It must, however, be kept in mind that the Modern English bob-wheel stanzas are not a direct imitation of the Middle English. Sometimes they were influenced probably by the odes, as there is a marked likeness between these two forms, e.g. in two stanzas of Donne (_Poets_, iv. 24 and 39) on the schemes _A B A B C C₄ d d₁ D₄_ and _A₂ A₅ B₄ C C₅ B₄ d₁ D E E₅_; or in a stanza of Ben Jonson in an ode to Wm. Sidney (_Poets_, iv. 558) on the model _A₅ B₄ c c₁ B₃ a d d e₂ E₅_, and in another in _The Dream_ (iv. 566), _A A₄ B₃ C C₄ A₅ A₄ B₃ b₁ D D₃ E E₄ B₅_. In this and other cases they consist of even-measured, seldom of four-stressed verses, as e.g. in Suckling, who seems to have been very fond of these forms of stanza; cf. the following stanza on the model _A A₄ B₃ c c₁ b₂_ (_Poets_, iii. 736): _That none beguiled be by time's quick flowing, Lovers have in their hearts a clock still going; For though time be nimble, his motions Are quicker And thicker Where love hath its notions._ Other bob-wheel stanzas in Suckling show the schemes _A A₄ a₂ b b₃_ (ib. iii. 740), _A A A₄ B B₅ c₂ c₁ C D₄ d₂_ (ib. iii. 729), _A A B B₄ c₁ c d₂ D₅_ (ib. 739). More similar to the older forms is a stanza of a song in Dryden formed after _A A B B C₄ d d e e₂ e₃_ (p. 339). In Modern poetry such stanzas are used especially by Burns, Scott, and sometimes by Moore. So we have in Burns a fine simple stanza on the model _A₄ B₃ A₄ B₃ c₁ B₃_, similar to the Shoreham stanza (cf. § 264): _It was a' for our rightfu' king We left fair Scotland's strand, It was a' for our rightfu' king We e'er saw Irish land, My dear; We e'er saw Irish land._ Similar stanzas occur in Moore on the formula _A₄ B₃ A₄ B₃ a₁ B₃_ in _Then fare thee well_, on _A₄ B ~₃ A₄ B ~₃ c₁ B ~₃_ in _Dear Fanny_. Other stanzas by the same poet have a somewhat longer _cauda_, as _A₄ B ~₃ A₄ B ~₃ c ~ c ~ d ~ d ~1 A₄ C ~₃_ or _A B ~ A B ~ C ~ C ~₄ d d₂ E F ~ E F ~₄_. A stanza used by Sir Walter Scott in _To the Sub-Prior_ (p. 461) is formed on the model _A A B B₄ c₁ c₂ C₄_, the _frons_ consisting of four-stressed verses: _Good evening, Sir Priest, and so late as you ride, With your mule so fair, and your mantle so wide; But ride you through valley, or ride you o'er hill, There is one that has warrant to wait on you still. Back, back, The volume black! I have a warrant to carry it back._ Most of these stanzas admit of being looked upon as tripartite on account of the bipartite structure of the _frons_. Other stanzas may be viewed as consisting of three unequal parts (if not regarded as bipartite); such, for instance, is the stanza on the scheme (_a_) ~ _A_ ~ (_b_) _~ B ~₄ c₁_ (_d_) _D₄ b ~1 e e e c c₂ C₄_ occurring in Shelley's _Autumn, A Dirge_ (iii. 65), where the symbols (_a_)and (_b_) denote middle rhymes.