[5] Leigh Hunt said that "Coleridge saw the mistake which had been made with regard to this measure, and restored it to the beautiful freedom of which it was capable, by calling to mind the liberties allowed its old musical professors the minstrels, and dividing it by _time_ instead of _syllables_." (See the entire passage on _Christabel_, in the Introduction, on "What is Poetry?", to _Imagination and Fancy_. For a criticism of the metrical structure of _Christabel_, see Robert Bridges's _Milton's Prosody_ (ed. 1901, pp. 73-75).) II. THE FOOT AND THE VERSE English verse is commonly measured by feet, a determinate number of which go to form a verse or line. The foot is determined by the distance from one accented syllable to another in the regular scheme of the metre. The usual metrical feet are either dissyllabic or trisyllabic. The dissyllabic foot is commonly called an _iambus_ (or _iamb_) if the unaccented syllable precedes the accented, and a _trochee_ if the accented precedes the unaccented. The trisyllabic foot is commonly called an _anapest_ if the two unaccented syllables precede the accented syllable, and a _dactyl_ if they follow the accented syllable.[6] It will be observed that the fundamental rhythm of both iambic and trochaic verse is the same, as is also that of both anapestic and dactylic verse; the distinction belonging only to the metre as measured into regular lines. Iambic and anapestic verse (in which the light syllables commonly open the verse) are sometimes called "ascending rhythm"; trochaic and dactylic verse (in which the accented syllables commonly open the verse) "descending rhythm." Ascending rhythm is very greatly in predominance in English poetry. The normal verse of any poem is therefore described by indicating the name of the foot and the number of feet in the verse. The number of feet is always indicated by the number of stresses or principal accents in the normal verse. As the light or unaccented syllables may vary from the typical number, it may also be necessary to indicate that the line is longer than its name would imply, by reason of Feminine Ending (a light syllable added at the end) or Anacrusis (a light syllable prefixed); or that it is shorter than its name would indicate by reason of Catalexis or Truncation (the light syllable at the end--or less frequently at the beginning--being omitted). In like manner, any particular verse or line is fully described by indicating: (1) the typical foot; (2) the number of feet; (3) the place of the cesura; (4) the presence or absence of a final pause ("end-stopped" or "run-on"); (5) the presence of such irregularities as (_a_) Anacrusis or feminine ending, (_b_) Catalexis (or truncation), (_c_) Substitution of exceptional feet for the typical foot, (_d_) Pauses other than the cesural. _One-stress iambic_. Thus I Pass by And die As one Unknown And gone. (HERRICK: _Upon his Departure Hence_. 1648.)