Fair stood the wind for France, When we our sails advance, Nor now to prove our chance Longer not tarry; But put unto to the main, At Caux, the mouth of Seine, With all his martial train, Landed King Harry. (DRAYTON: _Agincourt._ ab. 1600.) I am a man of war and might, And know thus much, that I can fight, Whether I am i' th' wrong or right, Devoutly. No woman under heaven I fear, New oaths I can exactly swear, And forty healths my brains will bear Most stoutly. (SIR JOHN SUCKLING: _A Soldier._ ab. 1635.) The stanzas that follow show various combinations and applications of the same principle--the use of shorter verses in connection with longer. A wayle whyte ase whalles bon, A grein in golde þat goldly shon, A tortle þat min herte is on, In toune trewe; Hire gladshipe nes never gon, Whil y may glewe. (Song from Harleian MS. 2253; Böddeker's _Altenglische Dichtungen_, p. 161.) Of on that is so fayr and briȝt, _velut maris stella_, Briȝter than the day is liȝt, _parens et puella_; Ic crie to the, thou se to me, Levedy, preye thi sone for me, _tam pia_, That ic mote come to the _Maria_. (_Hymn to the Virgin_, from Egerton MS. 613. In Mätzner's _Altenglische Sprachproben_, vol. i. p. 53.) Oh, wad some power the giftie gie us To see oursel's as ithers see us! It wad frae monie a blunder free us An' foolish notion: What airs in dress an' gait wad lea'e us, An' e'en devotion! (BURNS: _To a Louse on a Lady's Bonnet._ 1786.) O goodly hand, Wherein doth stand My heart distract in pain; Dear hand, alas! In little space My life thou dost restrain. (SIR THOMAS WYATT: In Tottel's _Songs and Sonnets._ pub. 1557.) Old Ocean's praise Demands my lays; A truly British theme I sing; A theme so great, I dare compete, And join with Ocean, Ocean's king. (EDWARD YOUNG: _Ocean, an Ode._ 1728.) No more, no more This worldly shore Upbraids me with its loud uproar! With dreamful eyes My spirit lies Under the walls of Paradise! (THOMAS BUCHANAN READ: _Drifting._ ab. 1850.) In these stanzas a pair of long lines bind together the first and second parts of the composition, just as the short lines do in the original _rime couée_. Young was and is universally condemned for choosing this form of stanza for his odes. He was led to do so by his admiration for the passage in Dryden's _Ode for St. Cecilia's Day_, running: "Assumes the god, Affects to nod, And seems to shake the spheres."