,64*.Creation and Fall(Mystery Play),95*.Cretic,31."Crown of Sonnets,"275.Cynewulf:Crist,116*;Elene, rime in,126n.;Riddle of (strophic),63n.Dactyl,24.Dactylic verse, two-stress,30;three-stress,37;four-stress,40;five-stress,42;six-stress,44;seven-stress,46;eight-stress,48.Daniel:Care-charmer Sleep,291f.*;Civil War,99*;Defence of Rime,33n.;Delia,273,292.Dante,terza rimaof,65,67-69.Davenant:Gondibert,71*,72.Davies, Sir J.:Nosce Teipsum,73.Decasyllabic couplet,174-213;Chaucer's,177;in Elizabethan age,190;in the drama,196-199;of the romantic poets,209f.,212;Saintsbury on qualities of,194f.De Muliere Samaritana,253*.Denham:Against Love,63*;Cooper's Hill,191f.*.Deo Gracias,96*.Deor's Lament,62n.De Quincey, on Milton's verse,233n."Descending rhythm,"25.Deschamps,358.Dobson, A., ballades of,367;Dance of Death,368;on French lyrical forms,358f.;onottava rima,101;on Pope,203;Rose Leaves,381f.*;Too Hard it is to Sing,269f.*;When I Saw you Last, Rose,378*;With Pipe and Flute,374*.Donne, critics on the verse of,183;Holy Sonnets,274f.*;