"When awoke the sun, the golden, that his eyes heaven-orient Scann'd lustrous air, the rude seas, earth's massy solidity, When he smote the shadowy twilight with his healthy team sublime, Then arous'd was Attis; o'er him sleep hastily fled away To Pasithea's arms immortal with a tremulous hovering." As Mr. Ellis observes, the metre of Tennyson's _Boadicea_ was modelled on this of Catullus. Compare also Mr. George Meredith's _Phaëthon_, "attempted in the galliambic measure": "At the coming up of Phœbus, the all-luminous charioteer, Double-visaged stand the mountains in imperial multitudes, And with shadows dappled, men sing to him, Hail, O Beneficent; For they shudder chill, the earth-vales, at his clouding, shudder to black." --Saw the white implacable Aphrodite, Saw the hair unbound and the feet unsandalled Shine as fire of sunset on western waters; Saw the reluctant Feet, the straining plumes of the doves that drew her, Looking always, looking with necks reverted, Back to Lesbos, back to the hills whereunder Shone Mitylene. (SWINBURNE: _Sapphics_, in _Poems and Ballads_.) Love, what ailed thee to leave life that was made lovely, we thought, with love? What sweet visions of sleep lured thee away, down from the light above? What strange faces of dreams, voices that called, hands that were raised to wave, Lured or led thee, alas, out of the sun, down to the sunless grave? (SWINBURNE: _Choriambics_, in _Poems and Ballads_, Second Series, 1878.) Swinburne's imitations of classical measures are frankly accentual, with no effort to introduce fixed quantities into English. B.--DACTYLIC HEXAMETER Lady, reserved by the heavens to do pastors' company honor, Joining your sweet voice to the rural Muse of a desert, Here you fully do find this strange operation of love, How to the woods Love runs, as well as rides to the palace, Neither he bears reverence to a prince nor pity to beggar, But (like a point in midst of a circle) is still of a nearness, All to a lesson he draws, neither hills nor caves can avoid him. (SIR PHILIP SIDNEY: _Dorus and Zelmane_, in the _Arcadia_. ab. 1580.) Sidney was evidently trying to write genuinely quantitative hexameters. Thus "of love," in the third line, may be regarded as a quantitative spondee (the _o_ being followed by two consonants), although the _of_ would not naturally be stressed. In like manner it is very possible that "pallace" was spelled with two _l_'s in order to make the first syllable seem long.