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Any one who has seen an outward-bound clipper ship getting under way, and heard the "shanty-songs" sung by the sailors as they toiled at capstan and halliards, will probably remember that rhymeless but melodious refrain "I'm bound to see its muddy waters, Yeo ho! that rolling river; Bound to see its muddy waters, Yeo ho! the wild Missouri."
I could never live out completely one full experience, one point of consciousness in time and space. My dreams, if dreams they may be called, were rhymeless and reasonless.
The form is freer and more comprehensive than in Lessing's other pieces; it is very nearly that of a drama of Shakspeare. He has also returned here to the use of versification, which he had formerly rejected; not indeed of the Alexandrine, for the discarding of which from the serious drama we are in every respect indebted to him, but the rhymeless Iambic.
Part of it is written in blank verse, or at least in rhymeless lines; so that after all it probably followed in the wake of Tamburlaine, half adopting and half rejecting the innovations of that fiery reformer, who wrought on the old English stage no less a miracle than Hernani on the French stage in the days of our fathers.
The youngest Forest Child of all was the only one up so early. He was busily breaking dead twigs from bushes to build his morning fire and making up a little rhymeless song about Ivra's birthday as he worked. This is her birthday, Spring's little daughter Spring's little daughter This is her birthday. Wake now, wake now, All you Forest Children, Wake for her birthday And tie your sandals on.
Only two relics of this age, in their primitive form, remain; they are rhymeless, but alliterated, a kind of versification common to the German, Anglo- Saxon, and Scandinavian poetry, and which, early in the ninth century, gave place to rhyme.
The language is pure and simple, but without vigour; the rhymeless Iambic gives more freedom to the dialogue, and an air somewhat less conventional than it has in the French tragedies; but in vigorous eloquence, Cato remains far behind them.
Even in the secondary matters of form Shakespeare was not guided by humor and accident, but, like a genuine artist, acted invariably on good and solid grounds. In England the manner of handling rhyming verse, and the opinion as to its harmony and elegance, have, in the course of two centuries, undergone a much greater change than is the case with the rhymeless iambic or blank verse.
conducts us to two other fine, though rhymeless, dirges. In the first, Rugby Chapel, the intensity of feeling is sufficient to carry off the lack of lyrical accomplishment.
In England the manner of handling rhyming verse, and the opinion as to its harmony and elegance, have, in the course of two centuries, undergone a much greater change than is the case with the rhymeless Iambic or blank verse. In the former, Dryden and Pope have become models; these writers have communicated the utmost smoothing to rhyme, but they have also tied it down to a harmonious uniformity.
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