The rhythm is here almost entirely anapaestic; the caesura occurs in the most diverse places and may be either masculine or feminine. The ending of the line is masculine throughout, as well as in Robert Browning's _Saul_ (iii. 146-96), but with many run-on lines. In Swinburne's _A Word from the Psalmist_ (_A Mids. Holiday_, p. 176) we have another treatment of this metre. As a rule the line begins with an anapaest, and continues in pure iambic rhythm: _But a lóuder | thán the Chúrch's écho | thúnders In the éars of mén | who máy not chóose but héar; And the héart in hím | that héars it léaps and wónders, With triúmphant hópe | astónished, ór with féar._ In other examples it has an iambic or spondaic rhythm at the beginning and end, with an anapaestic part in the middle, as in _The Seaboard_ (ib., p. 3) by the same poet: _The séa is at ébb, | and the sóund of her útmost wórd, Is sóft as the l+éa+st w+a+ve's lápse | in a stíll sm+a+ll r+éa+ch. From báy into báy, | on quést of a góal deférred, From héadland éver to héadland | and bréach to bréach, Where éarth gives éar | to the méssage that áll days préach._ In _A Century of Roundels_, p. 1, &c., Swinburne uses this metre, which also occurs in Tennyson's _Maud_, with feminine and masculine endings alternately. § =194.= The =four-foot iambic-anapaestic verse= is essentially identical with the four-stressed verse treated of above (§ 72), except that it has assumed a still more regular, even-beat rhythm in modern times; generally it begins with an iambus and anapaests follow, as in the stanza quoted from Burns (§ 190). Occasionally this metre has an almost entirely anapaestic structure; as e.g. in Moore, _In the Morning of Life_: _In the mórning of lífe, | when its cáres are unknówn, And its pléasures in áll | their new lústre begín, When we líve in a bríght-beaming | wórld of our ówn, And the líght that surróunds us | is áll from withín._ In other examples the rhythm is chiefly iambic, intermingled with occasional anapaests; as e.g. in Moore's _You Remember Ellen_: _You remémber Éllen, | our hámlet's príde How méekly she bléssed | her húmble lót, When the stránger Wílliam, | had máde her his bríde, And lóve was the líght | of her lówly cót._ Verses like these, which in their structure recall the earlier four-stressed verses, frequently occur (see §§ 72, 132) mixed with four-foot verses of a somewhat freer build in the narrative poems of Coleridge, Scott, and Byron. § =195.= The =three-foot iambic-anapaestic verse= took its origin by analogy to the corresponding four-foot line, or perhaps to the two-foot line derived from it by inserted rhymes; it occurs as early as Tusser, _Five Hundred Points of Good Husbandry_ (cf. Guest, ii, p. 251): _What lóokest thou hérein to háve? Fíne vérses thy fáncy to pléase? Of mány my bétters that cráve; Look nóthing but rúdeness in thése._