Pope's heroic verse is still more uniformly constructed than that of Dryden. Both poets hardly ever employ any caesura but the masculine and the lyric after the second and third beat, and the end of the line is almost exclusively masculine. Initial truncation or the absence of an unaccented syllable internally is hardly to be met with in their poems. The earlier diversity in the structure of this line was (under the influence of the French models whom they closely imitated) considerably restricted. Even transposition of accent occurs comparatively seldom, so that the word-accent generally exactly coincides with the rhythmical accent. Enjambement is, however, employed more frequently by Dryden than by Pope; and the former, moreover, occasionally admits at the close of a triplet a verse of six feet, while Pope, in his original poems, completely avoids triplets as well as six-accent lines. The breaking of rhyme both poets purposely exclude. A similar uniform character is exhibited by the heroic verse of most of the poets of the eighteenth century. It is not before the nineteenth century that this metre, in spite of the persistence of individual poets, e.g. Byron, in adhering to the fashion set by Pope, again acquires greater freedom. Shelley and Browning, for instance, are fond of combining lines of heroic verse by enjambement so as to form periods of some length. Wordsworth, Coleridge, Southey and others again admit couplets and triplets with occasional six-foot lines at the close. But the caesura remains nearly always restricted to the places which it occupies in Pope's verse, and the close of the line is masculine. Keats only often indulges in feminine rhymes. It is, however, remarkable that such rhymes more often occur in five-foot verses combined in stanzas when employed for satirical and comic compositions, as e.g. in Byron's _Beppo_ and _Don Juan_. In these poems the disyllabic thesis, the slurring of syllables, and other rhythmical licences, also more frequently occur. NOTES: [141] See ten Brink, _The Language and Metre of Chaucer_ (English transl.), § 280, where the metrical treatment of these words is described. The German term used by ten Brink is _Anlehnungen_. [142] _Old English Homilies_, ed. R. Morris, First Series, Part I, E.E.T.S., No. 29, pp. 55-71. [143] Cf. Charles L. Crow, _On the History of the Short Couplet in Middle English_. Dissert., Göttingen, 1892. [144] Cf. _John Heywood als Dramatiker_, von Wilh. Swoboda, 1888, p. 83 ff. [145] Cf. our metrical notes ('Metrische Randglossen') in _Engl. Studien_, x, p. 192 seq. [146] In _Old English Homilies_, ed. R. Morris, pp. 190ff. [147] Trautmann, _Anglia_, v, Anz., p. 124; Einenkel, ibid., 74; Menthel, _Anglia_, viii, Anz., p. 70. [148] According to Guest (ii. 233) 'because the poulterer, as Gascoigne tells us, giveth twelve for one dozen and fourteen for another'.