Measure III.—Iambic of Six Feet, or Hexameter · The Grammar of English Grammars

The Grammar of English Grammars · Chapter 364Measure III.—Iambic of Six Feet, or Hexameter

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Example I.—A Couplet.

Example II.—From a Description of a Stag-Hunt.

Example III.—An Extract from Shakespeare.

Example IV.—The Ten Commandments Versified.

This verse, consisting, when entirely regular, of twelve syllables in six iambs, is the Alexandrine; said to have been so named because it was "first used in a poem called Alexander."—Worcester's Dict. Such metre has sometimes been written, with little diversity, through an entire English poem, as in Drayton's Polyolbion; but, couplets of this length being generally esteemed too clumsy for our language, the Alexandrine has been little used by English versifiers, except to complete certain stanzas beginning with shorter iambics, or, occasionally, to close a period in heroic rhyme. French heroics are similar to this; and if, as some assert, we have obtained it thence, the original poem was doubtless a French one, detailing the exploits of the hero "Alexandre." The phrase, "an Alexandrine verse," is, in French, "un vers Alexandrin." Dr. Gregory, in his Dictionary of Arts and Sciences, copies Johnson's Quarto Dictionary, which says, "ALEXANDRINE, a kind of verse borrowed from the French, first used in a poem called Alexander. They [Alexandrines] consist, among the French, of twelve and thirteen syllables, in alternate couplets; and, among us, of twelve." Dr. Webster, in his American Dictionary, improperly (as I think) gives to the name two forms, and seems also to acknowledge two sorts of the English verse: "ALEXAN'DRINE, or ALEXAN'DRIAN, n. A kind of verse, consisting of twelve syllables, or of twelve and thirteen alternately." "The Pet-Lamb," a modern pastoral, by Wordsworth, has sixty-eight lines, all probably meant for Alexandrines; most of which have twelve syllables, though some have thirteen, and others, fourteen. But it were a great pity, that versification so faulty and unsuitable should ever be imitated. About half of the said lines, as they appear in the poet's royal octave, or "the First Complete American, from the Last London Edition," are as sheer prose as can be written, it being quite impossible to read them into any proper rhythm. The poem being designed for children, the measure should have been reduced to iambic trimeter, and made exact at that. The story commences thus:—

All this is regular, with the exception of one foot; but who can make any thing but prose of the following?

"Thy limbs will shortly be twice as stout as they are now, Then I'll yoke thee to my cart like a pony in the plough." "Here thou needest not dread the raven in the sky; Night and day thou art safe,—our cottage is hard by." WORDSWORTH'S Poems, New-Haven Ed., 1836, p. 4.

In some very ancient English poetry, we find lines of twelve syllables combined in couplets with others of fourteen; that is, six iambic feet are alternated with seven, in lines that rhyme. The following is an example, taken from a piece of fifty lines, which Dr. Johnson ascribes to the Earl of Surry, one of the wits that flourished in the reign of Henry VIII:—

Measure IV.—Iambic of Five Feet, or Pentameter

Example I.—Hector to Andromache.

Example II.—Angels' Worship.

Example III.—Deceptive Glosses.

Example IV.—Praise God.

Example V.—The Christian Spirit.

Example VI.—To London.

This verse, the iambic pentameter, is the regular English heroic—a stately species, and that in which most of our great poems are composed, whether epic, dramatic, or descriptive. It is well adapted to rhyme, to the composition of sonnets, to the formation of stanzas of several sorts; and yet is, perhaps, the only measure suitable for blank verse—which latter form always demands a subject of some dignity or sublimity.

The Elegiac Stanza, or the form of verse most commonly used by elegists, consists of four heroics rhyming alternately; as,

Iambic verse is seldom continued perfectly pure through a long succession of lines. Among its most frequent diversifications, are the following; and others may perhaps be noticed hereafter:—

(1.) The first foot is often varied by a substitutional trochee; as,

(2.) By a synæresis of the two short syllables, an anapest may sometimes be employed for an iambus; or a dactyl, for a trochee. This occurs chiefly where one unaccented vowel precedes an other in what we usually regard as separate syllables, and both are clearly heard, though uttered perhaps in so quick succession that both syllables may occupy only half the time of a long one. Some prosodists, however, choose to regard these substitutions as instances of trissyllabic feet mixed with the others; and, doubtless, it is in general easy to make them such, by an utterance that avoids, rather than favours, the coalescence. The following are examples:—

(3.) In plays, and light or humorous descriptions, the last foot of an iambic line is often varied or followed by an additional short syllable; and, sometimes, in verses of triple rhyme, there is an addition of two short syllables, after the principal rhyming syllable. Some prosodists call the variant foot, in die former instance, an amphibrach, and would probably, in the latter, suppose either an additional pyrrhic, or an amphibrach with still a surplus syllable; but others scan, in these cases, by the iambus only, calling what remains after the last long syllable hypermeter; and this is, I think, the better way. The following examples show these and some other variations from pure iambic measure:—

Example I.—Grief.

Example II.—A Wish to Please.

Measure V.—Iambic of Four Feet, or Tetrameter

Example I.—Presidents of the United States of America.

Example II.—The Shepherd Bard.

Example III.—Two Stanzas from Eighteen, Addressed to the Ettrick Shepherd.

Example IV.—"Elegiac Stanzas," in Iambics of Four feet and Three.

This line, the iambic tetrameter, is a favourite one, with many writers of English verse, and has been much used, both in couplets and in stanzas. Butler's Hudibras, Gay's Fables, and many allegories, most of Scott's poetical works, and some of Byron's, are written in couplets of this measure. It is liable to the same diversifications as the preceding metre. The frequent admission of an additional short syllable, forming double rhyme, seems admirably to adapt it to a familiar, humorous, or burlesque style. The following may suffice for an example:—

The following lines have ten syllables in each, yet the measure is not iambic of five feet, but that of four with hypermeter:—