The sky is changed-and such a change. O night -Childe Harold: Byron. It is chiefly, however, in blank verse that we find this method of securing variety. Where, as in this next quotation, as also in the sixth line of the last, these variations are determined by the thought, and the rhythm is accommodated to the requirements of sense as well as of sound, we have, for this reason, an additional excellence. See Poetry as a Representative Art," Chap. IV. 66 Nine times the space which measures day and night To mortal men, he with his horrid crew Lay vanquished, rolling in the fiery gulf, Both of lost happiness and lasting pain At once as far as angels' ken he views The dismal situation waste and wild ; A dungeon horrible on all sides round, As one great furnace, flamed; yet from those flames No light, but rather darkness visible Served only to discover sights of woe, Regions of sorrow, doleful shades where peace And rest can never dwell. -Paradise Lost, 1: Milton. Modern poets, as a rule, do not indulge in as much metrical variety of this sort as did Milton. Some, indeed, cause the accents to fall on every other syllable with absolute regularity, depending for variety upon only the pauses that must necessarily be made in order to bring out the sense. It cannot be denied that there is a charm of its own produced by such a style, and that for young poets there is safety in it. Only a great master of rhythm like Milton could violate so many lesser laws and yet fulfil the greater ones. As a good example of a more regular style, notice the following: There is another way of changing the number of the accents or the places of the accents in the line. It is found chiefly among dramatic writings. In all the quotations in blank verse that have been made, there has been an accent, as well as a pause required by the sense, on the final foot, as in this: The primal duties shine aloft like stars. -Excursion: Wordsworth. A line ending thus is called technically an end-stopped line. A line, on the contrary, in which there is no accent on the final foot, and no pause required there by the sense, is termed a run-on line. Notice the first and second lines of this: Since what I am to say must be but that The testimony on my part no other But what comes from myself, it shall scarce boot me. Winter's Tale: iii., 2: Shakespeare. Run-on lines closing with conjunctive words, like and, as, if, nor, with, are also termed weak-ending; and those closing with words like since, while, though, and with pronouns like who, which, what, and with auxiliaries like am, has, is, would, are termed light-ending. In Shakespeare there are a large number of run-on lines, especially in his later works. It seems as if, instead of being regarded as forms of our ordinary pentameter blank verse, they should be regarded as forms of broken blank verse, such as we find in Goethe's "Faust." This, in reality, is what they are, though, in the English, they are not divided into lines and printed so as to show the fact. Sidney Lanier, in his "Science of English Verse," divides and prints the following lines so as to reveal their rhythm. As one object of all division of poetry into lines is to reveal rhythm, it might seem desirable always to print such verses in this way. It is to be argued against this course, however, that, were it done, the principle of putting like effects with like would not be carried out as applied to the lengths of lines. Since what I am to say Must be but that which contradicts my accusation, No other but what comes from myself It shall scarce boot me. Here is another set of run-on lines: Thou shalt not lack The flower that 's like thy face, pale primrose, nor The azured harebell like thy veins, no, nor The leaf of eglantine. -Cimbeline, iv., 2: Idem. This, too, might be arranged thus: Thou shalt not lack The flower that 's like thy face, pale primrose, Shakespeare's later works, as contrasted with his earlier ones, show more maturity of thought, and in places more grandeur of style. But as he grew older he did not rewrite them, line by line, as carefully as he did at first. Had he done so, it is possible that he would have removed many of these run-on lines. In themselves, they are a violation of the law of the form of verse in which he was writing; and there is page after page of his poetry proving that he could have produced every desirable effect in rhythm without resorting to them. ART-METHODS AS DEVELOPING STANZAS AND TYPICAL VERSE-FORMS. Rhythm as so far Explained-Necessity in Each Poem of a Standard Measure or Line-Illustrating the Art-Methods of Principality, Massing, Interspersion, Complication-Examples Tendency to Make Long Lines just Double the Length of Short lines-The Couplet, through Complication and Continuity, Passes into the Stanza-Rhythm as Related to the Tunes of Verse, and Causing Correspondences between Lines of Verse and Lines of Vision-Rhythm as Involving Consonance, Dissonance, Interchange, and Gradation-Abruptness, Transition, and Progress-Slow and Fast Progress as Represented in Poetic RhythmRhythmic Possibilities of Stanzas of Different Forms-Stanzas of Three Lines-Four-Five-Six-Seven-Shorter Chaucerian-Eight-Nine, the Spenserian-Longer Chaucerian-The Sonnet-First Type of Second-Third-French Forms of Verse-Triolet-Rondel-RondeauKyrielle-Rondeau Redouble-Ballade-Pantoum-Villanelle-Chain Verse-Sestina-Sicilian Octave-Virelai-Chant Royal-Ode-Comic Effects-Incongruity between Thought and Form-In the Form only -In Endings of Lines-In Rhymes-In Pauses. FROM ROM what has been said thus far, it will be perceived that rhythm is an effect produced by a consecutive series of sounds, or multiples of sounds, which, in themselves, may be varied and complex; but each series of which is of like duration. In other words, it is a result, as is everything that is artistic, of grouping according to some one principle-to that of time in this case-the like partial effects of unlike complex wholes. In poetry, as we have found, like divisions of time are measured off into |