Gód, the sóul of éarth | is kíndled wíth thy gráce.
Strictly the caesura ought to occur after the third foot, as it does in the first line; generally, however, it is within the third foot, and so this metre as well as the stanza formed by insertion of rhyme acquires an anisorhythmical character, as e.g. in the following quatrain by Moore:
Áll that’s bríght must fáde,—
The bríghtest stíll the fléetest;
Áll that’s swéet was máde
But to be lóst when swéetest.
When masculine rhymes are used throughout, the six-foot rhythm is preserved in anisorhythmical stanzas of this kind just as well as when lines like the first of those in the example quoted above, Day by day, &c., are broken up by inserted rhymes (a ~ b ~ a ~ b3 ~); or again when they have masculine endings in the second half-lines (a ~ b a ~ b3). If the first half is masculine, however, and the second feminine (or if both have masculine endings on account of a pause caused by the missing thesis), the verses have a three-foot character, e.g. in Moore:
Whíle I tóuch the stríng,
Wréathe my bróws with láurel,
Fór the tále I síng