_Upon a bank with roses set about, Where turtles oft sit joining bill to bill, And gentle springs steal softly murm'ring out, Washing the foot of pleasure's sacred hill; There little Love sore wounded lies, His bow and arrows broken, Bedew'd with tears from Venus' eyes; Oh! grievous to be spoken._ Other schemes that occur are: _a b a b c₅ d₃ c₅ d₃_, _a b a b c d c₄ d₃_, _a b a b c c d₄ d₃_, _a b a b₄ c c₂ d d₄_, _a b a₄ b₃ c c d d₄_, _a ~ b a ~ b₃ c₄ d₃ d₄ d₃_, _a b ~ a b ~₃ c₄ d ~₃ c₄ d ~₃_, _a ~ b c ~ b d ~ e₃ f₄ e₃_, _a ~ b a ~ b₃ c d c₄ d₃_, _a ~ b a ~ b c ~ d c ~4 d₅_ (M. Arnold, p. 2), &c.; for numerous examples see _Metrik_, ii, §§ 412, 414, 415. Sometimes stanzas occur, the isometrical part of which forms the _cauda_, as on the scheme _a₄ b₃ a₄ b₃ c c d d₄_ in Moore, _Sovereign Woman_: _The dance was o'er, yet still in dreams, That fairy scene went on; Like clouds still flushed with daylight gleams, Though day itself is gone. And gracefully to music's sound, The same bright nymphs went gliding round; While thou, the Queen of all, wert there-- The fairest still, where all were fair._ For examples of other forms (_a b a₄ b₂ c d C D₄, a ~₃ b₄ a ~₃ b₄ c b c b₄, a₄ b₃ c₄ b₃ d e d e₃_, &c.) see _Metrik_, ii, §§ 413, 416. § =277.= Very frequently stanzas occur which are of an entirely anisometrical structure in both parts. To this group belong the first tripartite anisometrical stanzas of the Middle English period, contained in Wright's _Spec. of Lyr. Poetry_, p. 111 (two songs). Their stanzaic form (_a₄ b₃ a₄ b₃ b b₅ c₇ c₅_) is also of great importance, on account of the fact that the first five-foot verses as yet known in English poetry occur in the _cauda_ of these stanzas. The first strophe may serve as an example: _Lutel wot hit anymon, Hou loue hym haueþ ybounde, Þat for us oþe rode ron, Ant bohte vs wiþ is wounde, Þe loue of hym vs haueþ ymaked sounde, Ant yeast þe grimly gost to grounde. Euer ant oo, nyht ant day, hi haueþ vs in is þohte, He nul nout leose þat he so deore bohte._ This stanza is also interesting on account of its regular use of masculine rhymes in the first and in the third line, and of feminine rhymes in the others. The structure of the five-measured verses employed in this stanza has been referred to before (§ 153). Very often both main parts, the _upsong_ and the _downsong_, have crossed rhymes in Modern English, e.g. in a form of stanza with the scheme _a₅ b₃ a₅ b₃ c d₅ c₃ d₂_ in Southey, _To a Spider_ (ii. 180):