making of verse or rhyme in English,' printed in 1575.
'Whosoever do peruse and well consider his (Chaucer's) works,
he shall find that, although his lines are not always of one
selfsame number of syllables, yet being read by one that hath
understanding, the longest verse, and that which hath most
syllables in it, will fall (to the ear) correspondent unto that
which hath fewest syllables; and likewise that which hath
fewest syllables shall be found yet to consist of words that
have such natural sound, as may seem equal in length to a verse
which hath many more syllables of lighter accents.'
"A theory so ingeniously maintained, and with so much induction
of examples, has naturally gained a good deal of credit. I
cannot, however, by any means concur in the extension given to
it. Pages may be read in Chaucer, and still more in Dunbar,
where every line is regularly and harmoniously decasyllabic;
and though the caesura may perhaps fall rather more uniformly
than it does in modern verse, it would be very easy to find
exceptions, which could not acquire a rhythmical cadence by any
artifice of the reader. The deviations from the normal type, or
decasyllable line, were they more numerous than, after
allowance for the license of pronunciation, as well as the
probable corruption of the text, they appear to be, would not,
I conceive, justify us in concluding that it was disregarded.
These aberrant lines are much more common in the dramatic blank
verse of the seventeenth century. They are, doubtless, vestiges
of the old rhythmical forms; and we may readily allow that
English versification had not, in the fifteenth or even
sixteenth centuries, the numerical regularity of classical or
Italian metre. In the ancient ballads, Scots and English, the
substitution of the anapaest for the iambic foot, is of
perpetual recurrence, and gives them a remarkable elasticity
and animation; but we never fail to recognize a uniformity of
measure, which the use of nearly equipollent feet cannot, on
the strictest metrical principles, be thought to impair."
Public-domain text, read in full here on John Shaqi.
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