Nor man nor fiend hath fallen so far.
For other specimens see Metrik, ii, §§ 424, 425
§ 280. Among the stanzas of ten lines, those with an isometrical first part and parallel rhymes may first be mentioned; they correspond to the schemes a a b b c d d e e4 c5, a a b b c d c d4 f3 f4, a a b b c4 d3 c c c4 d3, a a b b4 c d c d2 e e4, and are found in Akenside, Wordsworth, and Moore. Next come stanzas with an anisometrical first part according to the formulas a5 a4 b5 b4 c c5 d d e4 e5, a4 a5 b4 b5 c d c4 d3 e e5, a ~ a ~3 b b4 c ~ c ~3 d d4 e ~ e ~3, occurring in Cowley and Campbell (cf. Metrik, ii, §§ 427, 428).
In other stanzas, crossed rhymes are used in the isometrical first part; they correspond to the formulas a b a b5 c4 d3 c4 d3 e6 e7, a b a b c c d e d5 E2, a b a b c d e5 c3 d e5, a b a b c3 c2 d3 d2 e3 e4, and are found in Browne, G. Herbert, and Ben Jonson (ib. § 429).
In modern poetry simpler stanzas of this kind are used; one e.g. on the scheme a ~ b ~ a ~ b ~3 c c4 d ~ e ~ d ~ e ~3 (the cauda being thus enclosed by the two pedes) in Moore’s song Bring the bright Garlands hither:
Bring the bright garlands hither,
Ere yet a leaf is dying;
If so soon they must wither,
Ours be their last sweet sighing.