This four-beat rhythm, which (as is proved by the definition King James VI gives of it) is the direct descendant of the old alliterative line, has continued in use in modern English poetry to the present day. It occurs in the poem _The recured Lover_, by Sir Thomas Wyatt, one of the earliest Modern English poets, where it is intermixed sometimes with four-feet rhythms, as was the case also in several Early English poems. The general rhythm, however, is clearly of an iambic-anapaestic nature. Fifteen years after the death of Wyatt Thomas Tusser wrote part of his didactic poem _A hundred good points of Husbandry_ in the same metre. In Tusser's hands the metre is very regular, the first foot generally being an iambus and the following feet anapaests: _Whom fáncy persuádeth | amóng other cróps, To háve for his spénding, | suffícient of hóps, Must wíllingly fóllow, | of chóices to chóose. Such léssons appróved, | as skílful do úse._ The four beats of the rhythm and the regular occurrence of the caesura are as marked characteristics of these verses as of the earlier specimens of the metre. Spenser has written several eclogues of his _Shepheard's Calendar_ in this metre (February, May, September), and Shakespeare uses it in some lyric pieces of his _King Henry IV_, Part II, but also for dialogues, as e.g. _Err._ III. i. 11-84. In more modern times Matthew Prior (1664-1715) wrote a ballad _Down Hall_ to the tune, as he says, of _King John and the Abbot of Canterbury_, which clearly shows that he meant to imitate the ancient popular four-beat rhythm, which he did with perfect success. In other poems he used it for stanzas rhyming in the order _a b a b_. Swift has used the same metre, and it became very popular in Scottish poetry through Allan Ramsay and Robert Burns, one of whose most famous poems is written in it, viz.: _My héart's in the Híghlands, | my héart is not hére; My héart's in the Híghlands, | a-chásing the déer; Chásing the wíld deer | and fóllowing the róe, My héart's in the Híghlands | wheréver I gó._ Sir Walter Scott used it frequently for drinking-songs, and Thomas Moore wrote his _Letters of the Fudge Family_ in it. By Coleridge and Byron this metre was used in the same way as by Wyatt, viz. intermixed with regular four-foot verse according to the subject, the four-beat iambic-anapaestic rhythm for livelier passages, the pure iambic for passages of narration and reflection. Byron's _Prisoner of Chillon_ and his _Siege of Corinth_ are good specimens of this kind of metre.[118] On the other hand the regular four-foot rhythm, as will be shown below, if it is of a looser structure, develops into a kind of verse similar to the iambic-anapaestic rhythm--an additional reason for their existing side by side often in one poem.