demand; the slightest trace of effort ruins them. We have space for but one example, a Triolet by Austin
"I intended an ode
And it turned into triolets,
It began à la mode:
I intended an ode,
But Rose crossed the road
With a bunch of fresh violets;
I intended an ode,
And it turned into triolets."
The Rondel and Rondeau are also light measures. latter has thirteen verses and only two rimes. The Villanelle has also only two rimes, and is written in stanzas continued at pleasure (or as one's rimes last), and made up of three verses each, with a couplet at the end. The Ballade and the Chant Royal are much more complicated. The details of construction of all these forms, with examples, can be found in Mr. Gosse's article on Foreign Forms of Verse in the Cornhill Magazine for July, 1877. There are also examples in Adams' collection of Latter-Day Lyrics; and Mr. Swinburne has recently published A Century of Roundels. The ingenuity, however, which is required for the construction of these stanzas makes it doubtful that they will ever voice the higher moods of poetry. The great lyric poets, like Goethe, do their best work in simple forms of verse, in that "popular tone" nearest to the heart of singer as well as hearer.
ABBOTT, on Shaksp., 123, 215, 217, 220. Abstract, 84; for concrete, 93;
personif. of, 101. Abraham and Isaac, 61. Academy, The, 134. Accent, 133
ff. 139 ff. 144, 166; of word, 139, 192, 211, 220; of verse, 141, 145, 220; of sen-
tence, 140, 171 f. 191, 211, 214, 220 f.; see also Stress, Hovering Accent, etc.
Action, in drama, 61, 72 f.; in mysteries, 63; unity of, 70; surroundings of, 74.
Acts (drama), 72. Adjectives, 85, 106. Æneas, 21. Æschylus, 75, 116.
Albert, Paul, 40. Alexander, 21. Alexandrine, 180, 182, 184 f. 197, 202, 208,
222, 227 f. 238. Allegory, 23 ff.; in style, 102 ff. Alliteration, see Rime.
Alliterating Romances, 178. Allusion, 110. Anacreon, 52 f. Anapestic, 170,
etc. Anglo-Saxon poetry, II, 86, 108, 112 f. 120; metres, 174 ff. 204. Anti-
climax, 131. Antithesis, 55, 119, 126 ff. Apostrophe, 121. Apposition, 105.
Arabs, 154. Areopagus (club), 159. Ariosto, 34. Aristotle, 1, 42, .72, 74.
Armstrong, 28. Arnold, Matthew, 4, 46, 51, 224, 229 f.; 29, 49, 160, 208, 233.
Arsis, 136. Arthur, King, 25. Assonance, 156. Avesta, 142.
BACON, 84. Balance, 127, 172. Ballad, 34 ff. 38 f. 56; measure, 183, 197,
231. Ballade, 55, 241 f. Barbour, 184. Barclay, Alex., 194. Barnefield, R.,
196. Batteux, Abbé, 41. Beaumont, 50; and Fletcher, 47, 52. Beast-Epic, 26.
Bentley, 225. Beowa, 13. Beowulf, 11 ff. 86, 97 f. 112, 152, 173, 174 ff. Bestiary,
26. Blair, 115. Blake, W., 46 f. 169. Blank Verse, 41, 151, 157 ff. 197 ff. 213
ff. etc. "Bob," The, 201. Boccaccio, 33. Boileau, 32. Boniface, 24. Bow-
ring, 43. Broadside, 38. Broken Construction, 125. Browne, G. H., 218.
Browne, William, 30. Browning, E. B. 129. Browning, R., 38; 43, 47, 50,
82, 106, 108, 203, 207, 209. Brunanburh, 19. Bulwer, 233. Burns, R., 47, 57;
30, 32, 33, 38, 43, 44, 46, 52, 113, 122, 203, 204, 205, 236. Butler, 32. Byrhtnoth,
19, 36, 38, 176. Byron, 33, 43, 44, 57; 122, 124, 158, 172, 182, 183, 204, 205,
207, 212, 235, 238.
CADENCE, 163. Cædmon, 20, 94, 173.
Caine, T. H., 239 f. Campbell, 38, 43, 155.
Carey, H., 82. Carriere, M., 42, 57, 80.
Cæsura, 135, 148, 193; see Pause.
Campion, 159, 230. Carew, 53,96.
Catachresis, 94, 107. Catechisms, 28.
Catullus, 232. Cenotaph, 56. Chanson de Roland, 156. Chant Royal, 55,
241 f. Chapman, 95; 34, 183, 197, 231. Characters (drama), 61, 64. Charade,
33. Charlemagne, 21. Charms, 56. Chatterton, 37. CHAUCER, 22, 24, 32,76,
173; Canterbury Tales, 20 ff. 26, 33; 116, 128 f. 152, 161, 164, 187, 189 ff. Boke
Duchesse, 184, 187; House Fame, 24, 46, 179, 184, 187; Troilus, 21, 104, 110;
Legende G. W., 187; his verse, 172, 174, 186 ff. 203, 237.
Children in the Wood, The, 39. Choriambic Verse, 232.
82, 233. Chronicle, 22. Church, 7, 20, 59. Cicero, 121.
Child, 35, 36, 194.
Chorus, 9, 69, 74, 76,
Classic Simile, 107 f.
Clough, A. H., 33, 53, 104,
IIO, 144. Clerkes, 45, 52, 182. Climax, 72 f. 130 f.
230. Clown, The, 60. Coleridge, 23, 38, 43, 130, 153, 182, 203, 232. Collins, 43,
47, 102, 117, 160, 232. Combination, Figures of, 125 ff. Comedy, 22, 61, 68, 73 f.
76 ff. Comic Histories, 32. Comparative Philology, 83. Conceits, 95 f. Con-
crete (for abstract), 84, 93. Congreve, 77. Consonants, 162. Constable, 196.
Contractions, 164, 190 f. 214 Connexion, Tropes of, 111 ff. Contrast, Tropes
of, 90, 114 f.; figures, 121 ff. Convivial Lyric, 52. Costumes, 62 f. Couplet
(short), 154, 179, 182, 184, 186; heroic, 31, 41, 187 f. 199, 210 f. 228, 234. Cow-
per, 53; 27 f. 39, 49, 50, 103, 147, 205. Crashaw, 95. Crowley, 152. Cuckoo-
Song, 46, 56. Cynewulf, 18, 20, 33, 152, 173.
Davenant, 237. David, 39.
Dekker, 40. Derzhavin, 43.
Didactic, 22, 24, 51. Dionysian
DACTYL, 138, 167 f. etc. Dancing, 1 f. 9, 134 ff. Daniel, S., 54, 106, 144,
159. Dante, 24, 34, 76, 89, 94, 110, 224, 237 f.
Death (lyric), 49 f. 116. Deborah, Song of, 119.
Description, 28 f. 48. Dialogues, 16, 60, 78, 82.
Feasts, 59, 75 f. Dirge, 49. Distribution, 112. Dithyramb, 42. Dobson, A.,
242. Don Quixote, 21. Donne, 32; 119. Double Ending, 209, 216, 223; see
Rime. Douglas, Gawin, 194, 197. Dowden, E., 77, 147. Drama, 58 ff. 70, 74 f.
80 ff.; rules for, 69 ff.; parts of, 72; metre of, 63, 157 f. 180, 187. Drayton, M.,
38, 45, 148, 185, 227 f. Dream, see Vision. Dryden, 4, 79, 95, 126, 128, 145, 148,
158, 210; 25, 32, 51, 110, 237. Dumb-Show, 69, 72. Dunbar, 24, 178, 194.
E (final), 188 ff. Ebert, 24, 38. Eclogue, 80. Edward, 60. Elegy, 49 f.
Elegiac, 50, 232. Eliot, Geo., 51, 156. Elizabethan (lyric), 45 f. 199; see also
Drama. Elision, 164, 190 f. Ellis, 194; 134, 171 f. 215, 220. Emerson, 73.
Emotion, 42. End-stopt, 147, 149, 194, 211, 222 f. Enthusiasm, 41 f. Epic,
10 ff. 19 ff. 33, 41; style, 109 etc.; verse, 187, 203, etc. Epigram, 55, 110, 127.
Epilogue, 72. Episodes, 16. Epithets, 85, 87. Epitaph, 55, 103. Equation of
Claims, 173. Eumenides, 116. Euphemism, 116. Euphuism, 126, 152. Every
Man, 65 f. 180. Exodus, 20, 94. Expanded Words, 214, 218 f. Exposition
(drama), 72.
FABLE, 25 f. Fair Helen, 36, 46. Falling Feet, 167. Farce, 77. Feelings,
42. Feminine (pause), 149; (rime), 155, 193; (ending), 209, 236. Fielding,
H., 82. Figures, 85, 118 ff. Fitzgerald (Omar Khayyam), 236. Five-Stress
Verse, 195 f. 208 ff. Fleay, 213, 216. Fletcher, 81, 146, 216. Fluidity (verse),
163, 238. Folk-Song, see Ballad. Fool (drama), 60. Foot, 135, 167, etc.
Formula (epic), 16. Four (lyric), 235. Four-Stress Verse, 182, 186 f. 196, 203 ff.
French Forms, 55, 241.
GAMMER GURTON'S NEEDLE, 52. Gascoigne, Geo., 142, 152, 185,
196 f. 214. Gawayne and Green Knight, 25, 178. Gawayne, Marriage of, 37.
Gay, 26. Genesis, 101 f. 114. Genitive (style), 105 f. Germanic, 7 f. 86 f. 135,
153, 233; metre, rule of, 144, 191. Gervinus, 60. Gesture, 106.
Gnomic Dialogue, 26. Goethe, 41, 57, 242; 30, 50, 72, 80, 230.
Goldsmith, 77, 95, 107; 28, 39, 123. Gorboduc, 68, 72, 82, 157.
55, 241 f. Gower, 184. Grail, 20. Gray (Elegy), 50, 91, 112, 139,
Ghosts, 73.
Golding, 183.
Gosse, E., 43,
192, 209, 237;
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