Christ is risen! Christ is risen!
He hath burst His bonds in twain;
Christ is risen! Christ is risen!
Alleluia! swell the strain.
See the chains of death are broken;
Earth below and heaven above, &c. &c.
Similar stanzas frequently occur in Moore, e.g. stanzas on the models A ~ B A ~ B4 c c d3 d2 E ~ B E ~ B4, and f ~ g f ~ g4 h h i3 i2 E ~ B E ~ B4 (in Love’s light summer-cloud), A B ~ A B ~3 c d ~3 c4 d ~3 A B ~ A B ~3, e f ~ e f ~3 g h ~3 g4 h ~3 A B ~ A B ~3 (in All that’s bright must fade). For other examples see Metrik, ii, § 441.
Similar stanzas of Septenary metres, also common in Moore, have the formulas a4 b3 a4 b3 c4 d3 c4 d3 E4 F3 E4 F3 (in When Time), A4 B3 A4 B3 c4 d3 c4 d3 A4 B3 A4 B3 (st. i), d4 e3 d4 e3 f4 g3 f4 g3 A4 B3 A4 B3 (st. ii); only in st. i the cauda is in the middle; in the others it closes the stanza (Nets and Cages).
Other stanzas have the reverse order of verses, as e.g. stanzas on the schemes a ~3 b4 a ~3 b4 c ~3 d4 c ~3 d4 E ~3 F4 E ~3 F4 (To Ladies’ Eyes), A ~3 B4 A ~3 B4 c d c d4 A ~3 B4 A ~3 B4 (Oh! Doubt me not). This sort of stanza also occurs in Moore with other metres, e.g. according to the formulas A4 B2 A4 B2 c3 d2 c3 d2 A4 B2 A4 B2, e4 b2 e4 b2 f3 g2 f3 g3 e4 b2 e4 b2 (Not from thee) and there are still other varieties in Moore and in some of the more recent poets. Cf. Metrik, ii, §§ 443–5
§ 284. Among the stanzas of thirteen lines, one belonging to the Middle English period has been mentioned above (p. 342, [note]), which is formed by combination with a tail-rhyme stanza.