These last examples suffice to show the rich variety of the caesura, which may be referred perhaps to the influence of blank verse, in the management of which Chapman displays great skill, and to the frequent use which he makes of the enjambement. Rhyme-breaking also sometimes occurs in his verse. Occasionally three consecutive lines rhyme together, as in W. Warner, whose versification is otherwise extremely regular, similar to that of lyrical poetry. In this branch of poetry the Septenary, with the simple rhyme-order _a b c b_ and especially with the more artistic form _a b a b_, has continued to be very popular from the time of Wyatt down to the present day. The three-foot line has naturally in most instances a masculine ending, but lines also occasionally occur with feminine rhyme. In many poems the feminine rhyme is, moreover, regularly employed in this metre; as, for instance, in Burns's _To John Taylor_ (p. 158): _With Pégasús upón a dáy, Apóllo wéary flýing, Through frósty hílls the jóurney láy, On fóot the wáy was plýing._ In ballad poetry, on the other hand, the Septenary metre tends to assume a somewhat freer construction, similar to, though not so capricious as that in the old ballads edited by Percy. A well-known example is offered by Coleridge's _Rime of the Ancient Mariner_: _It ís an áncient Márinér, | And he stoppeth óne of thrée: 'By thy lóng grey béard and glíttering éye, | Now whérefore stópp'st thou mé?'_ Two unaccented opening syllables and two unaccented syllables in the middle of the line are, in particular, often met with. § =141. The Septenary in combination with other metres.= After its occurrence in the _Moral Ode_ and the _Ormulum_ the Septenary, as we have seen, appears at first very seldom by itself, but generally in connexion with other metres, especially the old long line in its freer development, the four-foot metre (though more rarely), and, particularly, the Alexandrine. The Middle English Alexandrine was constructed on the model of the Old French Alexandrine--except for the use of Teutonic licences in even-beat rhythm--and it thus possessed four different types, which the following examples from _On god Ureison of ure Lefdi_[146] may serve to illustrate. We give the corresponding Old French metrical types from the _Roman d'Alixandre_ (Bartsch, _Chrestomathie de l'ancien français_, p. 175). _a._ Masculine caesura with masculine line-ending: _En icele forest, | dont voz m'oëz conter._ 24. _Nim nu ȝéme to mé, | so me bést a béo ðe béo._ 129. _b._ Feminine (epic) caesura with masculine line-ending: _nesune male choze | ne puet laianz entrer._ 25. _vor þín is þé wurchípe, | ȝif ich wrécche wel iþéo._ 130. _c._ Masculine caesura with feminine line-ending: _Moult fut biaus li vregiers | et gente la praële._ 1. _Þine blísse ne méi | nówiht únderstónden._ 31.