iii. 590):

_Upon a bank with roses set about, Where turtles oft sit joining bill to bill, And gentle springs steal softly murm'ring out, Washing the foot of pleasure's sacred hill; There little Love sore wounded lies, His bow and arrows broken, Bedew'd with tears from Venus' eyes; Oh! grievous to be spoken._

Other schemes that occur are: _a b a b c₅ d₃ c₅ d₃_, _a b a b c d c₄ d₃_, _a b a b c c d₄ d₃_, _a b a b₄ c c₂ d d₄_, _a b a₄ b₃ c c d d₄_, _a ~ b a ~ b₃ c₄ d₃ d₄ d₃_, _a b ~ a b ~₃ c₄ d ~₃ c₄ d ~₃_, _a ~ b c ~ b d ~ e₃ f₄ e₃_, _a ~ b a ~ b₃ c d c₄ d₃_, _a ~ b a ~ b c ~ d c ~4 d₅_ (M. Arnold, p. 2), &c.; for numerous examples see _Metrik_, ii, §§ 412, 414, 415.

Sometimes stanzas occur, the isometrical part of which forms the _cauda_, as on the scheme _a₄ b₃ a₄ b₃ c c d d₄_ in Moore, _Sovereign Woman_:

_The dance was o'er, yet still in dreams, That fairy scene went on; Like clouds still flushed with daylight gleams, Though day itself is gone. And gracefully to music's sound, The same bright nymphs went gliding round; While thou, the Queen of all, wert there-- The fairest still, where all were fair._

For examples of other forms (_a b a₄ b₂ c d C D₄, a ~₃ b₄ a ~₃ b₄ c b c b₄, a₄ b₃ c₄ b₃ d e d e₃_, &c.) see _Metrik_, ii, §§ 413, 416.

§ =277.= Very frequently stanzas occur which are of an entirely anisometrical structure in both parts. To this group belong the first tripartite anisometrical stanzas of the Middle English period, contained in Wright's _Spec. of Lyr. Poetry_, p. 111 (two songs). Their stanzaic form (_a₄ b₃ a₄ b₃ b b₅ c₇ c₅_) is also of great importance, on account of the fact that the first five-foot verses as yet known in English poetry occur in the _cauda_ of these stanzas. The first strophe may serve as an example:

_Lutel wot hit anymon, Hou loue hym haueþ ybounde, Þat for us oþe rode ron, Ant bohte vs wiþ is wounde, Þe loue of hym vs haueþ ymaked sounde, Ant yeast þe grimly gost to grounde. Euer ant oo, nyht ant day, hi haueþ vs in is þohte, He nul nout leose þat he so deore bohte._

This stanza is also interesting on account of its regular use of masculine rhymes in the first and in the third line, and of feminine rhymes in the others. The structure of the five-measured verses employed in this stanza has been referred to before (§ 153).

Very often both main parts, the _upsong_ and the _downsong_, have crossed rhymes in Modern English, e.g. in a form of stanza with the scheme _a₅ b₃ a₅ b₃ c d₅ c₃ d₂_ in Southey, _To a Spider_ (ii. 180):

_Spider! thou need'st not run in fear about To shun my curious eyes; I wont humanely crush thy bowels out, Lest thou should'st eat the flies; Nor will I roast thee with a damn'd delight Thy strange instinctive fortitude to see, For there is One who might One day roast me._

A structure analogous to that of the two last-quoted specimens is exhibited in many stanzas occurring in earlier Modern English poetry, as in Cowley, Herbert, Browne, Carew (_a₅ b₄ a₅ b₄ c₄ c₅ d₄ d₅_, _a₅ b₂ a₅ b₂ c₄ c₃ d₅ d₂_, _a₃ b₂ a₃ b₂ c c₄ d d₅_, _a₄ b₂ a₄ b₂ c₃ c₂ d d₃_); other forms, corresponding only in the upsong or downsong to the Middle English stanza quoted above, are _a ~₄ b₂ a ~₃ b₂ c ~₄ d₃ c ~₄ d₃_, _a₄ b ~₃ a₄ b ~₃ b ~₂ b ~₃ c₄ b ~₃_, _a₄ b₃ a₄ b₃ c d₃ c₄ d₃_, &c., used by Burns, Moore, and Mrs. Hemans. For examples see _Metrik_, ii, §§ 417, 418.

§ =278.= The next group consists of stanzas, one main part of which consists of a half or of a whole tail-rhyme stanza. The first of these two forms is used e.g. by Burns in the song _She's Fair and Fause_ (p. 204), where the stanza consists of four- and three-foot verses on the model _a₄ b₃ a₄ b₃ c c c₄ d₃_:

_She's fair and fause that causes my smart, I lo'ed her meikle and lang: She's broken her vow, she's broken my heart, And I may e'en gae hang. A coof cam in wi' rowth o' gear, And I hae tint my dearest dear, But woman is but warld's gear, Sae let the bonie lass gang._

Other stanzas of this class correspond to the formulas _a₄ b₃ a₄ b₃ a a a₄ b₃_, _a ~₄ b₂ a ~₄ b₃ c ~ c ~ c ~₄ b₂_, _a₃ b₂ a₃ b₂ c c c₃ b₂_. For examples see _Metrik_, ii, § 419.

There is another form of stanza the first part of which according to the Middle English usage consists of a complete tail-rhyme stanza (cf. the ten-lined stanzas of this group), while the _cauda_ is formed by a rhyming couplet, so that its structure corresponds to the scheme _a a₄ b₃ a a₄ b₃ c c₄_; it occurs in Spenser, _Epigrams_, ii (p. 586):

_As Diane hunted on a day, She chaunst to come where Cupid lay, His quiver by his head: One of his shafts she stole away, And one of hers did close convay Into the other's stead: With that Love wounded my Love's hart But Diane beasts with Cupid's dart._

Similar stanzas of other metres are very frequently met with, as e.g. stanzas corresponding to the formulas _a a₄ b₃ c c₄ b₃ d d₅_, _a a₃ b₂ c c₃ b₂ d d₆_, _a a₂ b₃ c c₂ b₃ b b₇_, and _a ~ a ~₄ b₅ c ~ c ~₄ b₅ d d₅_. The reverse order (i.e. _frons_ + two _versus_) we have in _a a₃ b b₂ c₃ b b₂ c₃_ and _a a₅ b b₃ c₅ d d₃ e₅_. For examples see _Metrik_, ii, § 420.

A stanza corresponding to the formula _a b₄ c₃ a b₄ c₃ a₄ D₃_ occurs in M. Arnold's _The Church of Brou_ (p. 17).

§ =279.= Among =stanzas of nine lines=, those with parallel rhymes must again be mentioned first; as e.g. a strophe on the scheme _a a b b c c d d₄ d₅_, in Akenside, Book I, Ode X, _To the Muse_ (Poets, ix. 780). Other stanzas occurring also in more recent poetry (Wordsworth, W. Scott) are on the schemes _a a b b₄ c c₂ c d d₄_, _a a b b c₄ d₃ c c₄ d₃_, _a₄ b₃ a a₄ b₃ c c d D₄_. For examples see _Metrik_, ii, § 421.

Similar stanzas, also with an isometrical first part, but with crossed rhymes, are not very often met with. The schemes are _a b a b₄ c c₂ c d d₄_, _a b a b c c d d₄ d₅_, _a b a b b c b b₄ c₃_, _a b a b c d c d₄ e₂_, _a₄ b₃ a a₄ b₃ c ~ d c ~ d₄_, &c. Specimens of them are also found in modern poets, as in Moore, Burns, Walter Scott, &c. For examples see _Metrik_, ii, § 422.

More frequently stanzas occur with an anisometrical first and last part and crossed rhymes in each of them; the schemes are _a₄ b₅ a₄ b₅ c₄ d₃ c₅ d d₄_, _a₅ b₂ a₅ b₂ c c₅ d d₂ c₄_, _a₄ b₂ a₄ b₂ c₄ d d₂ c c₄_. The most popular, however, are those stanzas in which one or other of the two main parts consists of Septenary verses; they are of frequent occurrence in Burns and other modern poets; a stanza on the scheme _a₄ b₃ a₄ b₃ c₄ d ~₃ c₄ d ~₃ r₂_, e.g., is found in Burns, _The Holy Fair_ (p. 14):

_Upon a simmer Sunday morn, When Nature's face is fair, I walked forth to view the corn, An' snuff' the caller air. The risin' sun, owre Galston muirs, Wi' glorious light was glintin; The hares were hirplin down the furrs, The lav'rocks they were chantin Fu' sweet that day._

For similar examples see _Metrik_, ii, § 424.

Other stanzas are formed by combination with a complete or a shortened tail-rhyme stanza; so that we have schemes like _a a₄ b₃ c c₄ b₃ d d d₄_, _a ~ a ~ b c ~ c ~ b₄ d ~ d ~₂ b₄_, _a a₂ b₄ c c₂ b₄ d d₂ b₄_. They occur in Carew (_Poets_, iii. 709), Dryden (p. 368), and Thackeray (p. 237). The formula _a₄ b₃ a₄ b₃ c d c c₄ d₃_ we find in Campbell (p. 82), _a₄ b₃ a₄ b₃ c c₄ b₃ d d₄_ in Byron's _Ode to Napoleon_ p. 273):

_'Tis done--but yesterday a King! And arm'd with Kings to strive-- And now thou art a nameless thing; So abject--yet alive! Is this the man of thousand thrones, Who strew'd our earth with hostile bones, And can he thus survive? Since he, miscall'd the Morning Star, Nor man nor fiend hath fallen so far._

For other specimens see _Metrik_, ii, §§ 424, 425.

§ =280.= Among the =stanzas of ten lines=, those with an isometrical first part and parallel rhymes may first be mentioned; they correspond to the schemes _a a b b c d d e e₄ c₅_, _a a b b c d c d₄ f₃ f₄_, _a a b b c₄ d₃ c c c₄ d₃_, _a a b b₄ c d c d₂ e e₄_, and are found in Akenside, Wordsworth, and Moore. Next come stanzas with an anisometrical first part according to the formulas _a₅ a₄ b₅ b₄ c c₅ d d e₄ e₅_, _a₄ a₅ b₄ b₅ c d c₄ d₃ e e₅_, _a ~ a ~₃ b b₄ c ~ c ~₃ d d₄ e ~ e ~₃_, occurring in Cowley and Campbell (cf. _Metrik_, ii, §§ 427, 428).

In other stanzas, crossed rhymes are used in the isometrical first part; they correspond to the formulas _a b a b₅ c₄ d₃ c₄ d₃ e₆ e₇_, _a b a b c c d e d₅ E₂_, _a b a b c d e₅ c₃ d e₅_, _a b a b c₃ c₂ d₃ d₂ e₃ e₄_, and are found in Browne, G. Herbert, and Ben Jonson (ib. § 429).

In modern poetry simpler stanzas of this kind are used; one e.g. on the scheme _a ~ b ~ a ~ b ~₃ c c₄ d ~ e ~ d ~ e ~₃_ (the _cauda_ being thus enclosed by the two _pedes_) in Moore's song _Bring the bright Garlands hither_:

_Bring the bright garlands hither, Ere yet a leaf is dying; If so soon they must wither, Ours be their last sweet sighing. Hark, that low dismal chime! 'Tis the dreary voice of Time. Oh, bring beauty, bring roses, Bring all that yet is ours; Let life's day, as it closes, Shine to the last through flowers._

Similar stanzas corresponding to the formulas _a ~ b a ~ b₂ c c₄ d ~ e d ~ e₂_, _a ~ b ~ a ~ b c ~ d c ~ d₂ e e₄_, _a b a b c d c d₄ e₃ e₄_ and _a ~ b a ~ b₄ c ~₄ d₃ c ~₄ d₃ c ~₄ d₃_, are used by the same poet in _With Moonlight Beaming_, _The Young Indian Maid_, _Guess, guess_, and _from this Hour_.

Many stanzas of this group with an isometrical first part are formed by combination with a tail-rhyme stanza, which then generally forms the _cauda_, as in one of Cunningham's stanzas, viz. in _Newcastle Beer_ (Poets, x. 729), the stanza consisting of four- and two-stressed verses on the scheme _a b a b₄ c c₂ d₄ e e₂ d₄_:

_When fame brought the news of Great-Britain's success, And told at Olympus each Gallic defeat; Glad Mars sent by Mercury orders express, To summon the deities all to a treat: Blithe Comus was plac'd To guide the gay feast, And freely declar'd there was choice of good cheer; Yet vow'd to his thinking, For exquisite drinking, Their nectar was nothing to Newcastle beer._

For examples of many similar forms, e.g. _a b a b c c d e e₄ d₃_, _a₅ b b₄ a₅ c c d e e d₃_, _a b a b₄ c c₂ d₄ e ~ e ~₂ d₄_, _a b a b₄ c c₂ d₃ e e₂ d₃_, _a b a b₃ c ~ c ~1 d₃ e ~ e ~1 d₂_, see _Metrik_, ii, § 431.

§ =281.= Stanzas of this kind with an anisometrical first part occur in the Middle English period: e.g. in Wright's _Spec. of Lyr. Poetry_, p. 83, on the scheme _a₄ b ~₃ a₄ b ~₃ c c₄ d ~₃ e e₄ d ~₃_:

_Jesu, for þi muchele miht Þou ȝef vs of þi grace, Þat we mowe dai and nyht Þenken o þi face. In myn herte hit doþ me god, When y þenke on iesu blod, Þat ran doun bi ys syde, From is herte doun to is fot, For ous he spradde is herte blod, His woundes were so wyde._

The shorter, Septenary part of the stanza represents the _frons_, the tail-rhyme stanza, the _versus_. Of a similar form (_a₄ b₃ a₄ b₃ a a₄ b₃ a b₃ a₂_) is the stanza of the poem _An Orison of our Lady_ (E. E. T. S., vol. xlix, p. 158). In Modern English also allied forms occur; one especially with the scheme _a₄ b₃ a₄ b₃ c c d e e₄ d₃_ in Gray, _Ode on the Spring_ (Poets, x. 215); other forms are _a₄ b₃ a₄ b₃ c c₂ d₃ e e₂ d₄_, _a₄ b₃ a₄ b₃ c c d e e₄ d₅_, _a b₃ a₄ b₃ d d₄ e₃ f f₄ e₃_. (For examples see _Metrik_, ii, § 432.)

The reverse combination, viz. tail-rhyme stanza and Septenary (on the scheme _a a₄ b₃ c c₄ b₃ d₄ b₃ d₄ b₃_), also occurs in Middle English times[195]), e.g. in Wright's _Spec. of Lyr. Poetry_, p. 87:

_Nou skrinkeþ rose and lylie flour, þat whilen ber þat suete sauour, in somer, þat suete tyde; ne is no quene so stark ne stour, ne no leuedy so bryht in bour, þat ded ne shal by glyde. Whose wol fleyshlust forgon, and heuene blis abyde, on iesu be is þoht anon, þat þerled was ys syde._

Similar stanzas occur also in Modern English; e.g. one on the formula _a a₂ b₃ c c₂ b₃ d₄ e₃ d₄ e₃_ in Burns (p. 255), another on the scheme _a a₂ b₃ c c₂ b₃ d e₃ d₄ e₃_ (=_Poulter's Measure_ in the _cauda_), ib. p. 189.

Other ten-line stanzas consisting chiefly of Septenary verses or of _Poulter's Measure_ correspond to the formulas _a₄ b₃ a₄ b₃ c₄ d₃ c₄ d₃ e e₄_, _a b₃ a₄ b₃ c d₃ c₄ d₃ e e₄_, _a b a₄ b₃ c d c₄ d₃ e e₃_. For examples, partly taken from Moore, see _Metrik_, ii, § 435.

Stanzas of this kind consisting of five-foot verses are rarely met with, e.g. _a₅ b₃ a₅ b₃ c₅ d₃ c₅ d₃ e e₄_, _a b₄ a₅ b₄ c c d d e e₅_, _a₅ b₃ a₅ b₃ c c₄ d₂ d₅ e₂ e₅_; as in Spenser and Browne (cf. _Metrik_, ii, § 434).

§ =282.= Stanzas of eleven lines= are also rare. There is one with an isometrical first part (on the scheme _a b a b₅ c c₂ c₃ d₂ d₅ x₂ d₆_) in Ben Jonson, _Cynthia's Revels_ (Poets, iv. 610); another in Campbell's _Gertrude of Wyoming_ (st. xxxv-xxxix), corresponding to the scheme _a b a b₄ c₃ d d d₄ c₃ e e₄_.

Other stanzas of an almost entirely anisometrical structure consist of a combination with a tail-rhyme stanza, as e.g. a Middle English stanza on the scheme _a a₄ b₃ a a₄ b₃ a₄ b₃ a a₄ b₃_, with a regular tail-rhyme stanza representing the _pedes_, and a shortened tail- rhyme stanza representing the _cauda_; it occurs in the _Towneley Mysteries_, pp. 221-3. A similar one we have in Phineas Fletcher (_Poets_, iv. 460) on the formula

_a ~₂ a ~₃ b₂ e ~₂ e ~₃ b₂ d ~₄ e ~ e ~₂ d d₅_,

and another one in Leigh Hunt, _Coronation Soliloquy_ (p. 225) which corresponds to the formula _a a₂ b ~₃ c c₂ b ~₃ d d₂ e ~₃ f₄ e ~₃_.

In other stanzas parts only of tail-rhyme stanzas occur, as in a strophe of the form _a₄ b ~₃ c₄ b ~₃ d e d d₄ e₃ r R₄_, used by Wordsworth in _The Seven Sisters_ (iii. 15):

_Seven Daughters had Lord Archibald, All children of one mother: You could not say in one short day What love they bore each other. A garland of seven lilies wrought! Seven Sisters that together dwell; But he, bold Knight as ever fought, Their Father, took of them no thought, He loved the wars so well. Sing mournfully, oh! mournfully, The solitude of Binnorie!_

Other stanzas of this kind are formed on the schemes _a₄ b₂ a₄ b₂ c c₂ d₃ e₄ d₂ e₄ d₂_ (Moore, _Love's Young Dream_), _a b b a c c d e e d₅ e₃_ (Swinburne, _Ave atque Vale_, Poems, ii. 71). Cf. _Metrik_, ii, §§ 436, 437.

§ =283. Stanzas of twelve lines= are very numerous. One of the Middle English period we have in Wright's _Spec. of Lyr. Poetry_, p. 27; it is formed on the scheme _a₄ b₃ a₄ b₃ b b b c₃ D D D₄ C₃_ and is similar to those ten-lined stanzas mentioned above, which consist of two Septenary verses and a tail-rhyme stanza; the second part of which, being the refrain, thus becomes the _cauda_ of the stanza. In the Modern English period some simple stanzas with an isometrical first part and parallel rhymes may be mentioned in the first place. These are constructed on the schemes _a a b b c c d d₄ e₄ f₂ e₄ f₂_, _a a b b c c d d e e f₄ f₃_ and occur in Mrs. Hemans (iv. 171; vii. 155); stanzas of this kind with crossed rhymes are likewise met with, e.g. _a ~ b a ~ b₄ c c₃ d₅ e e f f₃ d₅_ in Burns, p. 188.

Pretty often we find stanzas for singing, the _cauda_ of which is enclosed by the _pedes_; in the first stanza the two _pedes_ together form the refrain, in the others, however, only the last one, e.g. in stanzas on the schemes _A ~ B A ~ B₄ c₄ d₃ c₄ d₃ A ~ B A ~ B₄_, _e ~ f e ~ f₄ g₄ h₃ g₄ h₃ A ~ B A ~ B₄_ in _Hymns Ancient and Mod._, No. 138, consisting of trochaic verses:

_Christ is risen! Christ is risen! He hath burst His bonds in twain; Christ is risen! Christ is risen! Alleluia! swell the strain! For our gain He suffered loss By Divine decree; He hath died upon the Cross, But our God is He._

_Christ is risen! Christ is risen! He hath burst His bonds in twain; Christ is risen! Christ is risen! Alleluia! swell the strain._

_See the chains of death are broken; Earth below and heaven above_, &c. &c.

Similar stanzas frequently occur in Moore, e.g. stanzas on the models _A ~ B A ~ B₄ c c d₃ d₂ E ~ B E ~ B₄_, and _f ~ g f ~ g₄ h h i₃ i₂ E ~ B E ~ B₄_ (in _Love's light summer-cloud_), _A B ~ A B ~₃ c d ~₃ c₄ d ~₃ A B ~ A B ~₃_, _e f ~ e f ~₃ g h ~₃ g₄ h ~₃ A B ~ A B ~₃_ (in _All that's bright must fade_). For other examples see _Metrik_, ii, § 441.

Similar stanzas of Septenary metres, also common in Moore, have the formulas _a₄ b₃ a₄ b₃ c₄ d₃ c₄ d₃ E₄ F₃ E₄ F₃_ (in _When Time_), _A₄ B₃ A₄ B₃ c₄ d₃ c₄ d₃ A₄ B₃ A₄ B₃_ (st. i), _d₄ e₃ d₄ e₃ f₄ g₃ f₄ g₃ A₄ B₃ A₄ B₃_ (st. ii); only in st. i the _cauda_ is in the middle; in the others it closes the stanza (_Nets and Cages_).

Other stanzas have the reverse order of verses, as e.g. stanzas on the schemes _a ~₃ b₄ a ~₃ b₄ c ~₃ d₄ c ~₃ d₄ E ~₃ F₄ E ~₃ F₄_ (_To Ladies' Eyes_), _A ~₃ B₄ A ~₃ B₄ c d c d₄ A ~₃ B₄ A ~₃ B₄_ (_Oh! Doubt me not_). This sort of stanza also occurs in Moore with other metres, e.g. according to the formulas _A₄ B₂ A₄ B₂ c₃ d₂ c₃ d₂ A₄ B₂ A₄ B₂_, _e₄ b₂ e₄ b₂ f₃ g₂ f₃ g₃ e₄ b₂ e₄ b₂_ (_Not from thee_) and there are still other varieties in Moore and in some of the more recent poets. Cf. _Metrik_, ii, §§ 443-5.

§ =284.= Among the =stanzas of thirteen lines=, one belonging to the Middle English period has been mentioned above (p. 342, note), which is formed by combination with a tail-rhyme stanza.

In the few Modern English stanzas of this length we generally find also a part of a tail-rhyme stanza, as e.g. in the _cauda_ of a stanza constructed on the formula _a b ~ a b ~ c d ~ c d ~₄ E F ~₄ g g₂ F ~₄_ (Moore, _Lesbia hath_, &c.); or in a stanza like _a ~ b a ~ b₄ c c₂ b₄ d d₂ e f e f₄_, deficient in one four-stressed tail-verse as in Moore, _The Prince's Day_:

_Tho' dark are our sorrows to-day we'll forget them, And smile through our tears, like a sunbeam in showers; There never were hearts, if our rulers would let them, More form'd to be grateful and blest than ours. But just when the chain Has ceas'd to pain_, _And hope has enwreath'd it round with flowers, There comes a new link Our spirits to sink-- Oh! the joy that we taste, like the light of the poles, Is a flash amid darkness, too brilliant to stay; But, though 'twere the last little spark in our souls, We must light it up now, on our Prince's Day._

For other forms of stanzas belonging to this group see _Metrik_, ii, § 447.

§ =285.= More numerous are =stanzas of fourteen lines=. Judging by the examples which have come to our knowledge, they are also, as a rule, formed by combination with a tail-rhyme stanza; as e.g. in a stanza by Browne (_Poets_, iv. 276) on the scheme _a b a b c a c a₅ a a₂ b₃ c c₂ b₃_; another stanza, frequently used by Burns, corresponds to the formula

_a a₄ b₃ c c₄ b₃ d₄ e₃ d₄ e₃ f ~₂ g₃ h ~₂ g₃_

and occurs, e.g., in his _Epistle to Davie_ (p. 57):

_While winds frae aff Ben-Lomond blaw, And bar the doors wi' driving snaw, And hing us owre the ingle, I set me down, to pass the time, And spin a verse or twa o' rhyme, In hamely, westlin jingle. While frosty winds blaw in the drift, Ben to the chimla lug, I grudge a wee the Great-folk's gift, That live sae bien an' snug: I tent less, and want less Their roomy fire-side; But hanker and canker, To see their cursèd pride._

A similar stanza is found in Moore, _The Sale of Loves_, _a₄ b ~₃ a₄ b ~₃ c₄ d ~₃ c₄ d ~₃ E E₂ F ~₃ G G₂ F ~₃_. In other stanzas used by this poet, the tail-rhyme stanza forms the _cauda_ enclosed by two _pedes_ (see § 283); e.g. in _Nay, tell me not, dear_, on the scheme _a b a b₄ c c₂ d₄ e e₂ d₄ F G F G₄_. Another stanza of the form _A B ~ A B ~₃ c c₂ d₃ e e₂ d₃ A B ~ A B ~₃_, _f g ~ f g ~₃ h h₂ i₃ k k₂ i₃ A B ~ A B ~₃_, is used in _Oft, in the stilly night_.

As to other forms cf. _Metrik_, ii, § 448. Stanzas, the enclosing _pedes_ of which are formed by two tail-rhyme stanzas, are discussed ib. § 449 (schemes: _a a₂ b ~₃ C C₂ b ~₃ d ~ d ~₃ e e₂ f ~₃ C C₂ f ~₃_, _g g₂ h ~₃ i i₂ h ~₃ k ~ k ~₃ l l₂ m ~₃ C C₂ m ~₃_).

§ =286.= Some stanzas of still greater extent (not very common) are also formed by combination with tail-rhyme stanzas. There are a few =stanzas of fifteen lines=, e.g. one on the model _a a₂ b₃ c c₂ b₃ d d₂ e₃ f f₂ e₃ g G₃ G₄_ in Moore, _Song and Trio_; one on

_a ~ a ~ b ~ b ~₂ c₁ d ~ d ~ e ~ e ~₂ c₁ f ~ f ~ g ~ g ~₂ c₁_

in Shelley, _The Fugitives_ (iii. 55); and one on

_a ~ a ~ a ~ b c ~ c ~ c ~ b d ~ d ~ d ~ e f ~ f ~₂ e₄_

in Swinburne, _Four Songs in Four Seasons_ (Poems, ii. 163-76).

Two =stanzas of sixteen lines= occur in Moore on the schemes _a a₂ b ~₃ c c₂ b ~₃ d e d e₃ f f₂ g ~₃ h h₂ g ~₃_ (_The Indian Boat_), and _a a₂ b ~₃ c c₂ b ~₃ d d₂ e ~₃ f f₂ e ~₃ G ~₄ H H₂ G ~₃_ (_Oh, the Shamrock_).

A =stanza of seventeen lines=

(_a a₄ b₃ a a₄ b₃ c c₄ b₃ c c₄ b₃ d₄ e₃ d d₄ e₃_)

is found in a Middle English poem in Wright's _Spec. of Lyr. Poetry_, p. 47; it consists of two six-lined, common tail-rhyme stanzas (the _pedes_), and a shortened one (forming the _cauda_).

A =stanza of eighteen lines= on the formula

_a a₄ b₃ c c₄ b₃ d d₄ b₃ e e₄ b₃ f f g g g f₂_

occurs in Wright's _Pol. Songs_, p. 155 (cf. _Metrik_, i, p. 411); the scheme might also be given as _a a₄ b₂_, &c., if the tail-rhyme verses be looked upon as two-stressed lines. A simpler stanza according to the scheme _a a₂ b₃ c c₂ b₃ d d₂ b₃ e e₂ b₃ f f₂ g₃ h h₂ g₃_ is used in _The Nut-Brown Mayd_ (Percy's _Rel._ II. i. 6). Cf. § 244, also _Metrik_, i, p. 367, and ii, p. 715.

Similar stanzas are used by Shelley (in _Arethusa_, i. 374) and by Moore (in _Wreath the Bowl_). Cf. _Metrik_, ii, § 453.

Lastly, a =stanza of twenty lines= with the scheme _a b ~ a c d b ~ d c e e₃ f₄ g g₃ f₄ h h₃ i₄ k ~ k ~₃ i₄_, occurs in _The King of France's Daughter_ (Percy's _Rel._ III. ii. 17); cf. _Metrik_, ii, § 454.