Thanks, Chris. I must admit it hadn’t occurred to me that Swinburne’s
Choriambics were in Greater Asclepiads, and I don’t recall seeing the Brooke pieces before.
And Hugh, thanks for the further info and the Auden. “Asclepiad” refers to a line with the metrical pattern you give at the end of your post, but also to stanza forms constructed with lines in that and/or other meters. The Asclepiadic meters are as follows (if we consider these patterns as English accentual templates, then / represents stressed, v unstressed, x either, | | a caesura):
Asclepiad: / v / v v / | | / v v / v x
Greater Asclepiad: / v / v v / | | / v v / | | / v v / v x
Glyconic: / v / v v / v x
Pherecratean: / v / v v / x
And lines on these patterns are put together in various ways to make the Asclepiadic stanza forms. For example, the First Asclepiad just repeats Asclepiad lines ad lib (this is the pattern for the Auden), the Second Asclepiad is a stanza of three Asclepiads followed by a Glyconic. The Third Asclepiad consists of two Asclepiads, a Pherecratean and a Glyconic, and is the stanza pattern of my original example.... The Fifth repeats Greater Asclepiad lines ad lib, and is the basis for the Brooke and Swinburne examples above — though Brooke varies his with an occasional short line in no particular pattern.
Again, for more on the meters and stanza forms, see the site I referenced before:
http://www.stoa.org/diotima/anthology/horawillmet.shtml
Peter