§ =250.= There are also doubled forms of the before-mentioned analogical development of the Septenary, the schemes of which are as follows: _a₄ b ~₂ a₄ b ~₂ a₄ b ~₂ a₄ b ~₂_, _a₃ b ~₂ a₃ b ~₂ c₃ d ~₂ c₃ d ~₂_, _a ~₂ b₃ a ~₂ b₃ c ~₂ d₃ c ~₂ d₃_, _a ~₄ b₅ a ~₄ b₅ c ~₄ d₅ c ~₄ d₅_, and _a₅ a₄ b₅ b₄ c₅ c₄ d₅ d₄_. We must here refer to some eight-lined stanzas which have this common feature that the two half-stanzas are exactly alike, but the half-stanzas themselves consist of unequal members. These, however, will be treated in the next chapter. In this connexion may be also mentioned the doubled _Poulter's Measure_, which occurs somewhat frequently, as in _Hymns Ancient and Modern_, No. 149: _Thou art gone up on high, To mansions in the skies; And round Thy Throne unceasingly The songs of praise arise. But we are lingering here, With sin and care oppressed; Lord, send Thy promised Comforter, And lead us to Thy rest._ The same form of stanza was used in Hood's well-known _Song of the Shirt_ (p. 183). Other stanzas of similar structure are given with specimens in _Metrik_, ii, §§ 300, 301; their formulas are _a₄ a₄ b₂ b₅ c₄ c₄ d₂ d₅_, _a b a₄ b₃ c d c₄ d₃_ (Moore, _Dreaming for ever_), _a₃ b b₃ a₃ c₃ d d₄ c₃_, _a b a₃ b₂ c d c₃ d₂_, _a₃ b₂ c₄ a₂ d₃ b₂ c₄ d₂_; in the same place we have mentioned some ten-lined stanzas of the forms _a a₄ b b₂ a₄ c c₄ d d₂ c₄_ (Moore, The Young May Moon) and _a₃ a₂ b₅ b₂ c₄ d₃ d₂ e₅ e₂ c₄_, &c. CHAPTER IV ONE-RHYMED INDIVISIBLE AND BIPARTITE UNEQUAL-MEMBERED STANZAS § =251.= These different kinds of stanzas may be conveniently treated together, since they are closely allied with each other, in that both of them--the indivisible stanzas usually, and the bipartite unequal-membered stanzas frequently--exhibit a one-rhymed principal part. I. _One-rhymed and indivisible stanzas._ The =one-rhymed stanzas=, taken as a whole, cannot without qualification be ranged under any of the other kinds of stanza. The four-lined and eight-lined stanzas of this form, it is true, do for the most part seem to belong so far as their syntactical structure is concerned to the bipartite, equal-membered class (_a a, a a; a a a a, a a a a_). But those of six lines may belong either to the bipartite (_a a a, a a a_) or to the tripartite class (_a a, a a, a a_). It is even more difficult to draw a sharp line of distinction when the strophes have an odd number of lines. In no case is there such a definite demarcation between the chief parts in these one-rhymed stanzas as exists in stanzas with varied rhymes, whether based upon crossed rhymes or on rhyming couplets. =Three-lined stanzas= of the same structure as the four-lined stanzas to be described in the next section were not used before the Modern period. They occur pretty often, and are constructed of widely different kinds of verse; in Drayton's _The Heart_ (Poets, iii. 580) three-foot lines are used: