_My love is like unto th' eternal fire, And I as those which therein do remain; Whose grievous pains is but their great desire To see the sight which they may not attain: So in hell's heat myself I feel to be, That am restrain'd by great extremity, The sight of her which is so dear to me. O! puissant Love! and power of great avail! By whom hell may be felt ere death assail!_ As to other schemes (_a b a b b c d c d₅_, _a b a b b c b c c₅_, _a b a b c d c d R₄_, _a b a b c d c d d₄_, &c.) cf. _Metrik_, ii, §§ 374-6. § =271.= A Middle English =stanza of ten lines=, similar to those of nine lines, is used by Chaucer in the _Envoy_ to his _Complaynt of Mars and Venus_ (_a a b a a b b a a b₅_); another on the model _a b a b b c c b b b₄_is found in a poem _Long Life_ (E. E. T. S., 49, p. 156, quoted in _Metrik_, i. p. 421). Some of the Modern English stanzas again are formed by combination with different varieties of the tail-rhyme stanza, as e.g. one according to the formula _a a b ~ c c b ~ d d e e₄_ in Prior, _The Parallel_ (Poets, vii. 507): _Prometheus, forming Mr. Day, Carv'd something like a man in clay. The mortal's work might well miscarry; He, that does heaven and earth control, Alone has power to form a soul, His hand is evident in Harry. Since one is but a moving clod, T'other the lively form of God; 'Squire Wallis, you will scarce be able To prove all poetry but fable._ A stanza of trochaic verses corresponding to a similar scheme, viz. _a a b c c b d d d b₄_, is used by Tennyson in _The Window_ (p. 284). Sometimes the scheme is _a b a b c c d e e d₄_ (where there are two _pedes_ forming a _frons_, and a tail-rhyme stanza equivalent to two _versus_), as in Akenside, Book I, Ode II (_Poets_, ix. 773). Some stanzas, on the other hand, have a parallel arrangement of rhymes, _a a b b c c d d e E_ (_e E_ being the _cauda_) as in Walter Scott, _Soldier, Wake_ (p. 465); or more frequently crossed rhymes, _a b a b c d c d e e₅_, _a b a b c d c d e e₄_, the first eight verses forming the upsong (_pedes_); or with a four-lined upsong _a a b b c d c d e e₄_, _a a b b c d d e d e₃_, _a b a b b c c d c D₅_. The last-mentioned form has been used several times by Swinburne, e.g. _Poems_, ii, pp. 126, 215, 219, &c., in his ballads. For specimens see _Metrik_, ii, §§ 379-81. § =272. Stanzas of eleven lines= are very scarce in Middle English poetry, if used there at all, and even in Modern English very few examples occur. A stanza of Swinburne's may be mentioned here, imitated from an Old French ballade- (or rather _chant-royal_) stanza, corresponding to the formula _a b a b c c d d e d E₅_ and used in a _Ballad against the Enemies of France_ (Poems, ii. 212). Cf. _Metrik_, ii, §382.