Massinger's verse is more regular than that of Fletcher and others, in the matter of extra final syllables and the like, but free and flexible in the use of run-on lines and generally progressive movement.[31] It is an error to assume that there was no good blank verse written in this period when the drama in general is said to have been in a state of "decadence." The verse of Ford, for example, is noticeably strong and restrained (compare the remark of Mr. Symonds, on its "glittering regularity"). On the other hand, one may see the dramas of Richard Brome for specimens of the decadent metre at its worst. Brome wrote comedies both in prose and verse, and there is little difference between the two forms in his hands. See also the crude and lax verse of some of the early plays of Dryden, illustrated on p. 234 below. It was verse of this kind which, as Mr. Gosse observes, justified the introduction of the heroic couplet in all its strictness. All in a moment through the gloom were seen Ten thousand banners rise into the air With orient colors waving: with them rose A forest huge of spears: and thronging helms Appear'd, and serried shields in thick array Of depth immeasurable: anon they move In perfect phalanx to the Dorian mood Of flutes and soft recorders; such as rais'd To height of noblest temper heroes old Arming to battle, and in stead of rage Deliberate valor breath'd, firm and unmov'd With dread of death to flight or foul retreat, Nor wanting power to mitigate and swage With solemn touches, troubl'd thoughts, and chase Anguish and doubt and fear and sorrow and pain From mortal or immortal minds.... ... And now his heart Distends with pride, and hardening in his strength Glories: for never since created man Met such embodied force, as nam'd with these Could merit more than that small infantry Warr'd on by cranes: though all the giant brood Of Phlegra with th' heroic race were joined That fought at Thebes and Ilium, on each side Mixed with auxiliar gods; and what resounds In fable or romance of Uther's son Begirt with British and Armoric knights; And all who since, baptiz'd or infidel, Jousted in Aspramont or Montalban, Damasco, or Morocco, or Trebizond, Or whom Biserta sent from Afric shore When Charlemagne with all his peerage fell By Fontarabbia. (MILTON: _Paradise Lost_, Book I. ll. 544-559; 571-587. 1667.)