O chastë goddesse of the wodës grene, To whom bothe hevene and erthe and see is sene, Quene of the regne of Pluto derk and lowe, Goddesse of maydens, that myn herte hast knowe Ful many a yeer, and woost what I desire, As keep me fro thy vengeance and thyn ire, That Attheon aboughtë cruelly. Chastë goddessë, wel wostow that I Desire to been a mayden al my lyf, Ne never wol I be no love ne wyf. I am, thou woost, yet of thy companye, A mayde, and love hunting and venerye, And for to walken in the wodës wilde, And noght to been a wyf, and be with childe. Noght wol I knowë companye of man. Now help me, lady, sith ye may and can, For tho thre formës that thou hast in thee. And Palamon, that hath swich love to me, And eek Arcite, that loveth me so sore, This grace I preyë thee with-outë more, As sendë love and pees bitwixte hem two; And fro me turne awey hir hertës so, That al hir hotë love, and hir desyr, And al hir bisy torment, and hir fyr Be queynt, or turnëd in another place; And if so be thou wolt not do me grace, Or if my destinee be shapen so, That I shal nedës have oon of hem two, As sende me him that most desireth me.
The rime-syllables with which Chaucer ends his lines are as a rule strong and followed by a pause, or at least by the grammatical possibility of a pause, though there are exceptions like the division of 'I | desire.' The general effect of the metre is that of a succession of separate couplets, though their separation is often slight and the sentence is allowed to run on with little break through several couplets divided from each other by no break of more than a comma. When a full stop comes and ends the sentence, it is hardly ever allowed to break a line by falling at any point except the end. On the other hand it is as often as not used to divide the couplet by falling at the end not of the second but of the first line, so that the ear has to wait a moment in expectancy until the second, beginning a new sentence, catches up the rime of the first like an echo. Other, slighter pauses fall quite variably where they will, and there is no regular breathing pause or caesura dividing the line after the second or third stress.
When the measure was revived by the Elizabethans two conflicting tendencies began to appear in its treatment. One was to end each line with a full and strong rime-syllable, noun or verb or emphatic adjective, and to let each couplet consist of a single sentence, or at any rate a single clause of a sentence, so as to be both grammatically and rhythmically almost independent of the next. Under this, which is called the closed or stopped couplet system, the rime-pattern and the sense or sentence-pattern, which together compose the formal elements in all rimed verse, are made strictly to coincide, and within the limits of a couplet no full break of the sense is allowed. Rhetorical and epigrammatical point and vigour are the special virtues of this system: its weaknesses are monotony of beat and lack of freedom and variety in sentence structure. The other and opposite tendency is to suffer the sentence or period to develop itself freely, almost as in prose, running over as it will from one couplet into another, and coming to a full pause at any point in the line; and at the same time to let any syllable whatever, down to the lightest of prepositions or auxiliaries, serve at need as a rime-syllable. Under this system the sense and consequent sentence-pattern winds in and out of the rime-pattern variously and deviously, the rime-echo striking upon the ear now with emphasis, now lightly and fugitively, and being sometimes held up to follow a full pause and sometimes hurried on with the merest suggestion or insinuation of a possible pause, or with none at all. The virtues of this system are variety and freedom of movement; its special dangers are invertebrateness and a tendency to straggle and wind itself free of all real observance of rime-effect or metrical law.