§ =132.= Many sections of the narrative poems of Coleridge, Scott, and Byron, e.g. the latter's _Siege of Corinth_, are written in this form, with which, in especially animated passages, four-beat verses often alternate. Cf., for instance, the following passage, xvi, from the last-named poem: _Stíll by the shóre Alp mútely músed, And wóo'd the fréshness níght diffúsed. There shrínks no ébb in that tídeless séa, Which chángeless rólls etérnallý; So that wíldest of wáves, in their ángriest móod, Scarce bréak on the bóunds of the lánd for a róod; And the pówerless móon behólds them flów Héedless if she cóme or gó: Cálm or hígh, in máin or báy, Ón their cóurse she háth no swáy._ Lines 5-7 can be at once recognized as four-stress verses by the iambic-anapaestic rhythm, as well as by the strongly-marked caesura, which, in the four-foot verses 4, and especially 8 and 10, is entirely or almost entirely absent (cf. pp. 98-9); and both metrical forms, the calmer four-foot verse and the more animated four-stress metre, are in harmonious agreement with the tone of this passage. Four-foot lines, forming component parts of metrically heterogeneous types of stanzas, such, for instance, as the tail-rhyme stave, are generally more regularly constructed than in the Middle English period. § =133.= Among the metrical forms which took their rise from the four-foot line, the most noteworthy are the two-foot and the one-foot verse, the former the result of halving the four-foot verse, the latter of dividing the two-foot verse, as a rule, by means of the rhyme. These verse-forms only seldom occur in the Middle English period, as a rule in anisometrical stanzas in connexion with verses of greater length. Thus, in the poem in Wright's _Specimens of Lyric Poetry_, p. 38, composed in the entwined tail-rhyme stanza, the short lines have two accents: _wiþóute stríf: y wýte, a wýf_ 10-12; _in tóune tréwe: while ý may gléwe_ 4-6. The eighteen-lined enlarged tail-rhyme stave of the ballad, _The Nut-brown Maid_ (Percy's _Reliques_, iii. 6), also consists of two- and three-foot lines; in this case the two-foot lines may be conceived as the result of halving the first hemistich of the septenary line. In Modern English two-foot lines are also rare and are chiefly found in anisometrical stanzas. They do occur, however, here and there in isometrical poems, either written in couplets or in stanzas of lines rhyming alternately; as, for instance, in Drayton, _An Amouret Anacreontic_: _Most góod, most fáir, Or thíngs as ráre To cáll you's lóst; For áll the cóst Wórds can bestów, Só póorly shów Upón your práise That áll the wáys Sénse hath, come shórt_, &c.