[195] It is worth noticing that there are also tripartite stanzas in Middle English, either allied to the bob-wheel stanza or belonging to it, both in lyric and dramatic poetry; e.g. the ten-lined stanza of a poem in Wright’s Songs and Carols (Percy Soc., 1847), p. 15, on the scheme A B A B C C C4 d1 D D4 (quoted in Metrik, i, p. 406); one of eleven lines according to the formula A A A4 B3 C C C4 B3 d1 B D3 in the Towneley Mysteries, p. 224 (quoted in Metrik, i, p. 407), and one of thirteen lines, used in a dialogue, corresponding to the scheme A B A B A A B A A B3 c1 B3 C2, ibid., pp. 135–9 (quoted in Metrik, i, p. 408).
[196] Cf. Karl Bartsch, ‘Der Strophenbau in der deutschen Lyrik’ (Germania, ii, p. 290).
[197] For titles of books and essays on the sonnet see Englische Metrik, ii, pp. 836–7 note; cf. also L. Bladene, ‘Morfologia del Sonetto nei secoli XIII e XIV’ (Studi di Filologia Romanza, fasc. 10).
[198] Cf. Étude sur Joachim du Bellay et son rôle dans la réforme de Ronsard, par G. Plötz. Berlin, Herbig, 1874, p. 24.
[199] The Sonnet: Its Origin, Structure and Place in Poetry, London, 1874, 8º, p. 4.
[200] For certain other varieties occasionally used by these poets see Metrik, §§ 536 and 544–5.
[201] Cf. Studien über A. M., von Oscar Hoffmann (Breslau Dissertation), Altenburg, 1894, p. 32; Engl. Studien, xx. 49 ff.; and Rud. Brotanek, Wiener Beiträge, vol. iii, pp. 122–3.
[202] Cf. Wordsworth, Prose Works, ed. Grosart, 1876, vol. iii, p. 323, where he praises Milton for this peculiarity, showing thereby that he was influenced in his sonnet-writing by Milton.
[203] On Wordsworth’s Sonnets see the Note on the Wordsworthian Sonnet by Mr. T. Hutchinson, in his edition of Poems in two volumes by William Wordsworth (1807), London, 1897, vol. i, p. 208.
[204] See Chaucer’s Works, edited by W. W. Skeat, Minor Poems, pp. 75–6, 310–11.