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On the other hand, the iambic and the trochaic tetrameter are stirring measures, the latter being akin to dancing, the former expressive of action. Still more absurd would it be to mix together different metres, as was done by Chaeremon. Hence no one has ever composed a poem on a great scale in any other than heroic verse. Nature herself, as we have said, teaches the choice of the proper measure.
As the Lion of Freedom, he enjoyed a popularity with English workmen approaching that of O'Connell in Ireland. He ended in lunacy, but he had the credit of forwarding peasant proprietorship far in advance of his times. Sheil was a tragic orator "an iambic rhapsodist", O'Connell called him who might have been leader, did not a greater tragedian occupy the stage.
The fact that the iambic trimeters, which predominated in the originals and were alone suitable to their moderate conversational tone, were very frequently replaced in the Latin edition by iambic or trochaic tetrameters, is to be attributed not so much to any want of skill on the part of the editors who knew well how to handle the trimeter, as to the uncultivated taste of the Roman public which was pleased with the sonorous magnificence of the long verse even where it was not appropriate.
There is, however, no absolute contrast between the two kinds, because a falling rhythm is still a rhythm, and that means a movement which necessarily contains something of instability and unrest. The contrast is sharpest in the anapestic and dactylic, less sharp in the trochaic and iambic.
At first, he clung to the measures most approved in French poetry, especially to Alexandrines and Iambic tetrameters, and to their irregular association in a sort of ballad metre, which in England has been best handled by Robert Browning in his fine ballad of 'Harve; Riel. Jasmin's first rhymes were written upon curl papers, and then used on the heads of his lady customers.
In the case of Dante the rhythmical basis is the same in both languages; for the iambic measure is our chief poetic vehicle, wrought to perfection by Shakespeare and Milton. There only remains, then, rhyme and the division into stanzas. Can the terza rima, as used by Dante, be called a stanza?
The question of calling a given group of lines "iambic" or "trochaic," for instance, can be made quite arbitrary, depending upon where you begin to count syllables. "Iambic" with initial truncation or "trochaic" with final truncation? Tweedle-dum or tweedle-dee? Do you count waves from crest to crest or from hollow to hollow?
But, again, the five feet are all iambic, or supposed to be; by the mere count of syllables the four groups cannot be all iambic; as a question of elegance, I doubt if any one of them requires to be so; and I am certain that for choice no two of them should scan the same.
But those accents are all in the wrong, and Ephorus is wholly in fault. For those who pass over the paeon, do not perceive that a most delicate, and at the same time most dignified rhythm is passed over by them. But Aristotle's opinion is very different, for he considers that the heroic rhythm is a grander one than is admissible in prose, and that an iambic is too like ordinary conversation.
Consider, for example, the line, "From sullen earth sings hymns at heaven's gate," where the word "sings," which in accordance with the conventional iambic scansion would be an unaccented syllable, is really strongly accented, more strongly, indeed, than "earth" which has an accent.
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