VI
POEMS IN NEW METRES
Ocean Oneness*
Silence
is round me, wideness ineffable;
* Alcaics. Modulations are allowed, trochee or iamb in the first foot or a long monosyllable; an occasional anapaest in place of an iamb is permitted; a bacchius can replace a dactyl. Page – 557
Lone on my summits of calm I have brooded with voices around me,
*Elegiacs, with rhyme in the pentameter. A syllable or two introducing the last hemistich of the pentameter is allowed, but this must not be made the rule. This license, impossible in the strict cut of classical metre, comes in naturally in English and is therefore permissible. Page – 558
A
flame-wind ran from the gold of the east,
* Dactylic tetrameter and pentameter catalectic; an additional foot in the last line; trochee or spondee freely admitted anywhere; first paeon, bacchius, cretic can replace a dactyl. One or two extra syllables are allowed sometimes at the beginning of the line. Page – 559
Wild
river in thy cataract far-murmured and rash rapids to sea hasting
Vast now in a wide press and a dense hurry and mass movement of thronged waters
* Ionic a majore pentameter catalectic. In one place an epitrite replaces the ionic. Page-560
Who was it that came to me in a boat made of dream-fire,
*Lines
1, 3 dactyl, second paeon, ionic a minore, amphibrach (or antibacchius)
¯ ˘ ˘ | ˘ ¯ ˘ ˘ | ˘ ˘ ¯ ¯ | ˘ ¯
˘ Lines 2, 4 two ionics a minore with a closing trochee ˘ ˘ ¯ ¯ | ˘ ˘ ¯ ¯ | ¯ ˘ ) Page-561
Who
art thou in the heart comrade of man who sitst
* The metre is the little Asclepiad used by Horace in his Ode addressed to Maecenas, two choriambs between an initial spondee and a finai iamb. Here modulations are admited, trochee or iamb for the spondee, occasionally a spondee for the concluding iamb; an epitrite or ionic a minore can replace the choriamb. Page-562
Descent*
* Sapphics. But the second-foot spondee is very usually replaced by a trochee, the final trochee sometimes by a spondee; a bacchius, cretic or molossus can replace the dactyl. In the fifteenth line elision is used; in a Sapphic line there can be only one dactyl. Page-563
The
Lost Boat*
1Ionic a minore pentameter with an overflow of one short syllable
˘ ˘ ¯ ¯ | ˘ ˘ ¯ ¯ | ˘ ˘ ¯ ¯ | ˘ ˘ ¯ ¯ | ˘ ˘ ¯ ¯ | ˘ Page-564
(Lines
1, 3 two ionies a minore with adinal amphibrach,
˘ ˘ ¯ ¯ | ˘ ˘ ¯ ¯ | ˘ ¯ ˘
¯ ˘ ˘ ¯ | ˘ ˘ ¯ ˘ | ¯ ¯ ˘ Page-565
*Lines
1, 2 three antispasts (or in the first foot a second pacon), amphibrach,
˘ ¯ ¯ ˘ | ˘ ¯ ¯ ˘ | ˘ ¯ ¯ ˘ | ˘ ¯
˘
Line 3 two antispasts, ionic a majore, second pacon, trochee
˘ ¯ ¯ ˘ | ˘ ¯ ¯ ˘ | ˘ ¯ ¯ ˘ | ˘ ¯ ¯
˘ | ¯ ˘ . Line 4 three paeons, trochee, but the middle paeon can be replaced by an antispast or an ionic a majore; a double iamb once replaces the third paeon.) Page-566
The
Silence
At
rest in the unchanging Light, mute with the wordless self vision,
*Free quantitative verse with a predominant dactylic movement. Page-567 2
Beyond
the Silence Page-568
*Free quantitative verse, left to find out its own line by line rhythm and unity. Page-569
The day ends lost in a stretch of even,
*Dactylic tetrameter, usually catalectic, with the ordinary modulations.
**(Lines
1, 2, 4 epitrite, third paeon, trochee
˘ ¯ ¯ ¯ | ˘ ˘ ¯ ˘ | ¯ ˘
. In line 3 two double trochees
¯ ˘ ¯ ˘ | ¯ ˘ ¯ ˘ | Page-570
The
Bird of Fire Page-571
Trance Page-572
Shiva Page-573
The
Life Heavens Page-574
It
lay at ease in a sweetness of heaven-sense Page-575
Jivanmukta Page-576
In
Horis Aeternum Page-577 |