Thy spríngs and dýing gáles.
Southey uses the same stanza (ii. 145); to him we owe several other rhymeless stanzas of the form a b4 c d3 (ii. 212), a3 b c4 d3 (ii. 210) (both of anapaestic verses), a b c4 d3 (ii. 148), a3 b c5 d3 (ii. 159), a4 b c3 d5 (ii. 182), a b4 c5 d3 (ii. 187), a4 b3 c5 d3 (ii. 189); all consisting of iambic verses.
The same poet also uses a stanza of five iambic lines of the form a5 b3 c4 d e3 (iii. 255), and another of the form a5 b3 c5 d4 e3 in his ode The Battle of Algiers (iii. 253):
One dáy of dréadful occupátion móre,
Ere Éngland’s gállant shíps
Sháll, of their béauty, pómp, and pówer disróbed,
Like séa-birds ón the súnny máin,
Rock ídly ín the pórt.
A stanza of similar construction (formula a b c5 d e3 is used by Mrs. Browning in The Measure (iii. 114).
Various isometrical and anisometrical stanzas of this kind occur in Lord Lytton’s Lost Tales of Miletus; one of these consists of three of Coleridge’s Hendecasyllabics, followed by one masculine verse of similar form, and has the formula a ~ b ~ c ~ d5; it is used, e.g., in Cydippe: