Prospero. _No hárm! Í have done nóthing | bút in cáre of thée, Of thée, my déar one, | thée, my dáughter, | whó Art ígnoránt of whát thou árt, | nought knówing Of whénce I ám, | nór that I ám more bétter Than Próspero, | máster óf a fúll poor céll, And thý no gréater fáther._ | Miranda. _Móre to knów Did néver méddle wíth my thóughts._ | &c. Tempest, I. ii. 1-22. § =173.= The further development of blank verse can be dealt with here only very briefly. For the dramatic blank verse of Shakespeare's contemporaries and immediate successors see _Metrik_, vol. ii, §§ 167-78, and the works there enumerated. The reader may also be referred to various special treatises[164] of later date, which supply detailed evidence in the main confirming the correctness of the author's former observations. In this place we mention only the characteristic peculiarities of the most important poets of that group. =Ben Jonson's blank verse= is not so melodious as that of Shakespeare. There is often a conflict between the logical and the rhythmical stress, as e.g.: _Be éver cáll'd | the fóuntayne óf selfe-lóve._ Cynthia's Rev. I. ii. Theses of two and even more syllables likewise occur in many verses, e.g.: _Sir Péter Túb was his fáther, | a saltpétre mán._ Tale of a Tub, I. 22; frequently also feminine or even disyllabic unaccented endings are used: _The dífference 'twíxt | the cóvetous ánd the pródigal._ Staple of News, I. iii. 39. These licences often give to his verse an uneven and rugged rhythm. There are only slight differences from Shakespeare's usage with regard to the caesura, inversion of accent, &c. Run-on lines, as well as rhyme and the use of prose, are common in his plays; some of his comedies are almost entirely written in prose. § =174.= In =Fletcher=, on the contrary, run-on lines, rhymed verses, and prose are exceedingly rare. Feminine and gliding endings, however (sometimes of three, and even of four supernumerary syllables), are often used; in some plays even more often than masculine ones. (For specimens cf. § 91.) Feminine endings, combined with disyllabic or polysyllabic first thesis, are common; now and then we find epic caesuras or other theses in the interior of the line: _They are too hígh a méat that wáy, | they rún to jelly._ Loyal Subj. I. i. 371. _A cóach and four hórses | cánnot dráw me fróm it._ ib. III. ii. 361. _Thís was hard fórtune; | but íf alíve and táken._ Hum. Lieut, I. i. 7.