Choriamb

"The measure, as used by the early Greeks, is essentially lyrical and impassioned. Mingled with other metres, it was constantly serviceable in choral writing, to which it was believed to give a stormy and mysterious character."

"Swinburne even introduced it into English poetry:— Love, what ailed thee to leave life that was made lovely, we thought, with love? What sweet visions of sleep lured thee away, down from the light above?Such lines as these make a brave attempt to resuscitate the measured sound of the greater asclepiad."

"The charm of Swinburne’s ‘Choriambics’ is undeniable: Large red lilies of love, sceptral and tall, lovely for eyes to see; Thornless blossom of love, full of the sun, fruits that were reared for thee."

"Professor Gilbert Murray, another good poet and Grecian, has kindly sent me verses composed in the same rhythm, but in what he ... believes was Sappho’s manner. An old eagle, a blind eagle, who waits hungry and cold and still; He seeks nothing, he fears nothing: he stands lone on a lonely hill."

"The choriambic hexaplet is the basis of the following lines from Swinburne's Hesperia: Out of the golden remote wild west where the sea without shore is, Full of the sunset, and sad, if at all, with the fulness of joy, As a wind sets in with the autumn that blows from the region of stories, Blows with a perfume of songs and of memories beloved from a boy."

"The heptaplet with [a different] formula ... is found in Burns's Where are The Joys, etc.: Where are the joys I have met in the morning, that danced to the lark's early song? Where is the peace that awaited my wand'ring at evening the wild woods among."

"Rupert Brooke experimented with accentual versions of choriambs, ... Brooke came up with lines like: Light-foot dance in the woods, whisper of life, woo me to wayfaring"