A History of English Prosody consists of three volumes each consisting of several "Books", and each with several "Chapters". The table of contents for each chapter is a miniature history. Below are the Tables of Contents for each volume in HTML, with links to available subject matter.
Volume I of Saintsbury's History is complete in HTML-Embedded FlashPaper and recently updated pdf, as linked from each chapter below; Volume II is complete in pdf, linked as with Volume I; Embedded FlashPaper to come soon For Volume II. Volume III will appear shortly.
Following the contents of the three volumes of the History is an abreviated table of contents of the companion volume, Historical Manual of English Prosody.
by George Saintsbury, M.A. and Hon. D.LItt. Oxon; Hon. LL.D. Aberd., Durham, and Edinb.; Fello of the British Academy; Hon. Fellow Of Merton College, Oxford; Emeritus Profeor Of Rhetoric and English Literature in the Universitiv of Edinburgh
1906, Revised 1908
'Ainsi karoloient illecques.'
— Roman de la Rose
Front matter:
Title Page — html/flashpaper pdf
Preface to Second Edition — html/flashpaper pdf
Conclusion of Original Preface to Volume I — html/flashpaper pdf
Glossariolum Technicum — html/flashpaper pdf
[The "Glossariolum Technicum" is included only for completeness: A better, vastly expanded, verbose, and far more detailed Glossary, from the Manual is herein transcribed into HTML. - dj]
Chapter I: Introductory — html/flashpaper pdf
— The Title - Definition of subject
— Matters barred or subordinated
— The matter preferred, and the method to be applied to it
— The time concerned
— Illustrations from Professor Skeat on Guest and Chaucer
— Antecedent Prosodies
— Anglo Saxon
— Latin - Its divergent lessons
— The earlier or "classical" metre
— The later "accentual" rhythm
— The clash of Rhythm and Metre
— Rhyme
— Greek (?)
— French and Provençal
— Scandanavian
— Celtic
— Summary
Chapter II: From 1100(?) to 1210(?) — html/flashpaper pdf
— Difficulty as to dates and documents
— Working solution and selection
— The Canute song
— The fragments of St. Godric
— The Paternoster
— The Moral Ode
— The Orison of Our Lady
— Layamon
— The Ormulum
— The lesson of their examination
— The "foot" or "measure unit"
— Its internal and ex ternal arrangement
— Resemblances and differences of the result as compared with the mother-prosodies
— The importance and influence of rhyme
— Illustrated from the Rhyming Poem and Layamon
— From the Ormulum and the other pieces
— From the Paternoster, Orison, and Poema Morale
— And generally
Chapter III: The Thirteenth Century — html/flashpaper pdf
— The documents
— Layamon B
— The later Moral Ode
— The Bestiary
— Sinners Beware, etc.
— The Love-Rune
— The Owl and the Nightingale
— Tendency to syllabic rigidity
— The correctives of this
— Versicular Survival: Proverbs of Alfred
— Modified in Proverbs of Hendyng
— Genesis and Exodus
— The Northern Psalter
— Robert of Gloucester
— The earliest Romances: Havelok
— King Horn
— The earliest English fabliaux
Interchapter I — html/flashpaper pdf
Book II: The Fourteenth Century
Chapter I: The Metrical Romances — html/flashpaper pdf
— Scale and matter of the period
— The general prosodic phenomena of metrical Romance
— The Auchinleck MS.
— The octosyllabic couplet poems
— Those in "Romance stanza"
— Origin and character of this
— Other stanzas: Sir Tristrem
— Others
— Lybius Disconus, etc.
Chapter II: Alliterative Romance and the Alliterative Revival Generally — html/flashpaper pdf
— The reappearance of alliterative measure
— Its charactger: interim comparison of Layamon and Langland
— The wholly unrhymed poems: William of Palerne, etc.
— Character and influence of their versification
— The poems with rhyme and stanza
— Gawain and the Green Knight
— The Awntyrs of Arthur
— The Pistyl of Susan
— The Pearl
— Merits and dangers of the blend
— Character of the reaction generally
Chapter III: Miscellaneous Metrical Poetry before or Contemporary with Chaucer/Gower — html/flashpaper pdf
— Robert of Brunne
— His metrical jumble
— Lyric: MS. Harl. 2253
— Analysis of its metres
— Alison
— The Cuckoo Song, note
— Lesson of these
— Especially as to Equivalence and Foot-division
— The Percy Society "Religious Poems"
— William of Shoreham
— Wright's "Political Songs"
— The Cursor Mundi
— Minor poems of the Vernon MS.
— "The Dispute between a Good Man and the Devil"
— "The Castle of Love"
— Hampole
— Minot
— Gower
— His octosyllabics
— His other verse
— His general quality
Chapter IV: Chaucer — html/flashpaper pdf
— Plan of campaign
— What Chaucer had before him in prosody
— His work: The Romaunt of the Rose
— The early "Minor Poems"
— The A B C and its stanza
— Rhetorical prosody
— The Complaint unto Pity
— Rhyme-royal
— The Book of the Duchess
— The Complaint of Mars
— The Parliament of Foules
— The other Minors
— Their lessoon
— Troilus and Cresseide
— The House of Fame
— Cadence, note
— The decasyllable: retrospect of its origin; and study of its virtues
— The Legend of Good Women
— Digression on dificulties
— The crux of the text
— "Critical" editions of the classics and of Middle English
— Solid points for discussion: the stanza forms
— The lines
— Decapitation or initial monosyllabic foot
— Trisyllabic feet
— Elision and Slur
— Trisyllabics proper
— Alexandrines
— Syllable-values
— Rhyme
— Note on Chauceriana
Chapter V: Langland and Other Alliteratives — html/flashpaper pdf
— Piers Plowman
— Its general character
— The verse compared with Anglo-Saxon
— With Layamon
— Its intrinsic values: Structure
— Alliteration
— Rhymelessness
— Quality of the lines
— Qualifications of the rhythm
— Other alliterative poems c. 1400
Interchapter II — html/flashpaper pdf
Book III: The Fifteenth Century
Chapter I: The Drama — html/flashpaper pdf
— The Harrowing of Hell
— The York Plays
— The Townley
— The Coventry
— The Chester
— The rest
Chapter II: The Successors of Chaucer — html/flashpaper pdf
— Ungracious state of the subject
— Lydgate and his reputation
— His older panegyrists
— His recent defenders
— The Minor Poems
— London Lickpenny
— The Story of Thebes
— The Temple of Glass
— The Assembly of Gods
— The Secrets of the Philosoffres
— The Two Nightingale Poems
— The Pilgrimage and other octosyllabic poems
— Occleve
— An interim lesson from the pair
— The last group
— Hawes
— The Conversion of Swearers
— The Pastime of Pleasure
— Barclay
— Skelton
— His "doggerel"
— The "Skeltonic" verse
Chapter III: Ballads and other Folk Poetry — html/flashpaper pdf
— Miscellaneous
— The "Ballad Question" not ours
— Ballad metre very much ours
— Its history and qualities
— The original fourteener
— Chevy Chase
— Gamelyn
— The Nut-brown Maid
— The great Carol
— The Suffolk Dirge
— Miscellenea: songs and carols
— Miscellenea: longer works
Chapter IV: The Prosody of the Scottish Poets — html/flashpaper pdf
— Character and relative importance
— Correctness and its moral
— Points for attention
— Early octosyllabic couplet: Barbour
— The Saints' Lives
— Wyntoun
— Blind Harry
— James I.
— Henryson
— Dunbar
— His successors not equal
— Douglas
— The Æneid
— The original poems
— The Eighth Prologue
— Lyndsay
— The Reformation satires
— Minor poems generally
— Alexander Scott
— Old-fashioned beauty of his metres
— Montgomerie
— The Cherry and Slae metre
— Others
— Hume and Mure
Interchapter III/Note on the Three Preceeding Books — html/flashpaper pdf
Book IV: The Coming of Spenser
Chapter I: The Turn of the Tide: Italian Influence — html/flashpaper pdf
— Outline of subject
— Specific quality, for the purpose, of Italian, and of the sonnet itself
— Wyatt's general effect
— The English sonnet
— In Wyatt
— In Surrey
— Other forms
— "Poulter's measure"
— Wyatt's intertwisted decasyllables
— Surrey's other metres
— His blank verse
Chapter II: The Turn of the Tide: Classical Influence — html/flashpaper pdf
— Twofold direction of this
— Pseudo-classical "versing"
— Metrical study
Chapter III: The Poets between Surrey and Spenser — html/flashpaper pdf
— Constituents
— Predominance of the fourteener
— Googe
— His snapped verses
— Turberville
— Tusser
— Gascoigne
— The later miscellanists
— The translators
— Sackville
— The Mirror for Magistrates
Chapter IV: Sixteenth-Century Drama to Marlowe — html/flashpaper pdf
— The great transition
— Its chief plank: doggerel Alexandrines
— Bale's King Johan
— St. Mary Magdalene, etc.
— Heywood, etc.
— Progress of the doggerel
— Examples
— The Four Elements
— Calisto and Melibæa
— Every Man, etc
— Others
— And others again to Shakespeare
— The metrical aspect of the doggerel group
— The infancy of blank verse
— Gorboduc
— Contrast of potentiality and later achievement
— The Misfortunes of Arthur
— The Marlowe group
Chapter V: Spenser — html/flashpaper pdf
— His position, looking before and after
— The Shepherd's Kalendar
— The "February" metre
— The others
— Other poems
— Mother Hubbard's Tale
— Spenser as a sonneteer
— The Prothalamion and Epithalamion
— The Faerie Queen, and its stanza
— A true prosodic entity
— The diction
— Capacities of the stanza, internal and co-operative
Interchapter IV — html/flashpaper pdf
Appendices to Volume I
Index to Volume I — html/flashpaper pdf
[Each entry to be linked to the page in FlashPaper or pdf, soon, I hope - dj]
Book V: The Time of Shakespeare
Chapter I: Shakespeare and Blank Verse — pdf
— Retrospect of Chaucer, Surrey, etc.
— The line of the University Wits
— Shakespeare
— The order to be taken with his work
— Titus Andronicus
— The Comedy of Errors
— Love's Labour's Lost
— The Two Gentlemen of Verona
— Romeo and Juliet
— A Midsummer Night's Dream
— All's Well that Ends Well
— The early Histories and their Doubles:
— King John
— The "Doubles" generally
— Henry VI.
— Richard III.
— Henry IV.
— Richard II.
— The Merchant of Venice
— The Later Plays
— The Tempest
— The later (?) comedies
— The Merry Wives
— Measure for Measure
— As You Like It
— Taming of the Shrew
— Twelfth Night
— Much Ado
— The Winter's Tale
— The other English Histories
— Henry V.
— Henry VIII.
— Troilus and Cressida
— Timon of Athens
— Coriolanus
— Julius Cæsar
— Antony and Cleopatra
— The Four Great Tragedies
— Macbeth
— Hamlet
— King Lear
— Othello
— Cymbeline
— Pericles
— General considerations
— The pause
— The trisyllabic foot and its revival
— The redundant syllable
— Enjambment
— The morphology and biology of blank verse
— The Poems
— Venus and Adonis
— Lucrece
— The Sonnets
— Miscellaneous metres: the octosyllable
— Decasyllabic couplets
— The Songs
— Note on The Passionate Pilgrim, etc.
Chapter II: The Other "Elizabethan" Dramatists — pdf
— The shortness of the blank-verse season
— And its causes
— The practitioners
— Jonson
— Chapman
— Marston
— Dekker
— Webster
— Rowley
— Middleton
— Heywood
— Tourneur
— Day
— The minors
— General remarks
— Note on Shakespearian "Doubtful" Plays
Chapter III: The Contemporaries and Followers of Spenser in Stanza and Couplet — pdf
— Retrospect on Spenser's comparative position
— Dyer
— Raleigh
— Greville
— Sydney
— The Arcadia verse
— Astrophel and Stella, etc.
— Marlowe
— Drayton
— The Polyolbion
— His narrative stanzas
— His couplet
— His lyrics
— Daniel
— Davies
— Chapman
— His minor metres
— His fourteener
— Its predecessors
— Phaer, Golding, etc.
— Southwell and Warner
— Chapman's comments on his own verse
— Jonson
— The Fletchers
— Giles
— Phineas
— Browne
— His dealings with Occleve
— His "sevens"
— His enjambed couplet
— Wither
— His longer couplet in "Alresford Pool"
— His shorter
— Sylvester and Basse
— The Scottish Jacobeans
— Ayton, Ker, and Hannay
— Drummond
— Stirling
— Note on the Satirists
Chapter IV: Elizabethan Lyric and Sonnet — Donne — pdf
— Contents of chapter
— The Phœnix Nest
— England's Helicon and Davison's Poetical Rhapsody
— Music and prosody
— The Songs from the Plays
— Those from the Romances
— And from the Song-books
— Campion
— His "versings"
— His rhymed poems
— The Sonnet-outburst
— Community of its phenomena
— Instance from Zepheria
— And of its goodness
— Method of operation
— Licences and variations
— In line-length
— In line-number
— Other freaks
— Canzons, madrigals, etc.
— Barnes
— The moral of sonnet and song
— Johnson's lyrics
— The Celia Song
— The epitaphs
— Others
— The In Memoriam metre
— The problem of Donne
— His double prosodic aspect
— The anarchy of the Satires
— The "middle poems"
— The Lyrics
Chapter V: Prosodists — pdf
— A new subject of study
— The attraction of classical metres
— Note on Hawes's Example of Virtue
— The "craze" for them in English
— Ascham
— The contempt of rhyme
— Freaks of the craze
— Drant
— Harvey and Spenser
— Stanyhurst
— "Quantity"
— Sidney's silence
— Webbe
— Nash
— Puttenham
— Campion's Observations
— Daniel's Defence
— The Mirror for Magistrates once more
— Lesson of its prosodic freaks
— Of the prose discussions
— Of its later editions
— Gascoigne's Notes of Instruction
— Note on King James's Rewlis and Cautelis
— Chapman, Johnson, Drayton
Interchapter V — pdf
Book VI: Later Jacobean and Caroline Poetry
Chapter I Milton — pdf
— Studies of Milton's prosody frequent
— Reasons for this
— The early minor pieces
— The Nativity hymn
— The Archades, etc.
— Note on Translations, note
— The octosyllabic group
— The Sonnetts
— Lycidas
— Originality of its form
— Compared with Spenser
— Analysis
— Rationale of the system
— The blank verse
— Comus
— Paradise Lost
— The abjuration of rhyme
— Examination of the verse
— Apostrophation
— Paradise Regained
— Samson Agonistes
— Attempts to systematise apparent anomaly
— Mr. Bridges' view
— Discussion of it
— Contrast of it with our system
— The printing argument
— Cacophonies
— The "scanned not pronounced" argument
— Classical parallels and comparisons
— The true prosodic position of Milton
— Conclusion on uncontentious points
Chapter II The Battle of the Couplets — pdf
— The main currents of mid-seventeenth-century prosody
— The use of the couplet
— The pioneers
— Fairfax
— Sir John Beaumont
— Sandys
— The first main practitioners
— Waller
— Characteristics of his smoothness
— His other metres
— Their moral as to the couplet
— Cowley
— His curious position
— His couplet generally
— The Davideis
— His own principles
— His lyrics
— Denham
— The opposite or enjambed form
— Chalkhill, Marmion, and Chamberlayne
— The constitutive diference of the two styles
— Dangers of enjambment
— Note on the two couplets
Chapter III The Decay of Dramatic Blank Verse — pdf
— Beaumont and Fletcher
— Their taste for redundance
— Their attitude to their licences
— Massinger
— Ford
— Shirley
— Randolph
— Brome
— Davenport
— Nabbes
— Glapthorne
— The actual débâcle
— Suckling
— Davenant
— The problem
— And its answer
— Further instances
— Goff and Cokain
— Nero and The Martyred Soldier
— Rebellion
— Andromana
— Divers Caroline plays compared with Lust's Dominion
Chapter IV Caroline Lyric, Pindaric, and Stanza — pdf
— Special characteristics of this lyric
— And special influence of Jonson and Donne
— Some general characteristics
— Special metres
— The Caroline comon measure
— The Caroline long measure and In Memoriam quatrains
— The pure or mixed trochaic measures
— Herrick
— Carew
— Crashaw
— George Herbert
— Vaughan
— Lord Herbert of Cherbury
— Marvell
— The general
— Digression on "Phillida flouts me" and foot-division
— "Pindaric"
— Its rise in Cowley and its nature
— The inducements ot it
— Furor poeticus, etc.
— Its intrinsic attractions
— Its history
— Cowley's own practice
— The decay of stanza
— The quatrain
Chapter V Prosodists — pdf
— Barrenness of the compartment
— Jonson a defaulter
— Joshua Poole or "J.D."
Interchapter VI — pdf
Book VII: The Age of Dryden
Chapter I Dryden — pdf
— Variety of Dryden's metres
— His general prosodic standpoint
— His practice
— The Hastings elegy
— The Heroic Stanzas
— Astæa Redux and its group
— Annus Mirabilis
— The couplet in the heroic plays
— Its changes
— And conversion to blank
— Dryden's blank verse
— His lyrics
— Other songs
— The Odes
— The Hymns, etc.
— The couplet in the Translations
— In the later poems generally
— The Prologues, etc.
— The Satires
— The didactic and narrative pieces
— Triplets and Alexandrines
— Note on Alexandrines in continuous verse
Chapter II Contemporaries of Dryden in Lyric, Pindaric, and Couplet — pdf
— Arrangement
— Relation in form to predecessors
— "Orinda"
— Aphra Behn
— Sedley
— Rochester
— Dorset
— Others
— Otway
— Halifax
— Mulgrave
— Congreve
— Walsh
— The later Pindarics
— Sprat, Watts, etc.
— Otway again
— Swift
— Yalden
— Congreve again
— Couplet verse
— The minor heroic dramatists and the satirists
— Roscommon
— Mulgrave again
— Others
— Pomfret
Chapter III The Octosyllable and the Anapæst: Butler, Swift, and Prior — pdf
— "Hudibrastics" and Hudibras
— Their congeniality
— The rhymes
— Improper use of the name
— Practice of the metre before and after 1700
— Swift: his octosyllables
— The anapæst
— Retrospect of it
— Examples up to "Mary Ambree"
— And "A Hundred Years Hence"
— Remarks on this
— Prior
— His relation to the couplet
— His prosodic remarks
— His Pindaric
— His "improved" Spenserian
— His Octosyllables
— His Anapæsts
— The charm of the metre
— Other points in him
— His double rhymes
Chapter IV Prosodists — pdf
— Continued poeverty of the subject
— Dryden
— Mulgrave, Roscommon, etc.
Interchapter VII — pdf
Book VIII: The Eighteenth Century
Chapter I Pope and the Later Couplet — pdf
— Pope's metrical unitarianism
— His couplet, and its form
— The "gradus epithet"
— The Pastorals
— The Messiah and Windsor Forest
— The Essay on Criticism and The Rape of the Lock
— The Elegy on an Unfortunate Lady
— Eloisa to Abelard
— Interim comparison with Dryden
— The Homer
— The Essays and Satires
— Their value as chasteners
— Pope in other measures
— After Pope
— Johnson
— The partial return to Dryden
— Savage
— Churchill
— Goldsmith
— Crabbe
— Sir Eustace Grey etc.
— The heroics
— Cowper
— His early poems
— Table Talk, etc.
— Tirocinium
Chapter II Blank Verse after Milton — pdf
— The meaning of "after"
— Roscommon
— John Philips
— Broome and Fenton
— Addison, Watts, and others
— Gay and Prior
— Thomson
— Somerville
— Armstrong
— Young
— Digression on dramatic blanks
— Southerne
— Congreve, Rowe, and Addison
— Exaltation of the soliloquy
— Return to Night Thoughts
— Akenside
— Blair
— Glover
— Cowper
— Early blank verse
— The Task
— Yardley Oak
Chapter III Eighteenth-Century Lyric, etc. — pdf
— Preliminaries
— The Transition
— Addison, Parnell, and Rowe
— Hughes
— Gay
— Granville, etc.
— Watts
— Byrom
— Shenstone
— Spenserian imitation
— Akenside
— Smart
— Collins
— The "Ode to Evening"
— The others
— Gray
— The "Elegy" and the minor Odes
— The two great Odes, etc.
— Note, Mason
— Goldsmith
— Cowper
— Chatterton
— The Ballad
— The 1723 Collection
— The Reliques
— Evans
— Some minor lyrics
— The hymn-writers
— Charles Wesley
— Toplady
— Cowper again
— Later eighteenth-century anapæst and octosyllable
— Dyer and Anstey
Chapter IV Prosodists — pdf
— Revival of prosodic study
— Bysshe
— The rigour of the syllabic game
— Importance of this
— Watts
— Gildon
— Brightland, etc.
— Pemberson, Mainwaring, Harris
— Say and Home
— Burnet, Tucker, Herries
— Sheridan
— Steele
— Tyrwhitt
— Walter Young
— Nares and Fogg
— The Upper House: Shenstone
— On "long" rhymes
— On "dactyls"
— Gray
— His Metrum notes
— Johnson
— "Decasyllabomania" in him and others
— His arguments on pause
— Note on Goldsmith, note
— John Mason
— Mitford
Interchapter VIII — pdf
Index to Volume II — pdf
Book IX: The Romantic Revival
Chapter I Burns, Blake, and the Close of the Eigheenth Century (with an Excursus on Ossian)
— A glance backwards at Crabbe and Cowper
— Burns
— His "alterative" power
— Of the highest importance, but comparatively simple
— Blake: his complexity
— The Poetical Sketches
— The "Mad Song"
— The Songs of Innocence and of Experience
— The MS. Poems
— The "Prophetic" Books
— Blake's note on their form
— Models?
— The Early Fragment
— Tiriel
— Thel
— The Marriage of Heaven and Hell
— The French Revolution
— Albion, America, and Europe
— Urizen, Los, and Ahania
— The Four Zoas (Vala)
— Milton and Jerusalem
— Summary on Blake
— The other side
— Darwin
— Hayley
— Gifford
— Helen Maria Williams
— The Della Cruscans
— Moral of this
— Attempts at rhymelessness
— The hexameter
— Rhymeless Pindarics
— Sayers
— Bowles
Excursus on Ossian
Chapter II The First Romantic Group (The Lake Poets, Scott, Moore,
Landor, etc.)
— Possible influences
— Southey
— His early perception of true doctrine
— His practice in Ballad
— Thalaba
— Kehania
— Coleridge
— The Christabel manifesto
— Its looseness of statement
— His prosodic opinions not clear
— Supreme importance of his prosodic practice
— Kubla Khan
— The Ancient Mariner
— Recent ballad metre
— Christabel
— Wonderful blunders about it
— His other prosodic titles
— Wordsworth: his theories on poetic diction
— On "harmony of numbers"
— His actual prosodic quality
— The prosody of the Immortality ode
— An interlude of skirmish
— Scott
— His relation to Christabel
— His other narrative metres
— His lyric
— His critics
— Special relation of Moore's prosody to music
— The lesson of "Eveleen's Bower"
— Landor: his ordinary prosody
— That of his "epigrams"
— Rogers
— Campbell
— Mat Lewis
Chapter III The Second Romantic Group (Leigh Hunt, Byron, Shelley, Keats, and Minors)
— Leigh Hunt
— Byron: his lyrics
— His blank verse, etc.
— His Spenserians
— His serio-comic ottava
— Digression on Frere
— Byron's adoption of it
— Don Juan
— Shelley
— Undeliberateness of his prosody
— the "Juvenilia"
— Queen Mab
— His blank verse from Alastor onwards
— His early Spenserians
— Prince Athanase and the tercet
— Rosalind and Helen: Shelley's octosyllables
— Julian and Maddalo: his heroics
— Blank verse and other metres in drama
— Prometheus Unbound
— The Masque of Anarchy, etc.
— The Witch of Atlas and the octave
— Epipsychidion and Adonais
— The Triumph of Life, etc.
— The smaller lyrics, etc.
— Keats
— The early poems
— The sonnetts
— Endymion and Keats's first couplet
— The prosodic criticism in the Quarterly
— Isabella and his octave
— Lamia and the improved couplet
— Hyperion and its blank verse
— The Eve of St. Agnes and the Spenserian
— The various ode stanzas
— La Belle Dame sans Merci and The Eve of St. Mark
— The "Intermediates"
— "L. E. L."
— Haynbes Bayly
— Macaulay
— "The Last Buccaneer"
— Praed
— The "Praed metre"
— Hood
— "The Haunted House"
— His minor poems
— Darley and Beddoes
Chapter IV Prosodists before Guest
— Subject of the chapter
— Return to Cowper; as prosodic critic
— Sayers again
— The grammaticasters; Walker and Murray
— Odell
— Thelwall
— Roe
— Warner
— Herbert
— Gregory
— Criticisms on Southey's hexameters; the Edinburgh Review
— Tillbrook
— Crowe
— Some others
— Payne Knight
— Carey
— Frere and Blundell
Interchapter IX
Book X: Early and Middle Victorian Verse
Chapter I Tennyson and Browning
— Tennyson: the Poems by Two Brothers and other earliest work
— Timbuctoo and The Lover's Tale
— The volumes of 1830 and 1832
— "Claribel"
— The "Hollyhock" song
— "The Poet" and the decasyllabic quatrain
— The "Palace" and "Dream" stanzas
— The "Dying Swan"
— "The Lady of Shalott"
— "Œnone"
— The "Lotos-Eaters"
— The "Vision of Sin"
— "St. Simeon Stylites"
— "Love and Duty"
— "Morte d'Arthur" and "Ulysses"
— The Princess
— In Memoriam
— The Wellington ode
— Maud
— "The Voyage," etc.
— The anapæstics of the Ballads
— The later blank verse
— The dramas
— Browning
— The common mistake about him and Sordello
— The later form: not incorrect, but admitting the highest excellence with difficulty
— His octosyllables
— His salvation by lyric
— Miscellaneous examples
— "Love among the Ruins"
— "The Last Ride Together"
— "In a Gondola"
— More miscellenies
— "Childe Roland"
— Dramatis Personae
— "James Lee['s Wife]"
— "Abt Vogler"
— "Rabbi Ben Ezra"
— The later books
— Fifine at the Fair
— The last varieties
Chapter II The Mid-Century Minors
— Classification
— Mrs. Browning
— Her defects in form, especially in rhyme and diction
— The superiority of her strictly metrical powers
— Examples, especially "The Rhyme of the Duchess May"
— Mathew Arnold: his peculiar position
— His rhymless attempts: "The Strayed Reveller"
— Early lyric and blank verse
— "The Forsaken Merman" and "A Question"
— "The Church of Brou" and "Tristram and Iseult"
— "Isolation"
— Merope
— Empedocles on Etna
— "The Scholar-Gypsy," etc.
— Kingsley
— Some general considerations
— The "Spasmodics"
— Some miscellaneous examples
— Light verse: Barham
— Thackeray
— Dramatic verse: retrospect
— Miss Baillie and Talfourd
— Tennyson and Browning again
— Edward FitzGerald and the Rubaiyat
Chapter III Guest and other Mid-Century Prosodists
— Guest's History of English Rhythms
— The author a "solifidian" of accent
— His learning
— Its accompanying drawbacks
— The three obsessions
— Their working
— The accentual prejudice
— The linguistic-historical delusions
— The "section"
— Its scheme
— Its freaks
— Southey's summary verdict
— Evans
— O'Brien, Latham, Dallas, Lord Redesdale, etc.
Interchapter X
Book XI:The Later Nineteenth Century
Chapter I The Pre-Raphaelite School
— Distribution and nomenclature
— Differentia: general and particular
— D. G. Rossetti
— "The Blessed Damozel"
— Various poems
— His sonnets and the later sonnet generally
— William Morris: his prosodic importance
— The verse in the Oxford and Cambridge Magazine
— The Defense of Guenevere
— The Life and Death of Jason
— Morris's heroics
— The Earthly Paradise
— Its octosyllabics
— Mr. Swinburne: his blank verse postponed
— Atalanta in Calydon
— Considerations on it
— Chastelard
— Poems and Ballads
— Laus Veneris
— Various forms
— The "Dolores" metre
— Other books: A Song of Italy and Songs before Sunrise
— The second Poems and Ballads
— "At a Month's End"
— The later volumes
— The blank verse
— The couplets of Tristram
— The long metres
— Miss Rossetti: Goblin Market
— The title poem
— Her later books
— Sonnets and general quality
— Canon Dixon
— Mano and its metre
— O'Shaughnessy: The Epic of Women
— The "Bacarolle"
— Lays of France
— Songs of a Worker
— Music and Moonlight
— James Thomson II.
Chapter II Other Poets of 1850-1900
— Restrictions
— Mr. George Meredith
— Comparison of Emily Bronte's "Remembrance"; Faber's "Pilgrims of the Night"; and Lord Lytton's "Astarte"
— Miss Veley: "A Japanese Fan"
— Lord De Tabley
— Mr. Henley
— John Davidson
— Francis Thompson
— Coventry Patmore
— The revival of the ballade and similar forms
— Some more dead poets, and some live ones
Chapter III The Later English Hexameter and the Discussions on It
— Hexametrists between Daniel and the mid-eighteenth century
— Goldsmith
— Tucker and the Herries
— The German example and its followers
— The "accentual form
— Coleridge
— Southey: his discussion of the matter
— The Vision of Judgment
— Between Southey and Longfellow
— Evangeline
— Clough: The Bothie
— His elegiacs, lyrics, etc.
— Others
— Cayley
— Calverley
— Kingsley and his remarks on Andromeda
— Andromeda itself
— Its base really anapæstic
— Tennyson
— Arnold and others
— Mr. Swinburne
— The last stage
— Reversion to Spedding, etc.
— Mr. W. J. Stone
— Mr. Bridges' experiments
Chapter IV Later Prosodists
— Plan
— Mr. Omond's work
— Sidney Walker
— Masson
— Patmore
— Mr. Wadham
— Tom Hood the Younger
— Dr. Abbott
— Professor Sylvester
— Professor Earle
— Mr. Henry Sweet
— Mr. Symonds
— Mr. A. J. Ellis
— Conway
— Mr. Ruskin
— Mr. Edmund Gurney
— Mr. Shadworth Hodgson
— Professor Fleeming Jenkin
— Professor Mayor
— The "monopressure" theory
— Mr. William Larminie
— Mr. J. M. Robertson
— MM. Van Dam and Stoffel
— Other foreign students of English prosody: Dr. Schipper
— M. Verrier
— Mr. Hallard
— Mr. Bateson
— Mr. William Thomson
— Mr. C. F. Keary
— Mr. Hewlett
— Remarks on "Fancy" prosodies
Chapter V American Poets and Prosodists
— Necessary selection
— Bryant
— "Maria del Occidente"
— Holmes
— Lowell
— Leland
— Emerson
— Poe
— His verse
— His Rationale of Verse
— Longfellow
— Whitman
— Rush
— Lanier
— Dr. Price
— Professor Gummere
— Miss Julia Dabney
— Professor Liddell
— Professor Lewis
— Others
Conclusion, at the end of Volume III
Appendices
I. What is a Foot?
II. Is the Base-foot of English Iamb or Trochee?
III. Trisyllabic Metres Since 1600
IV. Rhyme, 1600-1900
V. Alliteration and Vowel Music, 1600-1900
VI. An Omnibus Box
A. The Prosody of Langland, Lydgate and the "Kingis Quair"
B. Guest's Symbol for Marking Accent, and its Bearings
C. The Metre of Spenser's "February"
D. Some Modern Instances
E. Notes (not strictly Corrigenda) for Vol. II
by George Saintsbury, M.A. and Hon. D.LItt. Oxon; Hon. LL.D. Aberd., Durham, and Edinb.; Fello of the British Academy; Hon. Fellow Of Merton College, Oxford; Emeritus Profeor Of Rhetoric and English Literature in the Universitiv of Edinburgh
MacMIllan and Co., Limited, St. Martin's Street, London 1926
Book I: Introductory and Dogmatic
Chapter I: Introductory
Chapter II: Systems of English Prosody: The Accentual or Stress
— Classical prosody uniform in theory
— English not so
— "Accent" and "stress"
— English prosody as adjusted to them
— Its difficulties
— And insuficiencies
— Examples of its application
— Its various sects and supporters
Chapter III: Systems of English Prosody: The Syllabic
— History of the syllabic theory
— Its results
— Note: Cautions
Chapter IV: Systems of English Prosody: The Foot
— General if not always consisent use of the term "foot"
— Particular objections to its systematic use
— "Quantity" in English
— The "common" syllable
— Intermediate rules of arrangement
— Some interim rules of feet (expanded in note)
— The different systems applied to a single verse of Tennyson's
— And their application examined
— Application further to his "Hollyhock" song
— Such application possible always and everywhere
Chapter V: Rules of the Foot System
A. Feet
— Feet composed of long and short syllables
— Not all combinations actual
— Differences from "classical" feet
— The three usual kinds: iamb, trochee, anapæst
— The spondee
— The dactyl
— The pyrrhic
— The tribrach
— Others
B. Constitution of Feet
— Quality or "quantity" in feet
— Not necessarily "time"
— Nor vowel "quantity"
— Accumulated consonants
— Or rhetorical stress
— Or place in verse will quantify
— Commonness of monosyllables
C. Equivalence and Substitution
— Substitution of equivalent feet
— Its two laws
— Confusion of base must be avoided
— (Of which the ear must judge)
— Certain substitutions are not eligible D. Pause
— Variation of pause
— Practically at discretion
— Blank verse specially dependent on pause
E. Line-Combination
— Simple or complex
— Rhymes necessary to couplet
— Few instances of successsful unrhymed stanza
— Uneveness of line in length
— Stanzas to be judged by the ear
— Origin of commonest line-combinations
F. Rhyme
— Rhyme natural in English
— It must be "full"
— and not identical
— General rule as to it
— Alliteration
— Single, etc., rhyme
— Fullness of sound
— Internal rhyme permissible
— But sometimes dangerous
G. Miscellaneous
— Vowel-music
— "Fingering"
— Confusion of rhythms intolerable
Chapter VI: Continuous Illustrations of English Scansion
According to the Foot System
I. Old English period: Scansion only dimly visible
II. Late Old English with nisus towards metre: "Grave" poem
III. Transition Period: Metre struggling to assert itself in a new way
IV. Early Middle English Period: Attempt at merely syllabic uniformity with unbroken iambic run and no rhyme
V. Early Middle English Period: Conflict or indecision between accentual rhythm and metrical scheme
VI. Early Middle English Period: T\he appearance and development of the "Fourteener"
VII. Early Middle English Period: The plain and equivalenced octosyllable
VIII. Early Middle English Period: The romance-six or Rime Couee
IX. Early Middle English Period: Miscellaneous stanzas
X. Early Middle English Period: Appearance of the decasyllable
XI. Later Middle English Period: The alliterative revival (pure)
XII. Later Middle English Period: The alliterative revival (mixed)
XIII. Later Middle English Period: Potentially metrical lines in Langland (see Book II)
XIV. Later Middle English Period: Scansions from Chaucer
XV. Later Middle English Period: Variations from strict iambic norm in Gower
XVI. Transition Period: Examples of breakdown in literary verse
XVII. Transition Period: Examples of true prosody in ballad, carols, etc.
XVIII. Transition Period: Examples of Skeltonoic and other doggerel
XIX. Transition Period: Examples from the Scottish poets
XX. Early Elizabethan Period: Examples of reformed metre from Wyatt, Surrey, and other poets before Spenser
XXI. Spenser at Different Periods
XXII. Examples of the development of blank verse
XXIII. Examples of Elizabethan lyric
XXIV. Early continuous anapæsts
XXV. The enjambed heroic couplet (1580-1660)
XXVI. The stopped heroic couplet (1580-1660)
XXVII. Varous forms of octosyllable - heptasyllable (late Sixteenth and Seventeenth Century)
XXVIII. "Common," "long," and In Memoriam measure (Seventeenth Century)
XXIX. Improved anapæstic measures (Dryden, Anon., Prior)
XXX. "Pindarics" (Seventeenth Century)
XXXI. The heroic couplet from Dryden to Crabbe
XXXII. Eighteenth Century blank verse
XXXIII. The regularised Pindaric Ode
XXXIV. Lighter Eighteenth Century lyric
XXXV. The revival of equivalence (Chatterton and Blake)
XXXVI. Rhymeless attempts (Collins to Shelley)
XXXVII. The revived ballad (Percy to Coleridge)
XXXVIII. Specimens of Christabel; Note on the application of the Christabel system to Nineteenth Century lyric generally
XXXIX. Ninetheenth Century couplet (Leigh Hunt to Mr. Swinburne)
XL. Nineteenth Century blank verse (Wordsworth to Mr. Swinburne)
XLI. The non-equivalenced octosyllable of Keats and Morris
XLII. The continuous Alexandrine (Drayton and Browning)
XLIII. The Dying Swan of Tennysonscanned entirely through to show the application of the system
XLIV. The stages of the metre of "Dolores" and the dedication of Poems and Ballads
XLV. Long metres of Tennyson, Browning, Morris, and Swinburne
XLVI. The later sonnet
XLVII. The various attempts at "hexameters" in English
XLVIII. Minor imitations of classical metres
XLIX. Imitations of artificial French forms
L. Later rhymlessness
LI. Some "unusual" metres and disputed scansions
Book II: Historical Sketch of English Prosody
Chapter I: From the Origins to Chaucer
— the Constitution of English Verse
— Relations of "Old" to "Middle" and "New" English
— Generally
— And in prosody
— Anglo-Saxon prosody itself
— Prosody of the Transition to Middle English
— Contrast in Layamon
— Examinations of it: insufficent
— Sufficient
— Other documents
— The Ormulum
— The Moral Ode and the Orisons of Our Lady
— The Proverbs of Alfred and Hendyng
— The Bestiary
— Minor poems
— The Owl and the Nightingale and Genesis and Exodus
— Summary of results to the mid-thirteenth century
— The later thirteenth century and the fourteenth
— Robert of Gloucester
— The Romances
— Lyrics
— The alliterative revival
— The later fourteenth century
— Langland
— Gower
— Chaucer
— His perfecting of Middle English verse
— Details of his prosody
Chapter II: From Chaucer to Spencer: Disorganization and Reconstruction
— Causes of decay in Southern English prosody
— Lydgate, Occleve, etc.
— The Scottish poets
— Ballad, etc.
— Dissatisfaction and reform
— Wyatt and Surrey
— Their followers
— Spenser
— The Shepherd's Calendar
— The Faerie Queen
Chapter III: From Shakespeare to Milton:The Close of the Formative Period
— Blank verse
— Before Shakespeare
— In him
— And after him in drama
— Its degeneration
— Milton's reform of it
— Comus
— Paradise Lost
— Analysis of its versification, with application of different systems
— Stanza, etc. in Shakespeare
— In Milton
— And others
— The "heroic" couplet
— Enjambed
— And stopped
— Lyric
Chapter IV: Halt and Retrospect: Continuation on Heroic Verse and its Companions from Dryden to Crabbe
— Recapitulation
— Dryden's couplet
— And Pope's
— Their predominance
— Eighteenth-century octosyllable and anapæst
— Blank verse
— And lyric
— Merit of eighteenth-century "regularity"
Chapter V: The Romantic Revival: Its Precursors and First Great Stage
— Gray and Collins
— Chatterton, Burns, and Blake
— Wordsworth, Southey, and Scott
— Coleridge
— Moore
— Byron
— Shelley: his longer poems
— His lyrics
— Keats
Chapter VI: The Last Stage: Tennyson to Swinburne
— From Keats to Tennyson
— Tennyson himself
— Special example of his manipulation of the quatrain
— Browning
— Mrs. Browning
— Matthew Arnold
— Later poets: The Rossettis
— William Morris
— Mr. Swinburne
— Others
Chapter VII: Recapitulation or Summary View of Stages of English Prosody
I. Old English Period
II. Before or very soon after 1200: Earliest Middle English Period
III. Middle and Later Thirteenth Century: Second Early Middle English Period
IV. Earlier Fourtheenth Century: Central Period of Middle English
V. Later Fourteenth Century: Crowning Period of Middle English
VI. Fifteenth and Early Sisteenth Centuries: The Decadence of Middle English Prosody
VII. Mid-Sixteenth Century: The Recovery of Rhythm
VIII. Late Sixteenth Century: The Perfecting of Metre and of Poetical Diction
IX. Early Seventeenth Century: The further Development of Lyric, Stanza, and Blank Verse; insurgence and Division of the Couplet
X. Mid-Seventeenth Century: Milton
XI. The Later Seventeenth Century: Dryden
XII. The Eighteenth Century
XIII. The Early Nineteenth Century and the Romantic Revival
XIV. The Late Ninetheenth Century
Book III: Historical Survey of Views on Prosody
Chapter I: Before 1700
— Dearth of early prosodic studies
— Gascoigne
— His remarks on feet
— Spenser and Harvey
— Stooneyhurst
— Webbe
— King James VI.
— Puttenham (?)
— Campion and Daniel
— Ben Jonson, Drayton, Beaumont
— Joshua Poole and "J. D."
— Milton
— Dryden
— Woodford
— Comparative barrenness of the whole
Chapter II: From Bysshe to Guest
— Bysshe's Art of Poetry
— Its importance
— Minor prosodists of the mid-eighteenth century
— Dr. Johnson
— Shenstone
— Sheridan
— John Mason
— Mitford
— Joshua Steele
— Historical and Romantic prosody
— Gray
— Taylor and Sayers
— Southey: his importance
— Wordsworth
— Coleridge
— Christabel, its theory and its practice
— Prosodists from 1800 to 1850
— Guest
Chapter III: Later Nineteenth Century Prosodists
— Discussions on the Evangeline Hexameter
— Mid-century prosodists
— Those about 1870
— And since
— Summary
Book IV: Auxiliary Apparatus
Chapter I: Glossary [This glossary, along with Saintsbury's definitions and comments, appears herein as html, with many links to source works on the web]
— Accent
— Acephalous
— Acrostic
— Alexandrine
— Alcaic
— Alliteration
— Amphibrach
— Amphimacer
— Note on Musical and Rhetorical Arrangements of Verse
— Anacrusis
— Anapæst (or Anapaest or Anapest)
— Anti-Bacchic or Anti-Bacchius
— Antipast
— Antistrophe
— appoggiatura
— Arsis and its opposite, Thesis
— Assonance
— Atonic
— Bacchic or Bacchius
— Ballad (rarely Ballet)
— Ballade
— Ballad Metre (or Meter) or Common Measure
— Bar and Beat
— Blank Verse
— Bob and Wheel
— Burden
— Burns Metre (or Meter)
— Cadence
— Cæsura (or Caesura)
— Carol
— Catalexis
— Catch
— Chant-Royal
— Choriamb
— Coda
— Common
— Common Measure ("C.M.")
— Consonance
— Couplet
— Cretic
— Dactyl
— Di-amb (or Diamb)
— Dimeter
— Dispondee
— Distich
— Ditrochee
— dochmiac
— Doggerel
— Duple
— Elision
— End-stopped
— Enjambment
— Envoi
— Epanaphora
— Epanorthosis
— Epitrite
— Epode
— Equivalence
— Eye-Rhyme
— Feminine Rhyme (Feminine Ending)
— "Fingering"
— Foot; Table of Feet
— Fourteener
— Galliambic
— Gemell or Geminel
— Head-Rhyme
— Hendecasyllable
— Heptameter
— Heroic
— Hexameter
— Hiatus
— Iambic
— Inverted Stress
— Ionic; Note on Ionic a minore as applicable to the Epilogue of Browning's Asolando
— Leonine Verse
— Line
— Long and Short
— Long Measure ("L. M.")
— Lydgatian Line
— Masculine Rhyme
— Metre (or Meter)
— Molossus
— Monometer
— Monopressure
— Octave
— Octometer
— Ode
— Ottava Rima
— Pæon (or Paeon)
— Pause
— Pentameter
— Pindaric
— Position
— Poulter's Measure
— Proceleusmatic
— Pyrrhic
— Quantity
— Quartet or Quatrain
— Quintet
— Redundance
— Refrain
— Rhyme
— Rhyme-Royal
— Rhythm
— Riding Rhyme
— Rime Couee or Tailed Rhyme
— Romance-Six
— Rondeau, Rondel
— Sapphic
— Section
— Septenar
— Septet
— Sestet, also Sixain
— Sestine, Sestina
— Short Measure ("S. M.")
— Single-Moulded
— Skeltonic
— Slur
— Sonnet
— Spenserian
— Spondee
— Stanza or Stave
— Stress
— Stress-Unit
— Strophe
— Substitution
— Synaloepha or Synalœpha
— Syncope
— Synizesis
— Syzygy
— Tailed Sonnet
— Tercet
— Terza Rima
— Tetrameter
— Thesis
— Time
— Tribrach
— Triolet
— Triple
— Triplet
— Trochee
— Truncation
— Tumbling Verse
— Turn of Words
— Verse
— Verse Paragraph
— Vowel-Music
— Weak Ending
— Wrenched Accent
Chapter II: Reasoned List of Poets with Special Regard to Their Prosodic Quality and Influence [This list, along with Saintsbury's comments, appears herein as html , with many links to source works on the web]
— Arnold, Matthew (1822-1888)
— Barham, Richard H. (Thomas Ingoldsby) (1788-1845)
— Beaumont, Sir John (1583-1623)
— Blake, William (1757-1827)
— Bowles, William Lisle (1762-1850)
— Browne, William (1591-1643)
— Browning, Elizabeth Barrett (1806-1861)
— Browning, Robert (1812-1889)
— Burns, Robert (1759-1796)
— Byron, George Gordon, Lord (1788-1824)
— Campbell, Thomas (1777-1844)
— Campion, Thomas (?-1619)
— Canning, George (1770-1827)
— Chamberlayne, William (1619-1689)
— Chatterton, Thomas (1752-1770)
— Chaucer, Geoffrey (1340?-1400)
— Cleveland, John (1613-1658)
— Coleridge, Samuel Taylor (1772-1834)
— Collins, William (1721-1759)
— Congreve, William (1670-1729)
— Cowley, Abraham (1618-1667)
— Cowper, William (1731-1800)
— Donne, John (1630-1700)
— Drayton, Michael (1563-1631)
— Dryden, John (1630-1700)
— Dixon, Richard Watson (1833-1900)
— Dunbar, William (1450?-1513? or 1530?)
— Dyer, John ( 1700?-1758?)
— Fairfax, Edward (d. 1635)
— Fitzgerald, Edward (1809-1883)
— Fletcher, Giles (1588-1623) and
— Fletcher, Phineas (1582-1650)
— Fletcher, John (1579-1625)
— Frere, John Hookham (1769-1846)
— Gascoigne, George (1525?-1577)
— Glover, Richard (1712-1785)
— Godric, Saint (?-1170)
— Gower, John (1325?-1408)
— Hampole, RichardRolle of (1290?-1347)
— Hawes, Stephen (d. 1523)
— Herrick, Robert (1591-1674)
— Hunt, J. H. Leigh (1784-1859)
— Jonson, Benjamin (1573?-1637)
— Keats, John (1795-1821)
— Kingsly, Charles (1819-1875)
— Landor, Walter Savage (1775-1864)
— Langland, William (fourteenth century)
— Layamon (late twelfth and early thirteenth century)
— Lewis, Matthew Gregory (1775-1818)
— Locker (latterly Locker-Lampson), Frederick (1821-1895)
— Longfellow, Henry Wadsworth (1807-1882)
— Lydgate, John (1370-1450?)
— Macaulay, Thomas Babington (1800-1859)
— Maginn, William (1793-1842)
— Marlowe, Christopher (1664-1693)
— Milton, John (1608-1674)
— Moore, Thomas (1779-1852)
— Morris, William (1834-1896)
— Orm (?)
— O'Shaughnessy, Arthur W. E. (1844-1881)
— Peele, George (1558?-1597?)
— Percy, Thomas (1729-1811)
— Poe, Edgar (1809-1849)
— Pope, Alexander (1688-1744)
— Praed, Winthrop Mackworth (1802-1839)
— Prior, Matthew (1664-1721)
— Robert of Gloucester (fl. c. 1280)
— Rossetti, Christina Georgina (1830-1894)
— Rossetti, Dante Gabriel (1828-1882)
— Sackville, Thomas (1536-1608)
— Sandys, George (1578-1644)
— Sayers, Frank (1763-1817)
— Scott, Sir Walter (1771-1832)
— Shakespeare, William (1564-1616)
— Shelley, Percy Bysshe (1792-1822)
— Shenstone, William (1714-1763)
— Sidney, Sir Philip (1554-1586)
— Southey, Robert (1774-1843)
— Spenser, Edmund (1552?-1599)
— Surrey, Earl of (1517-1547)
— Swinburne, Algernon Charles (1837-1909)
— Tennyson, Alfred (1809-1892)
— Thomson, James (1700-1748)
— Tusser, Thomas (1524?-1580)
— Waller, Edmund (1606-1687)
— Watts, Issac (1674-1741)
— Whitman, Walt[er] (1819-1892)
— Wordsworth, William (1770-1850)
— Wyatt, Sir Thomas (1503?-1542)
Chapter III Origins of Lines and Stanzas
A. Lines
— I. Alliterative
— II. "Short" lines
— III. Octosyllable
— IV. Decasyllable
— V. Alexandrine
— VI. Fourteener
— VII. Doggerel
— VIII. "Long" lines
B. Stanzas, etc.
— I. Ballad Verse
— II. Romanced-Six or Rime Couee
— III. Octosyllabic and Decasyllabic Couplet
— IV. Quatrain
— V. In Memoriam Metre
— VI. Rhyme-Royal
— VII. Octave
— VIII. Spenserian
— IX. Burns Metre
— X. Other Stanzas
Chapter IV Bibliography
— Abbot, E.A.
— Alden, R. M.
— Blake, J. W.
— Brewer, R. F.
— Bridges, R. S.
— Bysshe, Edward
— Calvery, C. S.
— Campion, Thomas
— Cayley, C. B.
— Coleridge, S. T.
— Conway, Gilbert
— Crowe, William
— Daniel, Samuel
— Dryden, John
— Gascoigne, George
— Goldsmith, Oliver
— Guest, Edwin
— Hodgson, Shadworth
— Hood, T. (the younger)
— Jenkin, Fleeming
— Johnson, Samuel
— Ker, W. P.
— King James the First (Sixth of Scotland)
— Lewis, C. M.
— Liddell, Mark H.
— Mason, John
— Masson, David
— Mayor, J. B.
— Mitford, William
— Ormond, T.S.
— Patmore, Coventry
— Poe, E. A.
— Puttenham, George?
— Ruskin, John
— Schipper, J.
— Shenstone, William
— Skeat, W. W.
— Southey, Robert
— Spedding, James
— Spenser, Edmund
— Steele, Joshua
— Stone, W. J.
— Symonds, J. A.
— Thelwall, John
— Verrier, M.
— Wadham, E.
— Webbe, William
Index
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