My Brother, too, in loving thee,
Although he loved more silently,
Sleeps by his native shore.
A peculiar form of stanza occurring in M. Arnold’s In Utrumque Paratus (p. 45) with the formula a5 b3 a c b c5 b3 likewise belongs to this group.
In other instances the longer part comes first on the model a a a4 b3 c c4 b3, e.g. in Mrs. Hemans, The Sun (iv. 251).
Other stanzas correspond to a a3 b2 c c c3 B2 and a a a b c c2 b3.
In other cases the equal-membered tail-rhyme stanza becomes unequal-membered by adding to the second tail-verse another verse rhyming with it, the formula being then a a4 B2 a a4 b B2 (e.g. in Longfellow, Victor Galbraith, p. 503) or a a2 b4 c c2 b4 B3 (in Moore, Little man), or a a3 b2 c ~ c ~ b b3 (id., The Pilgrim).
Less closely allied to the tail-rhyme stanza are the forms which are similar to it only in one half-strophe, e.g. those on the model a4 b2 a b c c4 b2 (Shelley, To Night, iii. 62), a b3 c c2 a a4 b3 (id. Lines, iii. 86), a b b4 r2 a R4 r2 (Tennyson, A Dirge, p. 16). For other examples see Metrik, ii, § 347
§ 263. There are also some eight-, nine-, and ten-lined stanzas similar to the tail-rhyme stanza. An eight-lined stanza of the form a4 b a5 c2, b4 d d5 c2 occurs in Herbert, The Glance (p. 18), and one of the form a ~ a ~4 B c ~ d c ~ d4 B3 in Moore’s Thee, thee, only thee:
The dawning of morn, the daylight’s sinking,