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16
ACCIDENCE
I, 265, Spoil splendider . . .
II, 182, Joys and griefs ignobler than of old . . .
III, 96, . . . tears joyfuller than mirth . . .
296, Song-notes goldener than gold . . .
347, . . . under shadowier skies . . .
IV, 279, . . . praiseworthiest from all men . . .
VI, 272, . . . the skies were not silenter . . .
To me it seems probable that the necessities of
metre and rhyme often are the cause of these facts. Franz
(§ 63) seems to assume the same factor in the case of
Shakespeare. Of course the influence of variety, euphony,
and emphasis must not be overlooked.
Owing partly to his love of the Elizabethan language,
and partly to his fondness for strong expressions,
Swinburne adopted from the older language the use of double
comparison. Only superlatives of this kind have been
noted by me.
II, 167, O thou most holiest . . .
III, 17, And thine most highest of all their fires but one . . .
269, . . . was born of man’s most highest and heavenliest
birth . . .
302, . . . from heaven’s most furthest bound . . .
IV, 247, . . . the most dimmest heights of trembling heaven.
(vi) Numerals afford very little of interest. Of course
the old pronoun ’twain’ is used, and is even placed in front
of a noun:
IV, 291, Arcadian Atalanta with twain hounds.
This is not even found in Shakespeare. — The form
an hundred also occurs, as in I, 234.
(vii) Pronouns. It is clear that a very archaic use of
pronouns will characterize the works of an author like
Swinburne. Of archaic flexions, however, only the form
tho, for them, occurs, and that in the markedly archaic
Masque of Queen Bersabe (I, 235).
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