The basic form is accentual verse, with four stresses per line, separated by a caesura.

He is a particular proponent of accentual verse.

The final section of the book presents a new system of prosody for accentual verse.

In this final section of Bridges describes a prosody of accentual verse.

This is a form of accentual verse, as opposed to our accentual-syllabic verse.

A number of stricter forms of accentual verse exist, including:

Bridges lists six "rules" for accentual verse.

Accentual-syllabic verse is an extension of accentual verse that also fixes the syllables.

In developing a prosody for accentual verse, Robert Bridges classifies the following types of syllable:

Accentual verse derives its musical qualities from its flexibility with unstressed syllables and tends to follow the natural speech patterns of English.

His poetry was written mostly in the melodic style of the 8-syllable accentual verse, the most popular rhythmic structure among the Polish stylistic variations, at 65%.

Accentual verse has a fixed number of stresses per line or stanza regardless of the number of syllables that are present.

Accentual-syllabic verse is an extension of accentual verse which fixes both the number of stresses and syllables within a line or stanza.

The largely source for accentual verse from the post-Elizabethan period is Mother Goose's Melody (1765), as this recorded popular verse.

(The definitive edition, revised, with Classical Meters... removed, and a new chapter on Accentual Verse.)

Accentual verse (including sprung rhythm) is a common form in English folk verse, including nursery rhymes and skipping-rope rhymes.

Accentual verse lost its dominant position in English poetry following the Norman conquest of England, where French forms, with their syllabic emphasis, gained prominence.

In languages with a stress accent (accentual verse), it is the equivalent of pentameter with iambs or trochees (particularly iambic pentameter).

Accentual verse was a traditionally common form in Germanic regions, with similar forms found in Germany, Scandinavia, Iceland, and Britain.

Outside of children's poetry and literary poetry, accentual verse remains popular in verse composed for oral presentation, such as cowboy poetry and rap.

Anglo-Saxon poetry generally added two further basic elements to the basic four-beat accentual verse pattern: alliteration of three of the four beats, and a medial pause (caesura).

Easthope concedes, 'Spoken performance of pentameter is accordingly open to variation in a way accentual verse is not', and this points to the massive lacuna at the heart of his book.

While sprung rhythm did not become a popular form in literary poetry, accentual verse did catch on, with some poets flirting with the form, and later poets more strictly following it.

Accentual verse experienced a revival in the 19th century with the development ("discovery") of sprung rhythm by Gerard Manley Hopkins, a form of accentual verse.

In accentual verse, often used in English, it is a stressed syllable followed by two unstressed syllables-the opposite is the anapaest (two unstressed followed by a stressed syllable).