When during the same period a definitive separation of the rising and falling rhythms took place, the even-measured rhythm of this four-stressed modern metre became more conspicuous and was made up frequently, although not always, of a regular series of iambic-anapaestic measures. It was thus differentiated still more distinctly from the uneven-beat Old and Middle English long line, the character of which mainly rested on the four well-marked beats only. It deserves notice further that it was not until the Modern English period that the rest of the iambic-anapaestic and trochaic-dactylic metres (the eight-, seven-, six-, five-, four-, three-, and two-foot verses) were imitated from the then common corresponding iambic rhythms. In the sixteenth century Puttenham quotes four-foot dactylics, and in his time the dactylic hexameter had already been imitated in English. But most of the other trisyllabic rising and falling metres, except the Septenary, occur first in English poetry at the end of the eighteenth and during the course of the nineteenth century. It must also be noted that in many cases, especially in the eight-, four-, and two-foot verses of this kind (i.e. in those metres that are connected with the old four-stressed verse), the rising and falling rhythms are not strictly separated, but frequently intermingle and even supplement one another. I. Iambic-anapaestic Metres. § =190. Eight-foot iambic-anapaestic verses= rhyming in long lines are very rare, but appear in the following four-lined stanza of four-foot verses by Burns, _The Chevalier's Lament_ (p. 343): _The smáll birds rejóice in the gr+ée+n l+ea+ves retúrning, The múrmuring stréamlet winds cléar thro' the vále; The háwthorn trees blów in the déws of the mórning, And wíld scatter'd cówslips bedéck the gr+ee+n d+á+le._ In this metre each of the two periods begins with an iambic measure and then passes into anapaests, the feminine ending of the first (or third) line and the iambic beginning of the second (or fourth) forming together an anapaest. In a poem by Swinburne (_Poems_, ii. 144) four-foot anapaestic and dactylic lines alternate so as to form anapaestic periods: _For a dáy and a níght Love sáng to us, pláyed with us, Fólded us róund from the dárk and the líght_, &c. For other less correct specimens of such combinations of verse cf. _Metrik_, ii, §225. § =191. The seven-foot iambic-anapaestic verse= would seem to be of rare occurrence except in the most recent period; in long lines and masculine rhymes it has been used by Swinburne, as e.g. in _The Death of Richard Wagner_;[173] we quote the middle stanza: _As a vísion of héaven from the hóllows of ócean, | that nóne but a gód might sée, Rose óut of the sílence of thíngs unknówn | of a présence, a fórm, a míght, And we héard as a próphet that h+éa+rs G+o+d's méssage | agáinst him, and máy not flée._