The same stanza we find in Longfellow, _Tales of a Wayside Inn_, v (p. 552). Similar stanzas are quoted in _Metrik_, ii, § 289, their schemes being _a₃ a₂ b₃ c₃ c₂ b₃, a₃ a₂ b₅ c₃ c₂ b₅, a₄ b₃ b₂ a₄ c₃ c₂_ (the tail-rhyme verse put in front). § =246.= There are also some stanzas (_a b₄ c₃ a b₄ c₃_) which may be looked upon as modelled on the tail-rhyme stanza; such a stanza we find in Mrs. Browning's poem, _A Sabbath morning at Sea_ (iii. 74); its formula being _a b₄ c₃ a b₄ c₃_: _The ship went on with solemn face: To meet the darkness on the deep, The solemn ship went onward: I bowed down weary in the place, For parting tears and present sleep Had weighed mine eyelids downward._ Other stanzas of this kind show the scheme: _a₄ b₅ c₃ a₄ b₅ c₃_, _a b₂ c₄ a b₂ c₄_, _a₂ b₃ c₁ a₂ b₃ c₁_, _a ~ b a ~ b₄ c ~6 d~ e d ~ e₄ c ~6_; cf. _Metrik_, ii, § 290. A stanza belonging to this group, and consisting of ten lines rhyming according to the formula _a b a b₃ c₆ d e d e₃ c₆_, occurs in M. Arnold's _Empedocles on Etna_, p. 446 (printed in stanzas of five lines). § =247.= Another metre, which was equally popular with the tail-rhyme stanza with its many varieties, is the stanza formed of two Septenary verses (catalectic tetrameters). In the Middle English period we find it used with feminine rhymes only; afterwards, however, there are both feminine and masculine rhymes, and in modern times the feminine ending is quite exceptional. This metre, broken up into four lines, is one of the oldest and most popular of equal-membered stanzas. One of its forms[190] has in hymn-books the designation of _Common Metre_. Middle and Modern English specimens of this simple form have been given above (§§ 77, 78, 136, 138-40); in some of them the verses rhyme and are printed as long lines; in others the verses rhyme in long lines but are printed as short ones (_a b c b_), and in others, again, the verses both rhyme and are printed as short lines (_a b a b_). On the analogy of this stanza, especially of the short-lined rhyming form, and of the doubled form with intermittent rhyme (which is, properly speaking, a stanza rhyming in long lines), there have been developed many new strophic forms. One of the most popular of these is the stanza consisting alternately of four- and three-foot iambic-anapaestic verses. In this form is written, e.g. the celebrated poem of Charles Wolfe, _The Burial of Sir John Moore_ (cf. § 191): _Not a drum was heard, not a funeral note, As his corpse to the rampart we hurried; Not a soldier discharged his farewell shot O'er the grave where our hero we buried._ In other poems there are masculine rhymes only, as in Cowper (p. 429). Stanzas of this structure, composed of trochaic verses or of trochaic mixed with iambic or of dactylic mixed with iambic-anapaestic verses, are not frequent. (For examples see _Metrik_, ii, § 292.)