§ 214. Structure of the stanza 270 215. Influence of lyrical forms of Provence and of Northern France on Middle English poetry 271 216. Classification of rhyme according to the number of the rhyming syllables: (1) the monosyllabic or masculine rhyme; (2) the disyllabic or feminine rhyme; (3) the trisyllabic, triple, or tumbling rhyme 272 217. Classification according to the quality of the rhyming syllables: (1) the rich rhyme; (2) the identical rhyme; (3) the broken rhyme; (4) the double rhyme; (5) the extended rhyme; (6) the unaccented rhyme 273 218. Classification according to the position of the rhyming syllables: (1) the sectional rhyme; (2) the inverse rhyme; (3) the Leonine rhyme or middle rhyme; (4) the interlaced rhyme; (5) the intermittent rhyme; (6) the enclosing rhyme; (7) the tail-rhyme 276 219. Imperfect or 'eye-rhymes' 278 CHAPTER II THE RHYME AS A STRUCTURAL ELEMENT OF THE STANZA § 220. Formation of the stanza in Middle English and Romanic poetry 279 221. Rhyme-linking or 'concatenation' in Middle English 280 222. The refrain or burthen; the wheel and the bob-wheel 280 223. Divisible and indivisible stanzas 281 224. Bipartite equal-membered stanzas 282 225. Bipartite unequal-membered stanzas 282 226. Tripartite stanzas 283 227. Specimens illustrating tripartition 284 228. The envoi 286 229. Real envois and concluding stanzas 286 =PART II. STANZAS COMMON TO MIDDLE AND MODERN ENGLISH, AND OTHERS FORMED ON THE ANALOGY OF THESE= CHAPTER III BIPARTITE EQUAL-MEMBERED STANZAS I. ISOMETRICAL STANZAS.