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more complex and artificial than dissyllabic verse, and their rhythmical ring being more pronounced and therefore liable to become monotonous, it need not surprise us that no lengthy poem has been attempted in the three-syllable metre. The licences made use of in verse of this kind are many and varied, the interchange of feet, the omission and addition of syllables being almost the rule instead of the exception. Pure symmetrical lines are rarely met with consecutively unless the rhyme demands it.
It is unnecessary, we think, to preserve further the detailed classification of dimeter, trimeter verse, as has been done in the dissyllabic measures; numerous and varied examples are, however, given, adequate for all the purposes of illustration and explanation, and the reader will find abundant material for the exercise of the critical faculty and skill in scanning in the works of all our modern poets, especially in Shelley, Longfellow, and Tennyson.