Similar stanzas of four-foot iambic and of two-foot iambic-anapaestic lines occur in Tennyson, _The Daisy_ (p. 270), and in Longfellow, _King Olaf and Earl Sigwald_ (p. 573). Stanzas with the scheme _a b b a_ also belong to this group, the two halves not being exactly equal, but only similar to each other on account of the unequal arrangement of rhymes. Such a stanza of four-foot iambic verses occurs in an elegy of Ben Jonson's (_Poets_, iv. 571): _Though beauty be the mark of praise, And yours of whom I sing be such, As not the world can praise too much, Yet is't your virtue now I raise_. and notably in Tennyson's _In Memoriam_. Both this stanza and the similar stanza of trochaic verses are found pretty often (cf. _Metrik_, ii, § 311). § =255.= More frequently =five-lined stanzas= occur. One on the scheme _a b b a a₄_, similar to that just mentioned, is used in Sidney, _Psalm XXVIII_; others, composed in various metres, have a one-rhymed _frons_ or _cauda_, e.g. _a a a b b₃_ in Wyatt, p. 128, _a a b b b₄_ in Moore (_Still when Daylight_) and other poets. Of greater importance are some stanzas on the formula _a a b a b_; they may be looked upon as isometrical tail-rhyme-stanzas, shortened by one chief verse; as _a a b a B₄_, often occurring in Dunbar, e.g. in _The Devil's Inquest_, and in Wyatt, p. 29: _My lute awake, perform the last Labour, that thou and I shall waste, And end that I have now begun; And when this song is sung and past, My lute! be still, for I have done._ Another form of this stanza, consisting of five-foot lines with refrain, occurs in Swinburne, _In an Orchard_ (_Poems_, i. 116), and a variety consisting of three-foot verses is found in Drayton's _Ode to Himself_ (Poets, iii, p. 587). More frequently this stanza is found with the two parts in inverted order (_a b a a b₄_), as in Moore: _Take back the sigh, thy lips of art In passion's moment breath'd to me: Yet, no--it must not, will not part, 'Tis now the life-breath of my heart, And has become too pure for thee._ There are also five-foot iambic and three-foot iambic-anapaestic and other lines connected in this way, as in G. Herbert (p. 82); in Longfellow, _Enceladus_ (p. 595); on the scheme _a b c c b₃_ in Wordsworth, i. 248; and in R. Browning according to the formula _a b c c b₄_ (vi. 77). The allied form of stanza, _a a b b a_, probably originating by inversion of the two last verses of the former stanza (_a a b a b_), occurs in Middle English in the poem _Of the Cuckoo and the Nightingale_.[191] _The god of love,--a! benedicite, How mighty and how greet a lord is he! For he can make of lowe hertes hye, And of hye lowe, and lyke for to dye, And harde hertes he can maken free._