The commonest rhythmical licences are inversion of accent and initial truncation. In stanzas verses of this sort occur, for the most part it seems, with the rhyme-order _a b c b_, for instance in Burns, _The Cats like Kitchen_, and Moore, _When Love is Kind_, so that these verses might be regarded as four-foot lines rhyming in couplets. § =134.= One-foot lines, both with single and with double ending, likewise occur in Middle English only as component parts of anisometrical stanzas, as a rule as _bob_-verses in what are called _bob-wheel_ staves; as, for instance, in a poem in Wright's _Songs and Carols_ (Percy Society, 1847), the line _With áye_ rhyming with the three-foot line _Aye, áye, I dár well sáy_; in the _Towneley Mysteries_, the verse _Alás_ rhyming with _A góod máster he wás_; in an _Easter Carol_ (Morris, _An Old Engl. Miscellany_, pp. 197-9), the line _So strónge_ rhyming with _Jóye hím wit sónge_, or _In lónde_ and _of hónde_ rhyming with _Al with jóye þat is fúnde_. Metrical licences can naturally only seldom occur in such short lines. One-foot iambic lines occur also in the Modern English period almost exclusively in anisometrical stanzas. A little poem entitled _Upon his Departure hence_, in Herrick's _Hesperides_, may be quoted as a curiosity, as it is written in continuous one-foot lines of this kind, rhyming in triplets: _Thus Í_, _As óne_ _I'm máde_ _I' the gráve,_ _Where téll_ _Passe bý_, _Unknówn_, _A sháde_ _There háve,_ _I dwéll._ _And díe_, _And góne_, _And láid_ _My cáve:_ _Farewéll._ One-foot lines with feminine ending are employed by Moore as the middle member of the stanza in the poem _Joys of Youth, how fleeting_. CHAPTER X THE SEPTENARY, THE ALEXANDRINE, AND THE THREE-FOOT LINE § =135. The Septenary= is a favourite Middle English metre, going back to a Mediaeval Latin model. It cannot, however, be definitely determined whether this is to be found in the (accentual) catalectic iambic tetrameter, an example of which is preserved, among other instances, in the _Planctus Bonaventurae_ (1221-74) printed by Mone in his _Latin Hymns of the Middle Ages_, which begins as follows: _O crux, frutex salvificus, | vivo fonte rigatus, Quem flos exornat fulgidus, | fructus fecundat gratus_, or possibly in another Latin metre which was a far greater favourite with the Anglo-Norman Latin poets. This is the (accentual) brachycatalectic trochaic tetrameter, which frequently occurs, among other instances, in the poems ascribed to Walter Map, e.g. in the still popular verses: _Mihi est propositum | in taberna mori, Vinum sit appositum | morientis ori._