This form of stanza is further developed by connecting the halves of the long lines with each other by the insertion of rhymes in the same way as in the stanzas of isometrical verses. An example may be seen in Wright's _Polit. Songs_, p. 153, the scheme being _A A A A₄ b b₁ b₂_ or _A A A A₄ b₁ b₂ b₄_ (or, with the longer lines broken up, _A B A B A B A B₂ c c₁ c₂_, or _A B A B A B A B₂ c₁ c₂ C₄_, &c.). Similar stanzas, especially those on the model _A A A A₄ b₁ c c c₂ b₂_ (_A B A B A B A B₂ c₁ d d d₂ c₂_) were much used in the mystery plays, as e.g. in the _Towneley Mysteries_ (pp. 20-34), even when in the dialogue the single lines are divided between different speakers (cf. _Metrik_, i, pp. 390-1). The four-stressed long lines sometimes alternate with Alexandrine and Septenary verses. In these plays stanzas of an eight-lined _frons_ consisting of long verses, rhyming crosswise and corresponding to _A B A B A B A B₄ c₁ d d d₂ c₂_ are also common: _Peasse at my bydyng, ye wyghtys in wold! Looke none be so hardy to speke a word bot I, Or by Mahwne most myghty, maker on mold, With this brande that I bere ye shalle bytterly aby; Say, wote ye not that I am Pylate, perles to behold? Most doughty in dedes of dukys of the Jury, In bradyng of batels I am the most bold, Therefor my name to you wille I descry, No mys. I am fulle of sotelty, Falshod, gylt, and trechery; Therefor am I namyd by clergy As mali actoris._ Other stanzas, the first _cauda_-verse of which has four beats (on the scheme _A B A B A B A B C₄ d d d c₂_), were also very much in vogue. Stanzas of this kind occur in the poems _Golagros and Gawane_, _The Buke of the Howlat_, _Rauf Coilȝear_, and _The Awntyrs of Arthure at the Terne Wathelyne_ (S. T. S. vol. 28; cf. § 61). An interesting variety of the common form (with a five-lined _cauda_) we have in the poem _Of sayne John the Euangelist_ (E. E. T. S., 26, p. 87). The stanza consists of an eight-lined _frons_ of crossed rhymes and a _cauda_ formed by a six-lined tail-rhyme stanza[192] of two-beat verses, on the scheme _A B A B A B A B₄ c c d c c d₂_. As to the rhythmical structure of the half-verses used in the _cauda_ of the stanza cf. the explanations given in § 64. § =266.= The bob-wheel stanzas[193] were preserved in the North in Scottish poetry (e.g. Alex. Montgomerie) up to the Modern English period.[194] It is not unlikely that they found their way from this source into Modern English poetry, where they are also met with, though they have not attained any marked popularity.