The occurrence of an iambus or a spondee at the end and sometimes in the middle of the verse is remarkable, as well as the arbitrary treatment of the caesura, which does not, as in the iambic Septenary verse, always come after the fourth foot (as in the second line), but sometimes in other places; in the first and third lines, for instance, there is a feminine caesura in the fifth foot. More often this Septenary metre occurs in short lines (and therefore with fixed masculine caesura). In this form it appears as early as the seventeenth century in a poem by the Earl of Dorset, _To Chloris_: _Ah! Chlóris, 'tis tíme to disárm your bright éyes, And lay bý those térrible glánces; We líve in an áge that's more cívil and wíse, Than to fóllow the rúles of románces._ Poets, vii. 513. Another specimen of the same rhythm, very artistically handled (cf. _Metrik_, i, § 226) is Charles Wolfe's well-known poem _The Burial of Sir John Moore_. The same metre also occurs with masculine rhymes. § =192.= The =six-foot iambic-anapaestic verse= sometimes occurs in Modern English poets, as Tennyson, _The Grandmother_, _Maud_, &c., Robert Browning, _Abt Vogler_, Mrs. Browning, _Confessions_, Swinburne, _Hymn to Proserpine_, &c. We quote the following verses from Tennyson's _Maud_ to illustrate this metre, which, however, in consequence of the fluctuating proportion of iambic and anapaestic measures occurring in it is handled very differently by different poets (cf. _Metrik_, ii, § 227): _Did he flíng himself dówn? who knóws? | for a vást speculátion had fáil'd, And éver he mútter'd and mádden'd, | and éver wánn'd with despáir, And óut he wálk'd when the wínd | like a bróken wórldling wáil'd, And the flýing góld of the rúin'd wóodlands | dróve thro' the áir._ The caesura is sometimes masculine after the third foot (as in lines 1 and 3), sometimes feminine in the fourth (line 2) or the fifth (line 4); so that its position is quite indeterminate. The rhymes are mostly masculine, but feminine rhymes are also met with, as e.g. in Mrs. Browning's _Confessions_. Swinburne's verses are printed in long lines, it is true, but they are broken into short lines by inserted masculine and feminine rhymes. § =193.= The =five-foot iambic-anapaestic verse= likewise does not occur till recent times, and is chiefly used by the poets just mentioned. Rhymed in couplets it occurs in Mrs. Browning's _The Daughters of Pandarus_, Version II (vol. iv, p. 200): _So the stórms bore the dáughters of Pándarus | óut into thráll-- The góds slew their párents; | the órphans were léft in the háll. And there cáme, to féed their young líves, Aphrodíte divíne, With the íncense, the swéet-tasting hóney, the swéet-smelling wíne._