These specimens show the ballad stanza, which is made of a sort of septenary resolved into short lines of four and three accents. It is often assumed that the measure was derived from the Latin septenary; but owing to the difficulty of supposing that a foreign metre should have been adopted for the most popular of all forms of poetry, some scholars prefer to think that the ballad stanza of this form is the same as that in which all lines have four accents (see specimen on p. 157, above), the last accent of the second and fourth lines having dropped off by natural processes. On the ballad stanzas in general, see Gummere's _English Ballads_, Appendix II. p. 303. Compare with the present specimens the metre of Cowper's _John Gilpin_. That cross he now was fastening there, as the surest power and best For supplying all deficiencies, all wants of the rude nest In which, from burning heat, or tempest driving far and wide, The innocent boy, else shelterless, his lonely head must hide. (WORDSWORTH: _The Norman Boy_. 1842.) This is a rare instance of the use of the long septenary in nineteenth-century poetry. Certainly in Wordsworth's verses the metrical effect cannot be called happy; the measure is made especially clumsy by the introduction of hypermetrical light syllables. In the succeeding specimen the same measure is used with feminine ending. O poets, from a maniac's tongue was poured the deathless singing! O Christians, at your cross of hope a hopeless hand was clinging! O men, this man in brotherhood your weary paths beguiling, Groaned inly while he taught you peace, and died while ye were smiling! (ELIZABETH BARRETT BROWNING: _Cowper's Grave_. 1833.) C.--THE "POULTER'S MEASURE." In the Elizabethan age the alexandrine and the septenary were each used chiefly in conjunction with the other, in alternation of six-stress and seven-stress verses. The name commonly applied to the combination is taken from Gascoigne's _Notes of Instruction_ (1575), where he says: "The commonest sort of verse which we use now adayes (viz. the long verse of twelve and fourtene sillables) I know not certainly howe to name it, unlesse I should say that it doth consist of Poulters measure, which giveth xii. for one dozen and xiiii. for another." (Arber's Reprint, p. 39.) It strikes the reader with surprise to find the measure thus spoken of as "the commonest sort of verse," but a glance at any of the early Elizabethan anthologies will show the justness of Gascoigne's words. Yet the measure, while exceedingly popular, seems to have been instinctively avoided by the best poets (after the days of Surrey and Sidney); hence it is unfamiliar to modern readers.