A stanza like this of trochaic lines we find in _Hymns Ancient and Modern_, No. 419: _King of Saints, to whom the number Of Thy starry host is known, Many a name, by man forgotten, Lives for ever round Thy Throne; Lights, which earth-born mists have darkened, There are shining full and clear, Princes in the court of heaven, Nameless, unremembered here._ Still more frequent are stanzas of this kind consisting of four-foot and three-foot iambic lines, or of two-foot iambic-anapaestic and trochaic-dactylic lines (cf. _Metrik_, ii, § 265). § =235.= More popular than the stanza just noticed is that developed from the long-lined couplets by inserted rhyme. A very instructive example of this development is given in the later version of the _Legend of St. Katherine_ (ed. by Horstmann) which is a paraphrase of the older. The first half-stanza is as follows: _He that made bothe sunne and mone In heuene and erthe for to schyne, Bringe vs to heuene, with him to wone, And schylde vs from helle pyne!_ Stanzas like this, which are frequent in Low Latin, Provençal, and Old French poetry, are very common in Middle and Modern English poetry. Examples may be found in Ritson's _Ancient Songs_, i, p. 40, Surrey, pp. 37, 56, &c., Burns, p.97, &c., M. Arnold, _Saint Brandan_, p. 165, &c. Masculine and feminine rhymes do not alternate very often (cf. Percy's _Reliques_, I. iii. 13). More frequently we find stanzas with refrain verses, e.g. Wyatt, p. 70. Stanzas of this kind consisting of four- or three-foot iambic, trochaic, iambic-anapaestic, trochaic-dactylic lines, of three-foot iambic lines, or of two-foot dactylic or other lines are also very common, e.g. in M. Arnold's _A Modern Sappho_ (with alternating masculine and feminine verse-endings), _Pis Aller_ (p. 230), _Requiescat_ (p. 21). Another stanza of great importance is what is called the elegiac stanza, which consists of four five-foot verses with crossed rhymes. In Middle English literature it was only used as a part of the _Rhyme-Royal_ and of the eight-lined stanza. In Modern English, however, it has been used from the beginning more frequently; it occurs already in Wyatt (p. 58): _Heaven and earth and all that hear me plain Do well perceive what care doth make me cry Save you alone, to whom I cry in vain; Mercy, Madam, alas! I die, I die!_ Other examples are found in M. Arnold's poems _Palladium_ (p. 251), _Revolutions_ (p. 254), _Self Deception_ (p. 225, with alternate masculine and feminine rhymes). This stanza is very popular throughout the Modern English period (cf. _Metrik_, ii, § 267). Stanzas of this kind, however, consisting of trochaic verses, of six-foot (as in Tennyson's _Maud_), seven- and eight-foot metres are not very frequently met with (cf. _Metrik_, ii, § 269).