Saxon alliteration, 117; on early
imitation of classical verse,
330 f.; on Layamon, 119; on
the octosyllabic couplet, 161;
on Poulter's Measure, 265; on
rime, 123-125; on rime in
Cynewulf, 126 n.; on rime
royal, 94; on Riming Poem,
126; on Romance stanza-forms,
110 f.; on the sonnet, 270; on
the stanza, 62; on tumbling
verse, 158 n.; on types of alex-
andrine, 255; on "unaccented
rime," 121 n.
SCHLEGEL, A. W., on tone-color,
Measure, 20*, 222*; Merchant
of Venice, 57*; Midsummer
Night's Dream, 26*, 31 *, 139 *;
Much Ado, 215; Phænix and the
Turtle, 63*, 74*; Rape of Lu-
crece, 93*; Richard II., 20*;
Romeo and Juliet, 7*, 57*; Son-
nets, 293*, 294*; sonnets of,
294 f.; Tempest, 37*, 222 f.*;
Troilus and Cressida, 138*;
Twelfth Night, 51 f.*; Two Gen-
tlemen of Verona, 221*; Venus
and Adonis, 92*.
SHAKSPERE (and FLETCHER): Two
Noble Kinsmen, 85*.
SHARP, W., on the sonnet, 268 n.
SCHRÖER, on early blank verse, SHELLEY: Adonais, 105 f.*; Alas-
SEAMAN, O.: Battle of the Bays,
329 n.*.
Septenary, 259-264; in drama,
218; internal rime in, 132; min-
gled with alexandrine, 252,
253 f., 261, 265; unrimed, 260,
262.
SERAFINO: Strambotti, 272.
Sestina, 383-385.
SHAKSPERE: As You Like It, 57*;
blank verse of, 223 f.; Henry V.,
140*; heroic verse of, 184; It
was a lover, etc., 9*; Julius
Cæsar, 58*; King John, 20*;
Love's Labor's Lost, 38*, 183 f.*;
Macbeth, 20*; Measure for
tor, 243*; Arethusa, 28*;
Epipsychidion, 210*; Flight of
Love, 50 f.*; heroic verse of,
210;
Ode to Naples, 314 f.*;
Ode to West Wind, 66 f. *; Ozy-
mandias, 281 f.*; Queen Mab,
329; Sensitive Plant, 69*; son-
nets of, 282; To a Skylark, 34*;
use of Spenserian stanza, 106;
view of verse-form in poetry,
422 f.
SHENSTONE, heroic stanza of, 73;
Pastoral Ballad, 35*; School-
mistress, 104.
SHERMAN, F.D.: Ballade to Austin
Dobson, 366 f.*.
SIDNEY: Anacreontics, 332*;
Asclepiadics, 331*; Astrophel
and Stella, 74*, 77*, 256*,
272*, 273*, 291*; Dorus and
Zelmane, 340 f.*; hexameters
of, 341; Mopsa, 266*; Phaleu-
ciakes, 331*; Psalm VIII., 69*;
sonnets of, 273; Thyrsis and
Dorus, 65 f.*; view of verse-
form in poetry, 416 f.
SIEVERS, on Anglo-Saxon verse,
152 f.; on stanzaic and stichic
verse, 63.
Sir Fyrumbras, 261 *.
332*; tumbling verse of, 159;
unrimed sonnets of, 219; Virgil's
Gnat, 98f. *.
Spenserian sonnet, 293.
Spenserian stanza, 102-106; stan-
zas influenced by, 107 f.
Sir Gawain and the Green Knight, Spondee, 56, 57.
SKALAGRIMSSON, EGIL, 126.
SKEAT, on sources of Chaucer's
couplet, 178; theory of English
verse, 394 n.
SKELTON: Colyn Cloute, 32 *; rime
royal of, 94.
STANYHURST, R.: Æneid, 341 f.*;
hexameters of, 342 f.
Stanzas, 62-112; complex forms of,
under French influence, 110;
formed by refrains, 78; how
determined and described, 62;
tail-rime, 80-86.
Song of Songs (French version), STEDMAN, E. C., on rhythm in
Sound-qualities of verse made ex- STILLINGFLEET, B., sonnets of, 277.
pressive of sense, 135-137.
SOUTHEY: Curse of Kehama, 329;
hexameters of, 347 f.; Sapphics,
337*; Vision of Judgment,
Stond wel, moder, 84*.
STONE, W. J.: Odyssey, 356*; on
quantity in English verse, 356 f.
Stress (see Accent).
Substitution of feet, 55-61.
347 *.
Spanish verse, 28, 115; assonance Suckling: A Soldier, 86 *.
Suete iesu, king of blysse, 69 *.
SPEDDING, J., on English hexam- SURREY, EARL OF, accents in verse
of, 10; Æneid, 215 f.*; How no
Age is Content, 266 *; inventor
of English sonnet, 290; Psalm
LV., 255; Restless State of a
Lover, 71*; Sonnet, 290*; verse
of, 216.
SPENSER: Amoretti, 293*; Faerie
Queene, 102*; free cesura in,
17; interest in classical metres,
332 f.; Mother Hubbard's Tale,
181*; Shepherd's Calendar, 15*,
89*, 158 f.*, 179f.*; Tetrasticon,| SWIFT: Death of Dr. Swift, 169 f.*.
SWINBURNE: Armada, 51 *, 134*; | TAYLOR, W., on German and Eng-
Atalanta in Calydon, 9*, 146*;
Ballad of François Villon, 367 * ;
Birds, 45*; Century of Roundels,
42*; Choriambics, 340*; Death
of Wagner, 60*; Garden of
Cymodoce, 43*; Hendecasyllab-
ics, 338; Hesperia, 44*; Last
Oracle, 43*; Laus Veneris,
78*; Leper, 9*; March, 13*,
48*; Night in Guernsey, 47*;
on choral ode of Milton, 325; on
English hexameters, 353 f.; on
sonnets of Wordsworth, 280;
On the Cliffs, 329; on Whitman,
431 n.; Roundel, 376*; Sapphics,
340*; Seaboard, 51*; Song in
Season, 28*; Thalassius, 329;
Tristram of Lyonesse, 212*;
Winter in Northumberland,
130 f.*, 147*.
Syllable-counting,
verse, 216; want of, in early
English verse, 16, 112, 151.
Syllables, artificially varied in
length when in metre, 401-404;
kinds of accented, 3.
SYMONDS, J. A., on blank verse,
∙214, 232, 233; of 18th century,
239; of Gorboduc, 217; of Jon-
son, 225; of Keats, 242; of
Marlowe, 220 f.; of Shakspere,
222; of Tennyson, 246; of Web-
ster, 229; on heroic verse of the
romantic poets, 210; Sonnets on
the Thought of Death, 287 f.*.
Tailed sonnet, 276.
Tail-rime (see Rime couée).
TAYLOR, B.: Home Pastorals, 349*;
National Ode, 320 f.*.
lish hexameters, 345; Ossian's
Hymn to the Sun, 344 f.*.
BRINK, on Anglo-Saxon
verse, 151 f.; on Chaucer's
verse, 177, 178; on early five-
stress verse, 175; on verse of
court romances, 164 f.; on verse
of King Horn, 155.
TENNYSON: Alcaics on Milton,
337*; blank verse of, 246;
Boadicea, 339; Break, break,
break, 21*; Charge of the Light
Brigade, 30*; Coming of Ar-
thur, 143; Daisy, 77; elegiac
distich of, 346*; Enoch Arden,
58*, 59*, 144*; Geraint and
Enid, 59*; Hendecasyllabics,
337 f.*; In Memoriam, 75 f. *;
Locksley Hall, 13*, 46 f.*; Lotus-
Eaters, 106*; Maud, 32*, 42*,
43*, 52*, 317; Merlin and Viv-
ien, 58*; Montenegro, 285 f.*;
Northern Farmer, 44*; Enone,
59*; on English hexameters,
353; on quantity in English,
338; Oriana, 80*; Palace of
Art, 74*; Passing of Arthur,
244*; Princess, 8*, 58*, 134*,
144 f.*, 245*, 246*; Queen
Mary, 245*; Sapphics, 339*;
sonnets of, 286; Tears, Idle
Tears, 246*; To Maurice, 77*;
Two Voices, 64*; Vision of Sin,
41*, 54 f.*; Wellington Ode,
315 f.*.
Terminology, classical in English
verse, 24 n., 406–409.
Terza rima, 65-69.
THACKERAY, irregular verse in bal-
lads of, 158 n.; Sorrows of Truncation, 25, 33.
Werther, 47 *; What Makes my
Tumbling verse," 157 f., 159;
relation to decasyllabic, 179 f.
THOMSON, as imitator of Spenser's | TURBERVILLE: Heroical Epistles,
verse, 104; Castle of Indolence,
103*, 143*; Seasons, 237 f.*.
THOMSON, J.: City of Dreadful
TILLBROOK, S., on Southey's hex-
Time-element in English verse,
Time-intervals, 11-23; irregular,
13-16; regular, 12 f.; the basis
of metrical feet, 408.
UDALL, N.: Ralph Roister Doister,
14*.
VAN DYKE, H., on Tennyson's
Wellington Ode, 317.
Variety in verse, significant, 61.
Vers baïfins, 331.
Vers de société, 39, 365.
Versi sciolti, 214, 330 f.
TODHUNTER, On Shelley's verse, 106. Villanelle, 376-380.
TOLOMEI, C., 331.
TOMLINSON, on the sonnet, 267 f.
Tone-color, 135-147.
Tone-quality, 113-147.
TOTTEL: Songs and Sonnets, 10,
87*, 98*, 218, 266*, 271 *, 290 *,
372.
VILLON, 358, 363, 365, 367, 374.
Virelai, 385.
VOITURE, 358, 371; Rondeau, 371*.
Vowels, long and short in English,
396 f.
Trial before Pilate (Mystery Play), WADDINGTON: Manuel des Pechiez,
157*.
TRIGGS, on verse of De Muliere WALLER: Battle of the Summer
Samaritana, 253 f.
Triolet, 381-383.
Islands, 187*; Go, Lovely Rose,
89*; influence on heroic couplet,
187-190; Of the Danger of his
Majesty, etc., 186*.
Triplet, used in heroic verse, 195, WARD, on verse of
208.
TRISSINO, G., 214, 330.
Trochaic verse, two-stress, 27 f.;
three-stress, 33 f.; four-stress,
37 f.; five-stress,`41; six-stress,
43; seven-stress, 45, 259;
eight-stress, 46 f.
Trochee, 24; substituted for
iambus, 57 f.
Troy Book, 156.
WARNER, W.: Albion's England,
261*
WARTON brothers, revivers of son-
net, 277.
WARTON, T., on verse of Joseph
Hall, 182; Sonnet on Dugdale's
Monasticon, 276 f.*.
WATSON (of Cambridge), distich
of, 341 *.
WATSON, T.: Tears of Fancy', 273.
WATSON, W.: Hymn to the Sea,
355*; Sonnet on History, 297 *;
Sonnet to the Sultan, 289 *.
WATTS, T., on verse-form in po-
etry, 426 f.; Sonnet's Voice, 288 *.
Wayle whyte, A, 86*.
WEBBE, W.: Discourse of English
Poetrie cited, 46, 334, 341, 344;
Eclogue of Vergil, 344*; Sap-
phics, 333*.
WEBSTER: Duchess of Malfi, 228*.
WENDELL, B., on Shakspere's
verse, 223 f.
WHITE, G., on chant royal, 368;
on French lyrical forms, 359 f.
WHITE, J. B.: Sonnet to Night,
281 *.
WHITMAN, W., verse of, 431.
WOOD, H., on the heroic couplet,
189 f.
WOODBERRY, on the heroic coup-
Boy, 264*; on blank verse, 232;
on theory of metre, 417-420;
Peter Bell, 91*; Pet Lamb,
257*; Scorn not the Sonnet,
279*; Solitary Reaper, 97 f.*;
Sonnet, The, 278 f.*; sonnets of,
278, 280; The World is too much
with us, 279 f.*; Tintern Abbey,
243*; White Doe of Rylstone,
171 f*.
WYATT, accents in verse of, 10 f.;
How to use the court, 65*; Of
his love that pricked his finger,
98*; O goodly hand, 87*; otta-
va rima introduced by, 98;
Power of Love, 96*; Rondeau,
372*; Sonnet, 271*; sonnet in-
troduced by, 272; text of poems
of, 10 f.; The joy so short, 20*;
Torment of the Unhappy Lover,
IOI f.*; unaccented rime in,
Intimations of YOUNG: Night Thoughts, 238;
Ocean, 87 f.*; stanza of odes of,
88.
Immortality (ode), 312f.*; I
wandered lonely, 92*; Norman
|