This combination is that which is found in the classic

hexameter; e. g.:

Hearty and hale was he, an oak that is covered with snow-flakes ;

White as the snow were his locks, and his cheeks as brown as the oakleaves. -Evangeline: Longfellow.

Terminal triple measure is usually joined with terminal double; e. g.:

With fingers weary and worn,

With eyelids heavy and red.

-Song of the Shirt: Hood.

Let them sing who may of the battle fray,
And the deeds that have long since passed.

The Good Old Plough: Anon.

And median triple measure is used sometimes with initial double; e. g.:

Glen Orchy's proud mountains, Coalchurn and her towers,

Glenstrae and Glenlyon no longer are ours:

We're landless, landless, landless, Grigalach.
Landless, landless, landless.

-Macgregor's Gathering: Scott.

But it is used more frequently with terminal double measure; l. g. :

I wield the flail of the lashing hail,

And whiten the green plains under ;
And then again I dissolve it in rain;
And laugh as I pass in thunder.

-The Cloud: Shelley.

In some compositions all forms, both of double and triple measure, are combined, the only essential consideration in the mind of the poet being to arrange the accents so that, when read, they can be separated by like intervals; e. g. ¡

Day after day, day after day,
We stuck, not land nor motion,
As idle as a painted ship
Upon a painted ocean.

Water, water everywhere,

And all the boards did shrink;
Water, water everywhere,

Nor any a drop to drink.

*

I closed my lids and kept them close,

And the balls like pulses beat;

For the sky and the sea, and the sea and the sky

Lay like a load on my weary eye,

And the dead were at my feet.

-The Ancient Mariner: Coleridge.

Quadruple measure is made up of two feet of double measure, one of the accented syllables of which receives more stress than the other.

Here, for instance, is the

Greeks, or what may be
In it there are two

Ditrochaic measure of the
termed Diinitial Quadruple measure.
trochaic feet.

Roses are in blossom, and the | rills are filled with | water-cresses.

-Anon.

And here is the Greek Diiambic measure, in which there are two iambic feet. It may be called Diterminal Quadruple measure.

The king has come | to màrshal us | in all his ar | mor dressed,

-Battle of Ivry: Macaulay.

The first of these is evidently an example of initial accent, and the second of terminal accent, and each must indicate the same as in double measure, with the exception that in quadruple measure the movement is more rapid, and represents, therefore, more buoyancy and momentum in the thought.

If necessary, a distinction might be drawn between these two forms of Quadruple measure and those forms of it in which the primary accent belongs to the second of its two Double measures. The following, for instance, is usually considered to be an example of Initial Double measure. But it might be divided into feet like these, and termed Final Diinitial Quadruple measure, because the primary accent belongs to the final double foot constituting the Quadruple measure:

We the fairies | blithe and àntic,
Of dimensions not gigantic ;

Though the moonshine mostly keep us,
Oft in orchards frisk and peep us.

-Fairies' Song: Thomas Randolph.

Trans. by Leigh Hunt.

And this, for similar reasons, might be termed Final Diterminal Quadruple measure:

Domestic bliss | has proved my bàne

A harder case you never heard,
My wife (in other matters sane)
Pretends that I'm a Dicky-bird!

-Bains Carew: Gilbert.

In such cases, however, it is better to attribute the greater prominence given to certain of the accented syllables, not to the supposed fact that the lines containing them are composed in Quadruple measure, instead of—as seems to be the case-in Double measure; but to the effects, considered in Chapter Fourth, of short quantity which increases the rapidity of the movement, and of the pauses in the middle and at the end of each line which increase the emphasis of the accented syllables immediately preceding them. If we call the measures that we have just examined Quadruple, what is to prevent our supposing that verses, written in triple measure like the

following, contain feet composed of four, or even six, syllables?

Guvener B. is a sensible man ;

He stays to his home | an' looks arter his folks.

-The Biglow Papers: Lowell.

We have seen now that all the different kinds of elocu tionary stress have correspondences in poetic measures. It remains to be said that, just as different kinds of stress may be used in reading different parts of the same sentence, so different kinds of measures may be used in the same verse, either for the sake of variety, or to give peculiar emphasis to some word or syllable thus thrust into unusual and unexpected importance.

Here terminal accent is used for initial, at the beginning of a line:

Hears amid the chime and singing
The bells of his own village ringing.

-Carillon: Longfellow.

And here at the end of a line:

Silence on the town descended,

Silence, silence everywhere.

-Idem.

Here initial accent is used for terminal, at the beginning of a line, and also at its end:

Blaze with your serried columns,

I will not bend the knee.

-The Seminole's Defiance: G. W. Patten.

And here at its end:

O sacred head now wounded,

With grief and shame weighed down.

-Hymn: Bernard through Gerhardt tr. by J. W. Alexander,

In the following, with the variety that is common in triple measure, we have initial accent in Sunbeam; terminal, in From cape; median, in The mountains; initial triple, in Over a; and terminal tripple, in with a bridge,

etc.

From cape to cape with a bridge-like shape,

Over a torrent sea,

Sunbeam-proof, I hang like a roof,

The mountains its columns be.

-The Cloud: Shelley.

Corresponding to the methods of dramatic elocution, changes in measure are often made in order to represent the movements of certain objects described. Notice, in the following terminal double measures, how the placing of the accent on the first syllable of many of the feet, serves, by changing them into initial triple measures, to convey the impression of rapidity:

Each creek and bay

With fry innumerable swarm, and shoals
Of fish that with their fins and shining scales
Glide under the green wave, in sculls that oft
Bank the mid sea; part single or with mate,
Graze the sea-weed, their pasture, and through groves
Of coral stray, or sporting with quick glance
Show to the sun their wav'd coats dropt with gold.

-Paradise Lost, 7: Milton.

Notice here, too, the words italicized:

From peak to peak, the

Leaps the live thunder.

Far along

rattling crags among,

Not from one lone cloud,

But every mountain now hath found a tongue.

-Childe Harold: Byron.

And the representation of the movement of the leaf,

when the poet comes to speak of it, in the following: