_For-sóþ =f=lípers, And alle =f=áls =f=láters I réde, sone, þou =f=lé; For þen sálle na gode mán, Þat any góde lare cán, Þár-fore blame þé._ In the same stanza _The Feest_ (Hazlitt, _Remains_, iii. 93) is written. Still more frequently such lines were used for extended tail-rhyme-stanzas rhyming on the scheme _a a a b c c c b d d d b e e e b_, as e.g. in a poem, _The Enemies of Mankind_, of the beginning of the fourteenth century, published by Kölbing (_Engl. Studien_, ix. 440 ff.). The first stanza runs as follows: _Þe =s=ìker =s=óþe who so =s=éys, Wiþ =d=ìol =d=réye we our =d=áys And =w=àlk máni =w=il =w=áys As =w=ándrand =w=íȝtes. Al our =g=ámes ous a=g=ás, So mani =t=énes on =t=ás Þurch =f=ónding of =f=ele =f=ás, Þat =f=ást wiþ ous =f=íȝtes. Our =f=lèsche is =f=óuled wiþ þe =f=énd; Þer we =f=índe a =f=als =f=rénde: Þei þai =h=éuen vp her =h=énde, Þai no =h=óld nouȝt her =h=íȝtes. Þis er =þ=ré, þat er =þ=rá, Ȝete þe =f=érþ is our =f=á, =D=èþ, þat =d=érieþ ous swá And =d=íolely ous =d=íȝtes._ Here, again, the difference between the lines on the pattern of the first hemistich of the long line, which form the body of the stanza (_a a a, b b b, c c c, d d d_), and those on the pattern of the second hemistich used as tail-rhyme lines (_b, b, b, b_) is plainly recognizable. The same is the case in other poems written in this form of stanza, as e.g. in the Metrical Romances, _Sir Perceval_, _Sir Degrevant_ (Halliwell, _Thornton Romances_, Camden Society, 1844, pp. 1, 177) and others; cf. Luick, _Anglia_, xii, pp. 440ff., and Paul's _Grundriss_, ii a, p. 1016. But in these later works, one of the latest of which probably is the poem _The Droichis Part of the Play_, possibly by Dunbar (Laing, ii. 37; Small, ii. 314; Schipper, 190), the two-beat lines are frequently intermingled and blended with even-beat lines, which from the beginning of the fifth stanza onward completely take the place of the two-beat lines in the last-mentioned poem. Likewise in the 'Bob-wheel-staves', i.e. stanzas of the structure of those sixteenth-century stanzas quoted above (§§ 60, 61), the _cauda_, as is expressly stated by King James VI in his _Revlis and Cavtelis_, is written in even-beat lines of four and three measures, though the main part of the stanza (the _frons_) is composed in four-beat rhyming-alliterative lines (cf. Luick, _Anglia_, xii, P. 444). § =66.= In the contemporary =Dramatic Poetry= this mixture of four-beat (or two-beat) alliterative lines with lines of even measures is still more frequent, and may be used either strophically or otherwise.