15) The first way of approaching the meter is interesting because Hopkins will later take it up under the name "counterpoint," but the second is more relevant to Tennyson because the Latin meter is largely defined by its second foot, the choriambic
It is the choriambic
movement that enacts the fineness of the touch.
He notes Tennyson's innovative incorporation of the Greek choriambic
(/u u/) into his alcaics in "The Daisy," marks Tennyson's invention of a new meter in "To the Master of Balliol" (the prefatory poem to "The Death of Oenone"), and usefully situates Tennyson's experimentation with alcaics in an English tradition encompassing Mary Herbert, Countess of Pembroke, Marvell, Milton, and Clough.
2: 199-216) contrasts Tennyson's carefully regular choriambics
in "Hendecasyllabics" with Robinson's looser appropriation.
He notes Beaumont and Fletcher's ingenious use of "Iambic Pentameter Hyperacatalectic, their Proceleusmatics, and Dispondaeuses-proceleusmatics," "not to mention the Choriambics
, the Ionics, the Paeons, and the Epitrites.