Names of poems are arranged alphabetically under authors. An asterisk in connection with the page number indicates that the poem is quoted at least in part.

Abraham and Isaac (Mystery Play), 112*.
Accents, arbitrary variation of, 400;
conflict of, 7-11;
deficiency in, 55,56;
degrees of, 3-5;
excess of 55, 57;
hovering, 9-11;
inversion of, 7, 8, 55, 56, 57 f.;
kinds of, 3, 6;
relation of different kinds, 7;
relation to quantity, 405 f.;
secondary, 3, 5, 156, 409;
time-intervals of, 11, 393-396;
wrenched, 8-11.
Addison: Campaign, 199*;
Cato, 236*;
on verse of Butler, 167 f.
Ælfric, verse of, 116 f.
Akenside: Pleasures of the Imagination, 238;
Virtuoso, 104.
Alamanni, influence on Wyatt, 65.
Alberti, classical metres of, 330.
Alcaic stanza, 77.
Alexandrine, 252-259;
developed by Browning, 258;
French, 18;
in five-stress verse, 195, 208, 258;
in sonnet, 272 f.;
in Spenserian stanza, 103;
unrimed, 255;
used at end of stanzas other than Spenserian, 107.
Alliteration, 113, 116-121;
in mediÆval Latin, 117;
sporadic, 135.
"Alliterative long line," 119, 156.
Alscher, on Wyatt, 11.
Anacrusis, 25.
Anapest, 24;
substituted for iambus, 58 f.
Anapestic verse, two-stress, 28 f.;
three-stress, 34-36;
four-stress, 39 f.;
five-stress, 42;
six-stress, 43;
seven-stress, 45;
eight-stress, 48;
in vers de sociÉtÉ, 39.
Anderson, M. B.: Inferno, 68 f.*.
Anderson, R., on verse of Joseph Hall, 182.
Anglo-Saxon verse, alliteration in, 116 f.;
relation of accent and quantity in, 405 f.;
rime in, 124, 125 f.;
stanzas in, 62 n.;
two theories of, 151-154;
types of, 152 f.
Archer, W., on Watson's sonnets, 290.
Areopagus, 332 f.
Aristophanes, Swinburne on verse of, 45 f.
Aristotle, his theory of metre, 413-416.
Arnold, M.: East London, 286*;
Empedocles on Ætna, 325-327*;
Forsaken Merman, 5*, 22 f.*, 53 f.*;
Future, 115*;
on Chapman's septenary, 262;
on English hexameters, 351-353;
on Longfellow's hexameters, 348;
Sohrab and Rustum, 58*, 249 f.*.
Arnaut, the troubadour, sestina of, 383.
"Ascending rhythm," 24.
Ascham: Schoolmaster, 330, 341.
Asclepiadean verse, 331.
Assonance, 113-115;
in Celtic verse, 115;
in verse of Romance languages, 113 f.
Atterbury, on Dryden's influence, 197;
on Waller, 188 f.
Aurora lucis rutilat, 160*.
Bacon, F., on significant sounds, 136.
BaÏf, de, A., classical metre of, 331.
Ballade, 360-367.
Ballads, stanza of, 70, 264;
verse of, 10, 157.
Banville, de, T., 358, 359.
Barbour: Bruce, 162 f*.
Barclay: Ship of Fooles, 94.
Barnes: Parthenophil, 273.
Baston, 83.
Beaumont, F.: Knight of the Burning Pestle, 263*.
Beaumont, J., on heroic couplet, 190 f.;
verse of, 191 n.
Beers, on heroic stanza, 73.
Bentley, on Milton's verse, 58.
Beowulf, 13*.
Bernard (St.): De Nativitate Domini, 80*.
Bernart, de Ventadorn, 110.
Best, J. R.: Bon Rondeau, 373*.
Bestiary, 118*.
Bewick and Grahame (ballad), 157*.
BLAIR: Grave, 236 f.*.
Blank verse, 213-251;
abandoned in Restoration drama, 196-199;
early use of term, 215;
in lyrical poems, 246;
its decadence, 230, 234;
revival in 18th century, 238;
unpopular in 18th century, 204 f.
Blow, northern wind, 78*.
Bob-wheel, 110 n.
BÖddeker: Altenglische Dichtungen, cited, 14, 69, 78, 84, 86, 110, 111, 175.
Bolton, T. L., on nature of rhythm, 393 n.
Bowles, W. L.: Sonnet, 277*;
sonnets of, 278.
Bright, J. W., on "pitch-accent," 5 f.;
theory of metrical accent, 401 n.
Brome, R., blank verse of, 230.
Bronson, on Greek and English ode, 300;
on odes of Collins, 305.
Browning, E. B.: Cowper's Grave, 264*;
Rhyme of the Duchess May, 80*;
Sonnets from the Portuguese, 283*;
sonnets of, 284.
BROWNING, R.: Abt Vogler, 50*;
Agamemnon, 327 f.*;
blank verse of, 247-249;
Caliban upon Setebos, 31 f.*, 57*, 145 f.*;
Cavalier Tunes, 40*;
Epistle of Karshish, 248*;
Fifine at the Fair, 257 f.*;
Flight of the Duchess, 129*;
Fra Lippo Lippi, 249*;
Guardian Angel, 95*;
Heretic's Tragedy, 145*;
In a Balcony, 248*;
Love among the Ruins, 90*;
Misconceptions, 37*;
One Word More, 41*;
Pacchiarotto, 128 f.*;
Paracelsus, 8*, 59*, 145*;
Prospice, 29*, 50*;
Ring and the Book, 57*, 59*, 247*;
Saul, 42*;
sonnets of, 286, 287;
Sordello, 211*;
Statue and the Bust, 67*;
Why I am a Liberal, 287*.
BÜcher, K.: Labor and Rhythm, 436 n.
BURNS: Auld Lang Syne, 21*;
Birks of Aberfeldy, 78*;
Bonnie Doon, 70*;
Chevalier's Lament, 39*;
Cotter's Saturday Night, 104*;
Duncan Gray, 79*;
Tam O'Shanter, 171*;
To a Louse, 87*.
Butcher, S. H., on Aristotle's view of metre, 413-416.
Butler: Hudibras, 137*, 167*.
Byron: Childe Harold, 105*;
Destruction of Sennacherib, 39*;
Don Juan, 100*, 128*;
double rimes of, 128, 129;
English Bards and Scotch Reviewers, 206*;
Farewell, if ever, 97*;
Francesca of Rimini, 68*;
Prisoner of Chillon, 171*;
She Walks in Beauty, 92*;
Song of Saul, 40*;
Stanzas for Music, 44*;
use of ottava rima, 101.
Campion, T.: Anacreontics, 27*;
Iambic Dimeter, 334 f.*;
Observations in the Art of English Poesie, 335 f.;
Trochaic Dimeter, 335*.
Canning: Rovers, 131*.
Canning (and Frere): Sapphics, 337*.
Canzone, influence of, on the sonnet, 267.
Carew: In Praise of his Mistress, 89*.
Carey, P.: Triolet, 382 f.*.
Catalexis, 22, 25;
in the ode, 319.
Catullus, metres of, imitated, 42;
six-stress, 44;
seven-stress, 46;
eight-stress, 48.
Daniel: Care-charmer Sleep, 291 f.*;
Civil War, 99*;
Defence of Rime, 33 n.;
Delia, 273, 292.
Dante, terza rima of, 65, 67-69.

Davenant: Gondibert, 71*, 72.
Davies, Sir J.: Nosce Teipsum, 73.
Decasyllabic couplet, 174-213;
Chaucer's, 177;
in Elizabethan age, 190;
in the drama, 196-199;
of the romantic poets, 209f., 212;
Saintsbury on qualities of, 194f.
De Muliere Samaritana, 253*.
Denham: Against Love, 63*;
Cooper's Hill, 191f.*.
Deo Gracias, 96*.
Deor's Lament, 62n.
De Quincey, on Milton's verse, 233n.
"Descending rhythm," 25.
Deschamps, 358.
Dobson, A., ballades of, 367;
Dance of Death, 368;
on French lyrical forms, 358f.;
on ottava rima, 101;
on Pope, 203;
Rose Leaves, 381f.*;
Too Hard it is to Sing, 269f.*;
When I Saw you Last, Rose, 378*;
With Pipe and Flute, 374*.

Donne, critics on the verse of, 183;
Holy Sonnets, 274f.*;
influence of, on lyrical forms of 17th century, 90;
La Corona, 275;
Satires, 183*.
Douglas, G.: Palace of Honour, 101*, 133*.
Dowden, on Shakspere's verse, 184.
Drama, rime in, 184;
verse of, characteristic, 395.
Drayton: Agincourt, 86*;
Amouret Anacreontic, 26*;
Idea, 273, 293;
Love's Farewell, 292*;
Polyolbion, 256f.*.
Drummond, W.: Sonnet, 274*.
Dryden: Absalom and Achitophel, 56f.*, 193f.*;
Alexander's Feast, 310;
All for Love, 196, 234*;
Annus Mirabilis, 72*;
blank verse of, 234f.;
Conquest of Granada, 196;
Evening's Love, 40*;
heroic couplet of, 194f.;
his introduction of rimed dramatic verse, 196-199;
Indian Queen, 196;
Marriage À la Mode, 195f.*, 234*;
Ode for St. Cecilia's Day, imitated by Young, 88;
Ode on Mistress Killigrew, 309f.*;
odes of, 310;
on heroic stanza, 72;
on verse of Denham and Waller, 188;
on verse of Donne, 183;
Song for St. Cecilia's Day, 52f.*, 142*.
Du Bartas: La PremiÈre Semaine, 18*.
Dunbar: Lament for the Makaris, 78*;
rime royal of, 94;
Tua Mariit Wemen, 119f.*.
Edwards, T., sonnets of, 277.
Elegiacs (hexameter and pentameter), 346, 355f.
Eleven Pains of Hell, 161.
Eliot, George: Spanish Gypsy, 28*, 37*, 114*.
Elision, 59f.
Ellis, A. J., on degrees of accent, 3, 4n.
Ellis, R.:
Attis, 339*;
HymenÆus of Catullus, 339*;
on classical metres, 339.
"End-stopped" lines, 19, 187-190.
Enjambement, 19:
avoidance of in heroic verse, 187, 202;
in Chaucer, 177;
in couplets of the romantic poets, 208-212;
in Milton, 233;
in Shakspere's verse, 223.

Etheredge: Comical Revenge, 196.
Fair Helen (ballad), 9*, 79*.
Farmer's Complaint, 14.
Feet, as measures of verse, 24;
combinations and substitutions of, 49;
names of, 24, 55f., 408f.
Feminine ending, 25, 33;
in Elizabethan blank verse, 226-228.
Feminine rime, 121, 128f.
Fitzgerald: RubÁiyÁt, 77*.
Five-stress verse, 174-251;
early examples of, 175;
introduced by Chaucer, 177.
Fletcher, G.: Lycia, 273.
Fletcher, J., blank verse of, 226-228;
couplets of, 210;
Faithful Shepherdess, 184f.*;
Valentinian, 225*.
Fletcher, J. (and Shakspere): Two Noble Kinsmen, 85*.
Fletcher, J. B., on Spenser, 17.
Fletcher, P.: Piscatory Eclogues, 107*.
Foot, significance of the term, 24, 393-395, 406-408.
Fortunae rota volvitur, 259*.
Four-stress verse, 151-173.
French alexandrine, relation to English, 252f.
French influence, on stanza forms, 63, 82f., 110.
French lyrical forms, imitation of, 358-385.
French verse, decasyllabic, 177f.;
influence on heroic couplet, 187, 190;
perfect rime in, 121 n.;
regular cesura in, 17, 18;
influence on octosyllabic couplet, 154, 160f., 163 n.
French words, accent of, 11.
Frere, J. H.: Monks and the Giants, 100*.
Froissart, 358.
Galliambic verse, 339.
Gammer Gurton's Needle, 133*, 157*.
Gascoigne: Notes of Instruction cited, 17, 94 n., 265, 291 n.;
Steel Glass, 18*, 218.
Gascoigne (and Kinwelmarshe): Jocasta, 218.
Gay, J.: Fables, 168f.*.
Genesis and Exodus, 162*.
German hexameters, influence of, 345, 349.
Germanic verse, alliteration in, 116f.;
avoidance of syllable-counting in, 151;
irregular time-intervals in, 12.
Glover: Leonidas, 238.
Godric (St.): Sainte Marie, 126*;
verse of, 161.
God Ureisun, 118*.
Goethe, hexameters of, 345, 349;
his view of metre in the drama, 418 n.
Goldsmith: Deserted Village, 204*;
Essay on Versification, 336;
on blank verse, 205;
Retaliation, 39*.
Gollancz, I., on the stanza of The Pearl, 109.
Goodell, T. G.: Quantity in English Verse, 406.
Gosse, E.: After Anyte of Tegea, 370*;
Ballad of Dead Cities, 364*;
on Cowleyan ode, 309;
on decadent blank verse, 230;
on Dryden's blank verse, 235;
on heroic stanza, 73;
on ode, 298;
on rime in the drama, 197;
on sonnet of Walsh, 277;
on verse of Denham, 192;
on verse of Goldsmith, 204;
on verse of Oldham, 193;
on verse of Parnell, 168;
on verse of Swift, 170;
on verse of Waller and contemporaries, 189, 190, 191 n.;
Praise of Dionysus, 368;
Sestina, 384 f.*;
Villanelle, 379 f.*.
Gower, ballades of, 362;
Confessio Amantis, 165*;
couplets of, 166.
Grace of God, 71*.
Graunson, French ballades of, 362.
Gray: Bard, 307;
Elegy in a Churchyard, 72*;
on verse of Dryden, 194;
Progress of Poesy, 306 f.*;
Sonnet on West, 295 f.*.
Greek ode, imitated in English, 300, 323-328.
Greene: Morando, 219.
Grein, on Riming Poem, 126 n.
Grimald: Death of Zoroas, 218.
Grimm, on rime, 124.
Guest, on Poulter's Measure, 265;
on significance of sounds, 136.
Gummere, F. B., on early English five-stress verse, 180;
on rhythm in poetry, 433-436.
GURNEY, E., on Browning's rimes, 129 f.;
on the function of metre in poetry, 427-429.
Hall, J.: Virgidemiarum, 182*, 343*.
Hammond, J.: Love Elegies, 73.
Harvey, G., influence on imitation of classical metres, 332 f.
Havelok the Dane, 164*.
Hawes, rime royal of, 94.
Hawtrey, hexameter of, 351, 352*, 354.
Hazlitt, W., on verse-form in poetry, 423-425.
Hegel, on metre in poetry, 427.
Heliand, 124.
Henley, W. E.: Easy is the Triolet, 381*;
Villanelle, 378 f.*;
Ways of Death, 370 f.*;
What is to Come, 375*.
Herbert, G.: Gifts of God, 90*;
Sonnet on Sin, 295*.
Herder, on rime, 123.
Herenc: Doctrinal, 252.
Herford, on verse of Leigh Hunt, 208.
Heroic couplet (see Decasyllabic couplet).
Heroic stanza, 71-73.
Herrick: His Poetry his Pillar, 27*;
His Recantation, 26*;
Thanksgiving to God, 90*;
To Julia, 64*;
To the Lark, 26*;
Upon his Departure, 25*.
Hexameter (dactylic), 340-356.
Hildebrandlied, 124, 152.
Hill, A.: Praise of Blank Verse, 132.
Lewis, C. M., on octosyllabic couplet, 160

Malaysian verse, pantoum derived from, 386.
Malherbe, influence on heroic verse, 187.
Manning, R.: Chronicle, 82*, 254*;
Handlying Synne, 163*;
simplifying of French metrical forms by, 82 f.

Marlowe, blank verse of, 221;
couplets of, 210;
Faustus, 57*, 219 f.*;
Hero and Leander, 181*, 190;
Jew of Malta, 139*;
Tamburlaine, 219*.
Marriage of Wit and Science, 255 f.*.
Mason, W., sonnets of, 277.
Massinger, blank verse of, 230;
New Way to Pay Old Debts, 229*.
Masson, on Milton's tailed sonnet, 276.
Mayor, J. B.: Chapters on English Metre cited, 409;
on Browning's blank verse, 249;
on Ellis's view of accent, 4 n.;
on substitutions of feet, 60.
Meredith, G.: PhaËthon, 339.
Metre, its place and function in poetry, 413-436.
Metrical romances, tail-rime in, 84.
Meyer, C. F., on rime, 123, 124.
Middleton, blank verse of, 228;
Changeling, 227*.
Mill, J. S., on rhythm in poetry, 433.
Milton: At a Solemn Music, 329;
blank verse of, 232 f.;
Il Penseroso, 166 f.*;
L'Allegro, 38*;
Lycidas, 99*, 142*;
Nativity Ode, 33*, 107*;
On his Blindness, 275*;
On Time, 329;
Paradise Lost, 4*, 7*, 15*, 57*, 58*, 59*, 140*, 141*, 230 f.*;
Passion, 94;
Psalm II., 66*;
Psalm VI., 74*;
Samson Agonistes, 231 f.*, 323-325*;
Sonnet on Piedmont Massacre, 141*;
sonnets of, 276.
Minot, L.: Battle of Halidon Hill, 96*.
Misfortunes of Arthur, 219.
Mitchell, S. Weir: Psalm of the Waters, 36*.
Molza, Francesco, 216.
"Monk's Tale stanza," 97.
Monologue d'outre Tombe, 386*.
Moody, W. V.: Menagerie, 91*;
Ode in Time of Hesitation, 321-323*.
Moore, T.: Believe me, if all those endearing young charms, 40*;
Down in yon Summervale, 121 n.*;
Go Where Glory Waits Thee, 33 f.*.
Morris, R., on early octosyllabic verse, 162.
Morris, W.: Earthly Paradise, 93 f.*, 173*;
Fair Spring Morning, 329;
Folk-Mote by the River, 159*;
Jason, 213*.
Moulton, R. G., on Browning's Caliban, 32.
Mousset, classical metres of, 331.
Music, its relation to verse, 391-396, 407 n., 413 f., 434-436.
Must I be Carried to the Skies, 262*.
Mystery plays, verse of, 94 f., 112, 265.
Nash, T., on English hexameters, 342;
Preface to Menaphon, 215.
Ne mai no lewed, etc., 109 f.*.
Newcomer, A. G., on wrenched accent, 10.
Newman, metre of his Iliad translation, 262.
Norden, on rime, 125.

Norse verse, influence on Anglo-Saxon, 126;
stanza in, 63.
Nutbrowne Maide (ballad), 132*.
Occleve, rime royal of, 94.
Octosyllabic couplet, 160-173.
Ode (The), 298-329.
Oldham, J.: Satires upon the Jesuits, 192*.
Onomatopoeia, 135 f.
Ormulum, 260*.
O'shaughnessy, A.: Fountain of Tears, 36*.
Otfried, verse of, 123, 124.
Ottava rima, 98-101;
possible source of sonnet, 267.
Otway: Venice Preserved, 235*.
Owl and the Nightingale, 162*.
Pantoum, 385-388.
Paris, G., on Machault, 178.
Parnell: Night-Piece on Death, 168*.
Passerat, J.: Villanelle, 377*.
Passion of our Lord, 254.
Pater Noster, 161*.
Patience, 155*.
Patmore: Amelia, 319 n.*;
Ode, 318*;
on the ode, 319;
Unknown Eros, 319.
Pauses, 16-23;
varied to preserve metrical time, 404 f.
Payne, J., virelai of, 385.
Peacock, T. L.: Misfortunes of Elphin, 33*.
Pearl, The, 109*.
Peck, S. M.: Under the Rose, 382*.
Peele: Arraignment of Paris, 218*.
Petrarca: Sonnet, 271*.
PhalÆcian verse, 331, 338.
Philips, J.: Cider, 238.
Phillips, S.: Marpessa, 251;
Paolo and Francesca, 250 f.*.
Phoenix, 153*.
Pindaric ode, 298, 299-307.
Pitch-accent, so-called, 5 f.
Pitt, W., 131 n.
Poe: Lenore, 134*;
on English hexameter, 349;
Rationale of Verse, 392;
Raven, 47*.
Poema Morale, 127*, 260.
Pope, A.: Essay on Criticism, 12*, 57*, 142*, 199 f.*;
Iliad, 200 f.*;
on verse of Denham and Waller, 188;
on verse of Dryden, 194;
rules of verse, 201 f.;
Solitude, 27*.
Poulter's Measure, 255, 265 f.
Pre-Raphaelites, 10.
Preservation of King Henry VII., 343.
Prior: Better Answer, 39*.
ProvenÇal, lyrical forms of, 358, 383.
Puttenham, G.: Arte of English Poesie cited, 8 n., 18, 94 n., 334 n.
Pyrrhic, 49, 55, 56.
Quantity in English, 391-406;
in English verse, 330, 332 f., 338, 354 f., 356, 357.
Quatrains, 69-77.
Quinque Gaudia, 85*.
Raleigh, W.: Pilgrim to Pilgrim, 35*.
Ranchin: Triolet, 381*.
Read, T. B.: Drifting, 88*.
Refrain stanzas, 78-90.
Regulae de Rhythmis, 81*.

Rhythm, arts of, 413 f.;
change of, 53-55, 61.
Rhythmus, meaning of, 124.
Rich, B.: Don Simonides, 219.
Rieger, on rime in Anglo-Saxon, 126 n.
Rime, 113, 121-135;
as organizer of stanza, 63;
broken, 131 f.;
defended by Daniel, 336 n.;
feminine, 121, 128 f.;
functions of, 122;
imperfect, 122 n.;
in Butler's Hudibras, 167 f.;
in drama, 196-199;
internal, 132-135
(in ballads, 70;
in Middle English alexandrines, 255;
in septenary, 259-261);
objections to, 122 f.;
origin of, 123-125;
suspected by classicists, 214, 232, 330;
triple, 121, 128-131.
Rime couÉe, 80-86;
in French, 81;
in Latin, 80 f.
Rime royal, 93 f.;
in Chaucer's Balade, 361.
Riming Poem (Anglo-Saxon), 125 f.*.
Robert of Gloucester: Chronicle, 265.
Robertson, J. M., his theories of English verse, 24 n., 392-394, 400, 403.
Robin Hood (ballad), 70*, Ode to West Wind, 66 f.*;
Ozymandias, 281 f.*;
Queen Mab, 329;
Sensitive Plant, 69*;
sonnets of, 282;
To a Skylark, 34*;
use of Spenserian stanza, 106;
view of verse-form in poetry, 422 f.
Shenstone, heroic stanza of, 73;
Pastoral Ballad, 35*;
Schoolmistress, 104.
Sherman, F. D.: Ballade to Austin Dobson, 366 f.*.
Sidney: Anacreontics, 332*;
Asclepiadics, 331*;
Astrophel and Stella, 74*, 77*, 256*, 272*, 273*, 291*;
Dorus and Zelmane, 340 f.*;
hexameters of, 341;
Mopsa, 266*;
Phaleuciakes, 331*;
Psalm VIII., 69*;
sonnets of, 273;
Thyrsis and Dorus, 65 f.*;
view of verse-form in poetry, 416 f.
Sievers, on Anglo-Saxon verse, 152 f.;
on stanzaic and stichic verse, 63.
Sir Fyrumbras, 261*.
Sir Gawain and the Green Knight, 109, 155 f.*.
Skalagrimsson, Egil, 126.
Skeat, on sources of Chaucer's couplet, 178;
theory of English verse, 394 n.
Skelton: Colyn Cloute, 32*;
rime royal of, 94.
Song of Songs (French version), 81*.
Sonnet, 267-297;

bipartite structure of, 268, 270, 280, 282, 285, 286, 290, 293;
English form of, 290;
Italian form of, 270;
revived in 18th century, 277;
sequences, 273;
"Ten Commandments" of, 268 n.
Sonnets on the sonnet, 278, 279, 284, 288.
Sound-qualities of verse made expressive of sense, 135-137.
Southey: Curse of Kehama, 329;
hexameters of, 347 f.;
Sapphics, 337*;
Vision of Judgment, 347*.
Spanish verse, 28, 115;
assonance in, 114.
Spedding, J., on English hexameter, 351.
Spenser: Amoretti, 293*;
Faerie Queene, 102*;
free cesura in, 17;
interest in classical metres, 332 f.;
Mother Hubbard's Tale, 181*;
Shepherd's Calendar, 15*, 89*, 158 f.*, 179 f.*;
Tetrasticon, 332*;
tumbling verse of, 159;
unrimed sonnets of, 219;
Virgil's Gnat, 98 f.*.
Spenserian sonnet, 293*.
Spenserian stanza, 102-106;
stanzas influenced by, 107 f.
Spondee, 56, 57.
Stanyhurst, R.: Æneid, 341 f.*;
hexameters of, 342 f.
Stanzas, 62-112;
complex forms of, under French influence, 110;
formed by refrains, 78;
how determined and described, 62;
tail-rime, 80-86.
Stedman, E. C., on rhythm in poetry, 432 f.
Stengel, on French alexandrine, 252;
on French decasyllabic verse, 177 f.;
on octosyllabic verse, 160.
Stetson, C. P.: A Man Must Live, 375 f.*.
Stevenson, R. L., on tone-color, 138.
Stichic verse, 62.
Stillingfleet, B., sonnets of, 277.
Stond wel, moder, 84*.
Stone, W. J.: Odyssey, 356*;
on quantity in English verse, 356 f.
Stress (see Accent).
Substitution of feet, 55-61.
Suckling: A Soldier, 86*.
Suete iesu, king of blysse, 69*.
Surrey, Earl of, accents in verse of, 10;
Æneid, 215 f.*;
How no Age is Content, 266*;
inventor of English sonnet, 290;
Psalm LV., 255*;
Restless State of a Lover, 71*;
Sonnet, 290*;
verse of, 216.
Swift: Death of Dr. Swift, 169 f.*.

Swinburne: Armada, 51*, 134*;
Atalanta in Calydon, 9*, 146*;
Ballad of FranÇois Villon, 367*;
Birds, 45*;
Century of Roundels, 42*;
Choriambics, 340*;
Death of Wagner, 60*;
Garden of Cymodoce, 43*;
Hendecasyllabics, 338;
Hesperia, 44*;
Last Oracle, 43*;
Laus Veneris, 78*;
Leper, 9*;
March, 13*, 48*;
Night in Guernsey, 47*;
on choral ode of Milton, 325;
on English hexameters, 353 f.;
on sonnets of Wordsworth, 280;
On the Cliffs, 329;
on Whitman, 431 n.;
Roundel, 376*;
Sapphics, 340*;
Seaboard, 51*;
Song in Season, 28*;
Thalassius, 329;
Tristram of Lyonesse, 212*;
Winter in Northumberland, 130 f.*, 147*.
Syllable-counting, in Surrey's verse, 216;
want of, in early English verse, 16, 112, 151.
Syllables, artificially varied in length when in metre, 401-404;
kinds of accented, 3.
Symonds, J. A., on blank verse, 214, 232, 233;
of 18th century, 239;
of Gorboduc, 217;
of Jonson, 225;
of Keats, 242;
of Marlowe, 220 f.;
of Shakspere, 222;
of Tennyson, 246;
of Webster, 229;
on heroic verse of the romantic poets, 210;
Sonnets on the Thought of Death, 287 f.*.
Tailed sonnet, 276.
Tail-rime (see Rime couÉe).
Taylor, B.: Home Pastorals, 349*;
National Ode, 320 f.*.
Taylor, W., on German and English hexameters, 345;
Ossian's Hymn to the Sun, 344 f.*.
Ten Brink, on Anglo-Saxon verse, 151 f.;
on Chaucer's verse, 177, 178;
on early five-stress verse, 175;
on verse of court romances, 164 f.;
on verse of King Horn, 155.
Tennyson: Alcaics on Milton, 337*;
blank verse of, 246;
Boadicea, 339;
Break, break, break, 21*;
Charge of the Light Brigade, 30*;
Coming of Arthur, 143;
Daisy, 77;
elegiac distich of, 346*;
Enoch Arden, 58*, 59*, 144*;
Geraint and Enid, 59*;
Hendecasyllabics, 337 f.*;
In Memoriam, 75 f.*;
Locksley Hall, 13*, 46 f.*;
Lotos-Eaters, 106*;
Maud, 32*, 42*, 43*, 52*, 317;
Merlin and Vivien, 58*;
Montenegro, 285 f.*;
Northern Farmer, 44*;
Œnone, 59*;
on English hexameters, 353;
on quantity in English, 338;
Oriana, 80*;
Palace of Art, 74*;
Passing of Arthur, 244*;
Princess, 8*, 58*, 134*, 144 f.*, 245*, 246*;
Queen Mary, 245*;
Sapphics, 339*;
sonnets of, 286;
Tears, Idle Tears, 246*;
To Maurice, 77*;
Two Voices, 64*;
Vision of Sin, 41*, 54 f.*;
Wellington Ode, 315 f.*.
Tercets, 63-69.
Terminology, classical in English verse, 24 n., 406-409.
Terza rima, 65-69.
Thackeray, irregular verse in ballads of, 158 n.;
Sorrows of Werther, 47*;
What Makes my Heart, etc., 132*.
Thomson, as imitator of Spenser's verse, 104;
Castle of Indolence, 103*, 143*;
Seasons, 237 f.*.
Thomson, J.: City of Dreadful Night, 95*.
Tillbrook, S., on Southey's hexameters, 347 n.
Time-element in English verse, 391-409.
Time-intervals, 11-23;
irregular, 13-16;
regular, 12 f.;
the basis of metrical feet, 408.
Todhunter, on Shelley's verse, 106.
Tolomei, C., 331.
Tomlinson, on the sonnet, 267 f.
Tone-color, 135-147.
Tone-quality, 113-147.
Tottel: Songs and Sonnets, 10, 87*, 98*, 218, 266*, 271*, 290*, 372.
Trial before Pilate (Mystery Play), 157*.
Triggs, on verse of De Muliere Samaritana, 253 f.
Triolet, 381-383.
Triple endings in Elizabethan drama, 226-228.
Triplet, used in heroic verse, 195, 208.
Trissino, G., 214, 330.
Trochaic verse, two-stress, 27 f.;
three-stress, 33 f.;
four-stress, 37 f.;
five-stress, 41;
six-stress, 43;
seven-stress, 45, 259;
eight-stress, 46 f.
Trochee, 175.

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Footnotes have been numbered sequentially and moved to the end of each chapter.

Minor corrections to punctuation and capitalisation have been made without note. Variant spelling, especially in Anglo-Saxon and middle English poems, is as per the original.

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List of Corrections:

P. 129: "I hope to get safely out of ..." (had "... safety ...")
P. 401: "It cannot be said, however," (Had "In ...")
P. 457: "Lotos-Eaters" (Index entry, had "Lotus-Eaters")