A similar stanza is found in Moore, The Sale of Loves, a4 b ~3 a4 b ~3 c4 d ~3 c4 d ~3 E E2 F ~3 G G2 F ~3. In other stanzas used by this poet, the tail-rhyme stanza forms the cauda enclosed by two pedes (see § [283]); e.g. in Nay, tell me not, dear, on the scheme a b a b4 c c2 d4 e e2 d4 F G F G4. Another stanza of the form A B ~ A B ~3 c c2 d3 e e2 d3 A B ~ A B ~3, f g ~ f g ~3 h h2 i3 k k2 i3 A B ~ A B ~3, is used in Oft, in the stilly night.
As to other forms cf. Metrik, ii, § 448. Stanzas, the enclosing pedes of which are formed by two tail-rhyme stanzas, are discussed ib. § 449 (schemes: a a2 b ~3 C C2 b ~3 d ~ d ~3 e e2 f ~3 C C2 f ~3, g g2 h ~3 i i2 h ~3 k ~ k ~3 l l2 m ~3 C C2 m ~3)
§ 286. Some stanzas of still greater extent (not very common) are also formed by combination with tail-rhyme stanzas. There are a few stanzas of fifteen lines, e.g. one on the model a a2 b3 c c2 b3 d d2 e3 f f2 e3 g G3 G4 in Moore, Song and Trio; one on a ~ a ~ b ~ b ~2 c1 d ~ d ~ e ~ e ~2 c1 f ~ f ~ g ~ g ~2 c1 in Shelley, The Fugitives (iii. 55); and one on a ~ a ~ a ~ b c ~ c ~ c ~ b d ~ d ~ d ~ e f ~ f ~2 e4 in Swinburne, Four Songs in Four Seasons (Poems, ii. 163–76).
Two stanzas of sixteen lines occur in Moore on the schemes a a2 b ~3 c c2 b ~3 d e d e3 f f2 g ~3 h h2 g ~3 (The Indian Boat), and a a2 b ~3 c c2 b ~3 d d2 e ~3 f f2 e ~3 G ~4 H H2 G ~3 (Oh, the Shamrock).
A stanza of seventeen lines (a a4 b3 a a4 b3 c c4 b3 c c4 b3 d4 e3 d d4 e3) is found in a Middle English poem in Wright’s Spec. of Lyr. Poetry, p. 47; it consists of two six-lined, common tail-rhyme stanzas (the pedes), and a shortened one (forming the cauda).
A stanza of eighteen lines on the formula a a4 b3 c c4 b3 d d4 b3 e e4 b3 f f g g g f2 occurs in Wright’s Pol. Songs, p. 155 (cf. Metrik, i, p. 411); the scheme might also be given as a a4 b2, &c., if the tail-rhyme verses be looked upon as two-stressed lines. A simpler stanza according to the scheme a a2 b3 c c2 b3 d d2 b3 e e2 b3 f f2 g3 h h2 g3 is used in The Nut-Brown Mayd (Percy’s Rel. II. i. 6). Cf. § [244], also Metrik, i, p. 367, and ii, p. 715.
Similar stanzas are used by Shelley (in Arethusa, i. 374) and by Moore (in Wreath the Bowl). Cf. Metrik, ii, § 453.
Lastly, a stanza of twenty lines with the scheme a b ~ a c d b ~ d c e e3 f4 g g3 f4 h h3 i4 k ~ k ~3 i4, occurs in The King of France’s Daughter (Percy’s Rel. III. ii. 17); cf. Metrik, ii, § 454.