On the passage quoted from section lxxxiv. Professor Corson also observes: "The four stanzas of which it is composed constitute but one period, the sense being suspended till the close. The rhyme-emphasis is so distributed that any one, hearing the poem read, would hardly be sensible of any of the slightest checks in the continuous and even movement of the verse.... There is no other section of _In Memoriam_ in which the artistic motive of the stanza is so evident." (_Primer of English Verse_, pp. 70-77.) _aaba_ Doubt you to whom my Muse these notes entendeth, Which now my breast, surcharg'd, to music lendeth! To you, to you, all song of praise is due, Only in you my song begins and endeth. (SIR PHILIP SIDNEY: _Astrophel and Stella._ Song i, ab. 1580.) Here the third line (the same in all the stanzas) has an additional internal rime. Oh, make the most of what we yet may spend, Before we too into the dust descend; Dust into dust, and under dust, to lie, Sans wine, sans song, sans singer, and--sans end! (EDW. FITZGERALD: _Paraphrase of the Rubáiyát of Omar Khayyam._ 1859.) For groves of pine on either hand, To break the blast of winter, stand; And further on, the hoary Channel Tumbles a billow on chalk and sand. (Tennyson: _To the Rev. F. D. Maurice._ 1854.) This delightful stanza (used also by Tennyson in _The Daisy_) seems to be an imitation of the well-known Alcaic stanza of Horace: "Vides, ut alta stet nive candidum Soracte, nec jam sustineant onus Silvae laborantes, geluque Flumina constiterint acuto." Ah, yet would God this flesh of mine might be Where air would wash and long leaves cover me, Where tides of grass break into foam of flowers, Or where the wind's feet shine along the sea. (SWINBURNE: _Laus Veneris._) REFRAIN STANZAS In this group of refrain stanzas there is no attempt to make the range of illustrations complete, but only to suggest how the refrain idea has been variously used in forming the structure of the stanza. In some cases, for example, it will be seen that the refrain is a mere appendage or _coda_ to the stanza; in others it is made by rime a part of the organized structure. Blow, northerne wynd, Sent þou my suetyng! Blow, norþern wynd, Blou! blou! blou! (Song from Harleian Ms. 2253; Böddeker's _Altenglische Dichtungen_, p. 168.) I that in heill wes and glaidness, Am trublit now with gret seikness, And feblit with infirmitie; _Timor Mortis conturbat me._ (WILLIAM DUNBAR: _Lament for the Makaris._ ab. 1500.) Now Simmer blinks on flowery braes, And o'er the crystal streamlets plays; Come, let us spend the lightsome days In the birks of Aberfeldy. (BURNS: _The Birks of Aberfeldy._ 1787.) I wish I were where Helen lies; Night and day on me she cries; O that I were where Helen lies On fair Kirconnell lea! (_Fair Helen_; old ballad.)