the Sagas celebrate took place in the tenth century, and the following century was the period of their narration. They were written down in the present form chiefly in the thirteenth century. Ari Frodi (1067-1148) is considered by many the first inventor of classic Norse prose. The most famous of the Greater Sagas is the Njala written about the middle of the thirteenth century and celebrating events of the beginning of the eleventh century.

Earlier Icelandic verse poetry did exist, but it does not belong to Iceland proper. The great strength of real Iceland poetry was in the Sagas, which Morris calls "unversified poetry." Some of these existed as early as the first part of the tenth century. It seems anomalous to the literary historian that a nation should at the very beginning of its literary history have developed prose before verse, that it should have celebrated its heroes in prose instead of verse song. All stories among ancient people were, however, originally told in prose; the first expression was always in rhythmical poetical prose.

It is not true, then, that verse is the first form in which a nation's poetry is written, or that prose developed from verse. Prose was the original language of poetry, and to prose it should return. The pattern was a gradual development.

CHAPTER VI

BLANK VERSE AND FREE VERSE AS FORMS OF PROSE

THE unrhymed iambic pentameter known as blank verse is really a form of free verse; it is a modified form of the unrhymed classical measure. It made its appearance in Italy in the early part of the sixteenth century, and was used by Ariosto in his comedies, except that he employed a final additional unaccented syllable, making eleven syllables in each line. Surrey, who used it in his translation of two books of the Eneid, imported it from the Italians. It was called by the Italians versi sciolti, "untied or free verse." It was, then, the old classical measure with more freedom.

In his essay, Blank Verse, John Addington Symonds dwells especially on the plasticity and variety of blank verse, which he says it has more than any other national metre. It may be used for the commonplace and the sublime, the tragic and the comic, etc. It does not have to consist of five iambuses only, but other feet may be substituted almost at the caprice of the poet. This, however, practically amounts to saying that blank verse is after all a great deal like prose; indeed, it may be arranged like modern free verse with great ease. Its plasticity and variety are due to the fact that its artificial requirements are less than those of most other metres. It was a fortunate day for English drama and poetry when Marlowe, Shakespeare and Milton, following in the footsteps of Surrey's translation of two books of the Æneid, and Sack

ville's and Norton's play, Gorboduc, made blank verse fashionable. The writers really brought poetry back into prose. For blank verse is but a restricted prose, because there is as often as not no natural pause at the end of the line, and because other feet may be substituted for the iambus.

One of the reasons why English verse poetry excels French is because blank verse, a more natural medium than the rhymed Alexandrines, became the chief vehicle for poetry.

In fact, the blank verse of the later Elizabethan dramatists is really prose, for it is less rhythmical than that of Shakespeare. Blank verse was said to have degenerated with them. It is also said to be prosaic as used by Wordsworth. These poets, however, are merely less rhythmical than the alleged masters of blank verse. All blank verse is as near prose as any metrical medium that has been hitherto introduced. Bernard Shaw said he found it easier than prose. It appears very often in prose without the writer being aware of it. Dickens had a tendency, as also did Ruskin, to drop unconsciously into blank verse in his prose.

The great English blank verse poets and nearly all the poets of England in the nineteenth century used this medium, and are really our supreme prose poets.

The experiment of arranging blank verse in the form of prose and of putting prose in the metre of blank verse has been often tried with success. I have no intention of using this means of showing that blank verse is really a more modulated prose. Any passage of blank verse can naturally also be put into modern free verse, into the free rhythms of Whitman, for example.

The lovers of blank verse imagine, however, that its beauty is partly derived from the existence of a pause at

the end of the fifth foot and because the next line begins with a capital letter. As a matter of fact, there is no particular virtue in having that pause, and the next line need not begin with a capital letter, and should be continued as of the same line. For the real pauses are, after all, not in these artificial places but where our natural speech and punctuation marks dictate them.

The virtues of blank verse are the virtues of rhythmic prose, which is still freer and more natural than blank verse, just as blank verse is preferable to the heroic couplet.

Our English poets who write in blank verse would have done even better to use prose, rhythmical or unrhythmical. To us moderns there is something of a distortion in chopping up good prose into lines of five feet, each beginning with a capital letter. The more beautiful and natural medium is prose, for blank verse is but a confined prose. It is not fair or right to make characters speak in this fettered prose. It is absurd to state that their speeches become poetry only because of this fettered prose. Every great passage in Shakespeare in blank verse would have continued to be poetry in regular prose. We observe that the great prose passages of Shakespeare are poetry even though not in blank verse. English poetry should free itself from the bondage of blank verse, and use prose. However, next to free verse blank verse is the best medium that English poetry has yet found.

Blank verse was in disfavor in the eighteenth century and was regarded as prose. We may smile at Samuel Johnson's remark upon it in his Life of Roscommon, but on reflection we find that he was, after all, right. "Blank verse, left merely to its numbers, has little operation either on ear or mind; it can hardly support itself without bold figures and striking images. A poem frig

idly didactic, without rhyme, is so near prose that the reader only scorns it for pretending to be verse." He argues, either write prose or rhyme, but choose no intermediate measure.

The free verse of modern times, the revival of which is due to Walt Whitman, is really the oldest form in which poetry was expressed. It existed along with parallelism among the Egyptians, Babylonians, and Hebrews, among the Hindoos and the Anglo-Saxons. It is rhythmical prose, arranged so as to call attention to the rhythm. It is not a third medium for expression, next to prose and the regular verse-forms. The lines do not return upon themselves, that is, there is no repeat any more than in rhythmical prose.

In its present form in English it dates from Aelfric's Lives of the Saints, about 1000 A.D.

Free verse has come to stay, and numbers many able poets among its devotees. It is more natural than rhymed or metrical verse, which, however, it will not wholly displace. The manuscripts of many poets who used conventional metres show that the original form of composition was free verse. The detractors of free verse need not think they bring a valid argument against it when they arrange free verse in prose form, and, vice versa, chop up prose sentences into brief lines beginning with a capital, and ask what is the difference between the two. It is admitted there is none. It matters not if the poet wishes to arrange his composition in free verse forms to call attention to the rhythm, or to print it as prose. It is immaterial if you call vers libre rhythmical prose or a distinct verse form. The poetry is independent of any ordering of the lines. Neither of the resulting products loses or gains in poetical attributes by the objector's turning prose into free verse, or free verse into prose. The question is, how much