_From bríghtening fíelds of éther | fáir disclós'd, Chíld of the sún, | refúlgent Súmmer cómes, In pride of yóuth, | and félt through náture's dépth: He cómes atténded | bý the súltry hóurs, And éver-fánning bréezes, | ón his wáy; Whíle, from his árdent lóok, | the túrning Spríng Avérts her blúshful fáce; | and éarth, and skíes All smíling, | to his hót domínion léaves. Hénce let me háste | intó the míd-wood sháde, Where scárce a sún-beam | wánders through the glóom; And ón the dárk-green gráss, | besíde the brínk Of háunted stréam, | that bý the róots of óak Rólls o'er the rócky chánnel,| líe at lárge, And síng the glóries | óf the círcling yéar._ The blank verse of Young (_Night Thoughts_), Cowper (_The Task_), and other less important poets of the eighteenth century is of a similar uniform structure; cf. _Metrik_, ii, §193. § =180.= In the =blank verse of the nineteenth century= we find both tendencies, the strict and the free treatment of this verse-form; according to their predominant employment in epic and dramatic poetry respectively, we may call them the epic and the dramatic form of the verse. They may be chiefly distinguished by the peculiarities to be observed in the blank verse of Milton and Thomson on the one hand, and of Dryden on the other; i.e. by the admission or exclusion of feminine endings. The strict form of the epic blank verse, with masculine endings, is preferred in the narrative or reflective poems of Coleridge, Wordsworth, Southey, Shelley, Keats, W.S. Landor, Longfellow, D. G. Rossetti, Mrs. Browning, Robert Browning, Matthew Arnold, Tennyson, Swinburne, and Edwin Arnold.[170] The free form is represented, mainly, in the dramatic verse of the same and other poets, being used by Coleridge (in his translation of _The Piccolomini_), Wordsworth, Southey, Lamb, Byron, Shelley, W.S. Landor, Tennyson, Matthew Arnold, and others.[171] NOTES: [153] For the accentuation of the word cf. _inter alia_ rhymes such as _mérie: Cáunterbúry_, Prol. 801-2, and Schipper, l.c., pp. 217-18. [154] This definition is also given by Milton in his introductory note on 'The Verse' prefixed in 1668 to _Paradise Lost_. [155] Cf. _Metrik_, ii. §§ 132-5. [156] Cf. _Metrik_, ii. §§ 136-46.