Stanzas of this kind are met with also in modern poetry, as e.g. in Thackeray, Mrs. Browning, and Rossetti (cf. _Metrik_, ii, §§ 353, 354). CHAPTER V TRIPARTITE STANZAS I. _Isometrical stanzas._ § =267.= In the anisometrical stanzas (which might, as being the older species, have been treated of first) the distinction between the first and the last part of the stanza (_frons_ and _cauda_) is marked as a rule by a difference of metre in them; in isometrical stanzas, on the other hand, the distinction between the two parts depends solely on the arrangement of the rhyme. For this reason certain =six-lined stanzas= consisting of two equal parts and a third of the same structure (the formula being _a a b b c c₄_ or the like), which now and then occur in the _Surtees Psalter_ (e.g. Ps. xliv, st. 5), cannot strictly be called tripartite. Stanzas like these are, however, not unfrequent in Modern English poetry, as e.g. in a song of Carew's (_Poets_, iii. 292): _Cease, thou afflicted soul, to mourn, Whose love and faith are paid with scorn; For I am starv'd that feel the blisses Of dear embraces, smiles and kisses, From my soul's idol, yet complain Of equal love more than disdain._ For an account of many other stanzas of the same or similar structure (consisting of trochaic four-foot lines, iambic-anapaestic lines of four stresses, or lines of five, six, and seven measures), see _Metrik_, ii, §§ 355, 356. It is only rarely that we find stanzas formed on the scheme _a a a a b b_ (e.g. in the _Surtees Psalter_, xlix. 21; in Ben Jonson, _Poets_, iv. 574); or on the formula _a a b b a b₄_, as in Swinburne, _Poems_, i. 248. One form, analogous to the stanza first mentioned in this section and used pretty often in Modern English, has crossed rhymes _a b a b a b_. It occurs with four-foot verses in Byron, _She walks in Beauty_: _She walks in beauty, like the night Of cloudless climes and starry skies: And all that's best of dark and bright Meet in her aspect and her eyes; Thus mellow'd to that tender light Which Heaven to gaudy day denies._ The same stanza of trochaic or iambic-anapaestic metres of three or five measures is also frequently met with (cf. _Metrik_, ii, § 358). The tripartite character of a strophe appears somewhat more distinctly in stanzas formed on the scheme _a b a b b b_, or _a b a b b x_ (cf. _Metrik_, ii, §359). The only stanzas, however, that are in the strictest sense to be regarded as tripartite are those in which the first and the last part are clearly distinguished by the arrangement of rhymes, as e.g. in the type _a b a b c c_. This stanza is very popular in Modern English poetry; in the Middle English period, however, we find it very rarely used, as e.g. in the _Coventry Mysteries_, p. 315. In Modern English it occurs e.g. in Surrey, _A Prayse of his Love_ (p. 31):