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He could write verses with astonishing facility, in any given form of metre; and to various readers they seemed excellent, and high judges had freely called them so, but he himself had grave misgivings on that latter essential point. In fact here once more was a parting of the ways, "Write in Poetry; write in Prose?" upon which, before all else, it much concerned him to come to a settlement.
"It is Saturday evening. Holy time has begun. Let us prepare our minds for the solemnities of the Sabbath." She took the book, one well known to the schools and churches of this nineteenth century. Hymn 44. Long metre. I guess 'Putney' will be as good a tune as any to sing it to." The trio began, "With holy fear, and humble song," and got through the first verse together pretty well.
They are possibly of popular origin; this, together with their epic or narrative character, would account for the striking absence from them of some of the chief characteristics of Skaldic poetry: the obscuring of the sense by the elaborate interlacing of sentences and the extensive use of kennings or mythological synonyms, and the complication of the metre by such expedients as the conjunction of end-rhyme with alliteration.
He speaks of them as searching carefully into the writers of history, as having a knowledge of ancient law and chronography, and in writing, of the rules of grammar and orthography, punctuation, metre, together with the use of allegory and tropology; all of which goes to prove that the field of secular knowledge was not particularly limited for nuns in those days.
Passing to the 'September' we find an eclogue of the 'wise shepherd' type. It is composed in the rough accentual metre, and opens with a couplet which roused the ire of Dr. Johnson: Diggon Davie! I bidde her god day; Or Diggon her is, or I missaye.
Not that we would have Shakspeare's metre tinkered where it seems defective, but that we would not have palpable gaps defended as intentional by the utterly unsatisfactory assumption of pauses and retardations. Mr.
This may have been an exceptional experiment due merely to the caprice of one eccentric rhymester; but in any case we may assume it to mark the extreme limit, the ultimate development of rhyming tragedy after the ballad metre had been happily exploded. The play is on other grounds worth attention as a sign of the times, though on poetical grounds it is assuredly worth none.
"Why, I have his works, printed at Bologna, in my room!" "I don't deny that, I am only talking about the metre used by Martelli. What you are thinking of must be verses of fourteen syllables; without alternative masculine and feminine rhymes. However, I confess that he thinks he has imitated the French Alexandrines, and his preface made me explode with laughter. Did you read it?" "Read it?
Besides, the same advantage attends these, as every other sort of poems, that we turn from them to prose with so much the more pleasure after having experienced the difficulty of being constrained and fettered by metre.
Take a sponge and wipe the slate of your mind. In particular, do not harass yourself by thoughts of metre and verse forms. Second: Read William Hazlitt's essay "On Poetry in General." This essay is the first in the book entitled Lectures on the English Poets. It can be bought in various forms.
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