[181] Cf. §§ 8, 223-7. [182] Cf. §§ 60-2 and the author's 'Metrische Randglossen, II.', _Engl. Stud._, x, pp. 196-200. [183] Cf. _Sir Thomas Wyatt_, von R. Alscher, Wien, 1886 pp. 119-23. [184] By the German metrists it is called _Binnenreim_, or _Innenreim_. [185] So called from a poet Leo of the Middle Ages (c. 1150) who wrote in hexameters rhyming in the middle and at the end. Similar verses, however, had been used occasionally in classic Latin poetry, as e.g. _Quot caelum stellas, tot habet tua Roma puellas_, Ovid, Ars Amat. i. 59. CHAPTER II THE RHYME AS A STRUCTURAL ELEMENT OF THE STANZA § =220.= On the model of the Provençal and Northern French lyrics, where the rhyme was indispensable in the construction of stanzas, rhyme found a similar employment in Middle English poetry. Certain simple kinds of stanzas, however, were in their formation just as much influenced by the Low Latin hymn forms, in which at that time rhyme had long been in vogue. But the rules prescribed for the formation of stanzas by the Provençal poets in theory and practice were observed neither by the Northern French, nor by the Middle English poets with equal rigour, although later on, it is true, in the court-poetry greater strictness prevailed than in popular lyrical poetry. One of the chief general laws relating to the use of rhyme in the formation of stanzas has already been mentioned in § 214 (at the end). A few other points of special importance require to be noticed here. Both in Middle English and in Romanic poetry we find stanzas with a single rhyme only and stanzas with varied rhymes. But the use of the same rhymes throughout all the stanzas of one poem (in German called _Durchreimung_), so frequent in Romanic literature, occurs in Middle English poetry only in some later poems imitated directly from Romanic models. As a rule, both where the rhyme in the same stanza is single and where it is varied, all the stanzas have different rhymes, and only the rhyme-system, the arrangement of rhymes, is the same throughout the poem. It is, however, very rarely and only in Modern English literary poetry that the several stanzas are strictly uniform with regard to the use of masculine and feminine rhyme; as a rule the two kinds are employed. Sometimes, it is true, in the anisometrical 'lays', as they are called, as well as in the later popular ballads (e.g. in _Chevy Chace_ and _The Battle of Otterbourne_), we find single stanzas deviating from the rest in rhyme-arrangement as well as in number of lines, the stanzas consisting of Septenary lines with cross-rhymes and intermittent rhymes (_a b a b_, and _a b c b_) being combined now and then with tail-rhyme. This is found to a still greater extent in lyrical poetry of the seventeenth century (e.g. Cowley, G. Herbert, &c.) as well as in odic stanzas of the same or a somewhat later period.