an adverbial phrase--sometimes constitutes the second element.
These pairs are often balanced roughly by the presence of two,
three, or four accents in each constituent; there are a large number
of imbedded iambic and anapestic feet, which give the rhythm an
ascending quality:

The da/ughter of R/inval was n/ear;

Crim/ora, br/ight in the arm/our of m/an;

Her ha/ir loose beh/ind,

Her b/ow in her h/and.

She f/ollowed the y/outh to w/ar,

Co/nnal her m/uch bel/oved.

She dr/ew the st/ring on D/argo;

But e/rring pi/erced her C/onnal. ("Fragment V")

As E. H. W. Meyerstein pointed out, "Macpherson can, without
extravagance, be regarded as the main originator (after the translators
of the Authorized Version) of what's known as 'free verse."[13]
Macpherson's work certainly served to stimulate prosodic experimentation
during the next half century; it is certainly no coincidence that two of
the boldest innovators, Blake and Coleridge, were admirers of
Macpherson's work.